More than twenty years after their debut-album the Australian duo Warren Bones (‘Bones’) and Craig L. Saunders (‘<Sik>’) aka NOVAkILL have released their sixth studio album. Released by RepoRecords, “Artifice” confirms the talent of the duo that stands for a dark, powerful and elaborate form of EBM. NOVAkILL stands for intelligent Electro and texts with content while the new opus sounds to me like their best production ever. (Courtesy by Inferno Sound Diaries)

Q: Your new album “Artifice” comes more than twenty years after the debut album “Hard Tech For A Hard World”. How do you feel your sound has evolved on the new opus compared to your earlier releases? And how would you describe the sound DNA of NOVAkILL?

Bones: The simple answer is that what we do has evolved in every way. The technology we rely on has gotten better and better and our skills as artists, performers, song writers and producers has also improved a lot. Of course, after 20 years you would hope to be a lot better at what you do.

I think we have a very broad idea of what NOVAkILL is and over the years that has shown up in our albums. For me, a NOVAkILL song can be whatever style we feel like making it, it only needs to have the right attitude. It needs to push the right buttons and, I think we’ve managed to achieve that with slow songs and fast songs and Electronic songs and Noise songs and even straight out Rock songs.

Sik: I think we are still doing the same thing, just better, though by not wanting to just repeat ourselves we have allowed ourselves to experiment and to push our own boundaries of what we want to put on an album, so I think our sound has become more ‘confident’.

Q: I think that the main theme of this new album revolves around the relationship of man and machine which brings us immediately to AI. Can you tell us a bit more about that and how do you experience this whole, and so important technological evolution?

Bones: We both work as graphic artists and AI is having a massive impact there. A lot of people are very negative about it but to us it is just another tool we can use to achieve our creative goals. The thing with the AI’s we have at our disposal today is they only do what you tell them to and there is real skill in crafting your prompts to get the result you are looking for.

Luddites keep saying that AI will never be able to put the emotion into a performance that a real person can but there are videos on YouTube that prove that they can already do this, and we know that in a year AI will be ten times better than it is today. Sooner rather than later, AI will be able to create music that is the equal of the greatest music ever made. So what? We don’t pretend to be the greatest band of all time, we know there are better bands out there than us but that doesn’t matter. So why would it matter that AI is also making better music than we can? I’d have thought that more great music would be a win for everyone.

People will say that AI will make it impossible for anyone to get their music noticed but that ship has already sailed. There hasn’t been any money for artists like us for a very long time and AI isn’t going to make it any worse, because it’s hard to imagine how it could be worse than it already is.

Q: It is no longer a secret to anyone that AI is also quietly but surely making its way into the world of music. How do you view that and did you use AI in the production of “Artifice” -or would you ever consider using it?

Bones: We used AI to create the images in the artwork for “Artifice”. The album cover is a composite of a couple of older images Sik created more than a year ago. We also used AI to write the lyrics for “Madhouse”. Initially I was only interested in finding some inspiration to help my own writing but ChatGPT came up with such a great couple of paragraphs, we decided to use them as they were. We only changed one word. Then I went to use another AI to create a vocal performance, again for a bit of inspiration. Unknown to me, Sik had already trained that AI to sound like me and, again, it did such a great job we decided to use the AI vocals in the song. I don’t even sing it on stage, we’re happy to let the AI do it (a recording of the AI, at least).

Q: Can you tell us a little more about the various stages you had to go through to achieve “Artifice”? And what did you experience as the greatest difficulties and challenges on the one hand and the greatest satisfactions on the other?

Bones: It sounds very boring but it sort of came together over a couple of band meetings, which is something we had never really done before. We had quite a few ideas floating around, one or two we’d had while working on the previous album, but we needed to focus to get the ball rolling and the meetings did that. We picked the best candidates and started working to turn them into proper songs.

I don’t think we had any real challenges, once we got started. It all came together fairly easily and quickly. One of the most promising ideas turned out to require a lot more effort and it was bogging us down, so we decided to shelve it. We may end up using it in whatever we do next but maybe it will never end up being finished. I’d started writing something while we were doing the rest of the album and that became “Darkness”, which filled the gap made by the shelved song.

The greatest satisfaction is when it’s finished! I really don’t enjoy the production process, it feels too much like hard work, but once you get to the point where you feel it’s as good as it’s going to get, there is a real sense of accomplishment.

Sik: Getting started wasn’t hard, and banging out a few ideas/demos was fun and easy, and shortlisting down to 12 tracks was not very hard either, and, other than that one track we couldn’t make work I don’t think there was ever a stage in making this album where we questioned our song choices.  We did question a few times if anyone else would like it, but we know it was what we wanted to do at that time.

Q: Is the newest album always the best one and do you think there’s always something to improve? And how self-critical are you with your work?

Bones: The newest album has to be the best one, otherwise it’s not ready yet! Seriously, though, I do worry about the time when maybe we stop getting better. If I’m honest, I didn’t thinkwe could do a better job than we did on “Iconoclast” so it was extremely pleasing to realize that “Artifice” had managed to improve on what we’d achievedpreviously. I think we are objective about our music, by the time an album is ready for release, we’ve listened to the songs a million times and we’d know if we hadn’t managed to do as good a job as we could.

Q: I noticed “Articice” already got very positive reactions  but how important is the opinion of the fans on the one hand and the press on the other for you?

Bones: It’s always good to know you haven’t wasted half-a-year, so both things are desirable, although nothing that affects what we do or how we do it. I don’t think there is any mileage in trying to chase an audience, we are happy to put our music out there and if it finds an audience, then all the better. If we don’t find an audience, that’s OK too, as long as we’re happy with what we’ve done. It’s always interesting to see which songs turn out to be favorites with reviewers and fans. Sometimes a song we think is just there because we like it, gets great comments in a review or on YouTube. That’s always pleasing.

Sik: Ultimately we do what we like, and aren’t trying to have a big hit, etc.  We know we have limitations, (time/money/talent etc)  but we have to work within those parameters as best we can and have confidence that the choices we make are ‘right’ at that time.  It isreally nice to know that other people are accepting of those choices and it is always good to read a review or comment from someone who seems to understand where we were coming from, but it is not what ‘drives’ us… we just ‘gotta rock’, and if other people like the way we rock that is great.

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: EBM.

Format: Digital, CD.

Background/Info: Craig L. Saunders and Warren Bones have been active as Novakill for more than twenty years. “Artifice” is the sixth full length by the Australian project and features twelve songs.

Content: “Artifice” sounds like ‘never change a winning formula’; this is well-crafted and powerful EBM carried by solid bass lines and recovered by hostile atmospheres. We’re moving through a dark and tremendous EBM-universe which is sometimes empowered by a few guitar riffs on top. There’re a few short, instrumental, intermezzos featured.

+ + + : Novakill remains a warrant for elaborated and powerful EBM. It’s a band I prefer not to compare to any other formation as they’ve always had a very unique sound. “Artifice” has been accomplished by great, intimidating bass lines creating a perfect match with the overwhelming, dark, atmospheres.

– – – : The album is maybe missing one absolute hit which in a way is maybe what Novakill has never really accomplished but we get a fully enjoyable album instead with no real songs to throw away.

Conclusion: Hard to say but “Artifice” is maybe the best work to date from this Australian EBM formation.

Best songs: “Lies”, “Over”, “Absolution”, “Chaos”, “Rage”.

Rate: 8.

Artist: www.facebook.com/novakillindustrial

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

Inferno Sound Diaries

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

www.side-line.com

(Photo by Lina Gabrielli) Out on May 10 is the new album from Swedish electronic trio Me The Tiger aka Gabriella Åström, Jonas Martinsson and Tobias Andersson. Their 4th full length – holding 8 tracks – comes 7 years after their previous album “What Is Beautiful Never Dies”.

The album is the band’s first release on the Swedish label Progress Productions after having released their 2 previous albums on RepoRecords.

Me The Tiger was formed in Falun/Sweden in the spring of 2012 and has since released three full-length albums and a series of singles. In 2024, they will tour in Europe, including a performance at Solitary Experiments’ 30th-anniversary festival in Berlin and their festival debut in Poland.

The album was already preceded by two singles,”Post Denial War” and “I Want it Back“.

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.

Format: Digital, CD.

Background/Info: German sonic ogre Funker Vogt is back. The new EP features new singer Bastian Polak (Intent:Outtake) while Gerrit Thomas and René Dornbusch took care of the composition. “Death Seed” is an appetizer to the announced new full length album.

Content: This EP sounds like the familiar, hard-hitting Electro stuff from Funker Vogt. We get 2 edits of the title song plus 2 edits of “Questions Their Answers” and the extra, hard, track “A Hundred Ways To Die”.

+ + + : I must say Bastian Polak sounds like the right casting to become the new singer of the band. His powerful and charismatic timbre of voice comes closer to the original singer Jens Kästel than to Chris L (the second singer). The title song is a powerful and melodic piece but the real ‘hit’ to me is the enraged “A Hundred Ways To Die”. I prefer both alternative mixes to the original edits of “Death Seed” and “Question Their Answers”.

– – – : Maybe these new songs will not become the biggest hits of this band but they’re still kicking stuff.

Conclusion: This new EP sounds already for a new chapter in the band’s history but also a cool teaser to the upcoming full length.

Best songs: “A Hundred Ways To Die”, “Death seed – Ackermix”, “Questions Their Answers – Answer Their Questions Mix”.

Rate: 7½.

Artist: www.funkervogt.de / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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

Australia’s electro-industrial duo, NOVAkILL return with their 6th album, “Artifice”, on RepoRecords. The album is the follow-up to the 2020 full length “Iconoclast”. The new album is accompanied by a video for the single “Rage” which you can see below.

The new album has 12 tracks and is out now.

About NOVAkILL

NOVAkILL began in 1996 when Warren Bones, performing solo as Deathly Quiet!, started organizing acts to bring more electronic music to Sydney. Here he met Craig L. Saunders aka Sik, who at the time was creating dark electro music with his brother. Together, Bones and Sik started Sydney’s first all industrial club night, Virus. Shortly after, titling themselves NOVAkILL, they began making edgy electronic music together.

Between 1997 and 1998 NOVAkILL released three tracks on different local and overseas compilations. In 2002 they finally began work again on their first album, “Hard Tech for a Hard World”. They managed to complete the album by mid 2003 and were signed to Metropolis Records for North America.

“Kill Everyone” followed in 2005, also on Metropolis. By 2009 the band had signed to RepoRecords for the release of “I Hate God”. “(D)anger” was released 7 years later with “Iconoclast” being the band’s last studio album released in 2020.

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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(Picture by Lina Gabrielli) Progress Productions has announced their latest signing, the Swedish trio Me The Tiger. “Post Denial War” is the first single to be released from the album “Envy”, expected to be released in Spring 2024.

The band members are Gabriella Åström, Jonas Martinsson, and Tobias Andersson. The electropop trio was formed in Falun in the spring of 2012 and has since released three full-length albums, a series of singles, and performed at festivals like M’era Luna (Germany), W-fest (Belgium), Eine Nacht im Bergwerk (Switzerland), Infest (England), E-Only (Germany) and electriXmas (Sweden). In 2024, they will tour in Europe, including a performance at Solitary Experiments’ 30th-anniversary festival in Berlin and their festival debut in Poland.

After they self-released their self-titled album in 2013, they were picked up by RepoRecords which released the album “Vitriolic” in September 2015. That album included the singles “What Promises Are Worth” and “As We Really Are”. In 2017 “What is beautiful never dies” followed and since then it went a bit quiet around the band until now.

Bernard - Side-Line Staff

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

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Out now is “Götter in Weiß”, the first single from the new Eisfabrik album of the same name which will be out on 29th December via the NoCut label (SPV). The music video for the single is available as well, you can watch it below.

The song describes the situation of doctors. On the one hand, they bear a great responsibility and are often faced with decisions that can mean the difference between life and death. On the other hand, they are exposed to clichés and prejudices.

The album will be released as a digipak, vinyl and a limited fan box and is now available for pre-order.

About Eisfabrik

Eisfabrik, a German electro and future-pop band, emerged in the winter of 2011/2012, and was formed by Charly Barth-Ricklefs (formerly of Shadow-Minds) and Gerrit Thomas (notably from Funker Vogt). They marked their public debut on October 4, 2014, during the 7th Darkflower Live Night in Leipzig. Early 2015 saw the establishment of their music label, Eismusik. Their debut album “When Winter Comes” was released on February 13, 2015, introducing Jan Bertram as a key member of the band. That year, Eisfabrik supported Project Pitchfork on their Blood-Tour.

By the end of 2015, the band signed a takeover contract with the label NoCut, releasing the album “Eisplanet” within the same year. Their touring ventures with Project Pitchfork and Mono Inc. garnered a wider audience, leading to their first headliner tour, “Nichtsommer-Tour,” across seven cities. The release of their third studio album “Achtzehnhundertunderfroren” coincided with the tour’s commencement. The latter half of the year saw the inception of their second headliner tour, “Kaltgebiete,” which stretched into spring 2018, marked by the release of their fourth album “Null Kelvin”.

Signing with RepoRecords in 2019, they released the EP “Rotationsausfall in der Eisfabrik.” The following year, their fifth studio album “Kryothermalmusik aus der Eisfabrik” made its debut in the German album charts. Winter 2021/2022 marked their return to NoCut label, with the release of their 6th studio album “Life Below Zero”.

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: EBM.

Format: Digital.

Background/Info: Four years after their last album, the German act Darkness On Demand (ex-Dance Or Die) moved from RepoRecords to Alfa Matrix. “Final Way” is meant as a teaser to announce their upcoming album “Digital Outcast”.

Content: The work features 6 tracks taking off with hard, dark, overwhelming EBM. That’s the trademark of the band but next to powerful songs you’ll also discover the previously released single “Hang On” remixed by Winterhart -which is a Neo-Folk-driven side-project of the band. There’s also a remix of VDOC featured.

+ + + : I especially like the powerful side of the band which they masterly exposed on the solid opener “Female Grace – Single Version” but also on “Fools” and “Final Way”. The last mentioned cut is driven by a heavy, scratching, lead reminding me of Praga Khan while showing a modern touch on top of the production. Gary Wagner’s powerful and passionate vocals inject an extra, naughty, and essential aspect to the production.

– – – : I’m not convinced by the few, softer, cuts while the ballad-like remix of “Hang On” by Winterhart sounds like a true antithesis to the rest of the work.

Conclusion: “Final Way” shows Darkness On Demand in great shape and is a strong appetizer to the new full length.

Best songs: “Female Grace – Single Version”, “Final Way”, “Fools”.

Rate: 8.

Artist: www.darknessondemand.com / www.facebook.com/darknessondemand

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix

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: EBM, Body-Pop, Cinematic, Punk.

Format: Digital, CD.

Background/Info: Fusspils 11 is a project driven by Gerrit Thomas (Funker Vogt, Eisfabrik, Ravenous, Fictional). Two previous albums were released by Fusspils 11 while this is the first new work since 2005. The work features three original songs and a majority of surprising cover versions featuring guest singers/artists. The contributors are Bastian Polak (Intent:Outtake), Andreas Engleitner (Intent:Outtake), Charly Barth-Ricklefs (Eisfabrik), Tim Schulschenk (Alienare), Dirk Scheuber (Scheuber, Project Pitchfork), Jan Bertram (Eisfabrik), Alexander ‘Fischy’ Fischer (Tourmanagement, Yeti), Stefan Winkel (Gecko Sector), René Dornbusch (Funker Vogt, Eisfabrik) and Stephan Herrmann (J-SOC, Scheuber).

Content: Soundwise this work has less in common with previous Fusspils 11 albums except Gerrit Thomas is the steersman. The cover versions are pretty diversified ranging from Rammstein to Kraftwerk to Bots to Torfrock. Most of those bands are pretty popular in Germany and inspired Gerrit Thomas to achieve an own interpretation. The original songs by Fusspils 11 are easier to recognize. Gerrit Thomas’ typical sound arrangements reminding Funker Vogt but still his other projects are coming through while these songs are more powerful as well. He sings on two of these songs. 

+ + + : This work was for sure pure fun; working on some funny- and other unexpected German covers while joined by some mates. I however prefer the original Fusspils 11 songs which are probably not as fun but definitely more powerful. It’s however cool to hear Gerrit Thomas transposing “Haifisch” (Rammstein) and “Das Modell” (Kraftwerk) into his own sound and approach. One of the most funny cuts might become a hit. I’m referring to the legendary “Sieben Tage Lang” originally written by Bots. If you remember the free adaptation of this song by Scooter (cf. “How Much Is The Fish?”) which became a famous hit you never know where the Fusspils 11-cover will end.

– – – : This album is fun and featuring some cool dancefloor cuts but it’s the less convincing work I ever heard from Gerrit Thomas -who I still consider as one of the greatest artists from this scene.

Conclusion: Definitely fun and something different from Gerrit Thomas’ studio but not totally convincing!

Best songs: “Die Drei Säulen Des Wahnsinns”, “Zombiewelt”, “Bambule In Kindergarten”, “Schwartz Zu Blau”, “Sieben Tage Lang”.

Rate: 7.

Artist: www.facebook.com/Fusspils11

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

Inferno Sound Diaries

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

www.side-line.com

Out now via RepoRecords is the brand new video by Fusspils 11 for the cover version of “Haifisch” which is originally from Rammstein. “Haifisch” as a pre-single for Fusspils 11’s new album “Halbwegs verpeilt”, which will be released on April 29th, 2022. On this track you will hear guest singer Bastian Polak (Intent:Outtake).

“Halbwegs verpeilt” is the third release for this project by Gerrit Thomas (Eisfabrik, Funker Vogt, Ravenous, Fictional) after “Gib ihr einen Namen” (1998) and “Elektro-Polizei” (2005).

On this new album you’ll find a long list of collaborators like Bastian Polak (Intent:Outtake), Andreas Engleitner (Intent:Outtake), Charly Barth-Ricklefs (Eisfabrik), Tim Schulschenk (Alienare), Dirk Scheuber (Scheuber), Jan Bertram (Eisfabrik), Alexander „Fischy“ Fischer (Tourmanagement, Yeti), Stefan Winkel (Gecko Sector), René Dornbusch (Funker Vogt, Eisfabrik) and Stephan Herrmann (J-SOC, Scheuber).

The video for “Haifisch” was produced by Gerrit Thomas.

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

Ravenous got some fame in the 90s. The German formation released three albums in between 1996 and 2000; “Mass Mental Cruelty” (1996, on Off Beat), “No Retreat And No Surrender” (1998, on Zoth Ommog) and “Phoenix” (2000, on Bloodline). The band next took a long break and got finally reactivated this year to celebrate the 25^th anniversary of their debut album. Björn Böttcher, Gerrit Thomas (Funker Vogt, Eisfabrik ao) and Tim Fockenbrock joined back hands together and released the ‘new’ album “Forward To The Roots” on RepoRecords. The band’s fourth album is a mix of new songs, previously unreleased tracks and rarities and the never released single “Frozen Tears”. The work remains a danceable mix between EBM and Electro-Pop. I got in touch with the band’s singer Tim Fockenbrock.

(Courtesy by Inferno Sound Diaries)

Q: After more than twenty years of silence, Ravenous has been recovered from dust. What have been the triggers and motivation to bring the project alive?

Tim: That´s pretty simple. We had our first CD-release in 1996 and so we´ve got our 25th anniversary in 2021. So Björn asked me, if I was interested to release some old Mix-Versions and unreleased material. I agreed and we took that chance to make some new stuff.

Q: What did you guys keep in mind from the early years, the ‘old’ releases and their sound approach and what does the band stands for today?

Tim: We were and still are incorrigible believers in hope and justice and that everything will turn out good in the end. We became older and wiser and our new songs are representing the powerful and uncomplicated faith in ourselves and our sound. 

Q: The album “Forward To The Roots” is a melting pot of new songs, rarities, remixes and even a previously unreleased single. What can you say about it?

Tim: We are all different characters in our band. We´ve got different stories to tell. We have internalized and accepted our past and our shadows. Now we are in peace with ourselves. Now the circle closes and we are ready to look forward without forgetting where we came from. “Forward To The Roots” reminds us of our strength and power.

Q: How comes the single “Frozen Tears” –meant to be released in 2001, never saw the daylight? And how comes Ravenous finally stopped its activities after three rather successful albums?

Tim: It´s because I started to make experiences in different bands. I was always open for good music, no matter what genre. So we had a break which took longer than we thought.

Q: How was it working on the new songs of the album? What’s the input of the different members and did you notice main changes with the old albums?

Tim: It was great to feel the power and inspiration again. In my opinion, the way we create our music, is now more effective. Gerrit creates the sound and I translate this on my piano to find the right melody. Afterwards we turn it back into the Electronic sound. This is a very special mix and typical for the Ravenous-sound. By writing the lyrics I also got another option to speak about my feelings, which is great.

Q: I noticed the single “Roots” has reached the Deutsche Alternative Charts while speaking right now, the album will probably enter as well. What does it mean to reach the DAC? What’s the true impact of these charts? And what brings the future for Ravenous?

Tim: It´s always good news if a lot of people recognize our music. Especially fans, DJ`s and Radio-Stations. There is no pressure and we will see what the future brings.

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.

Format: Digital, CD.

Background/Info: Ravenous is back after a silence of more than twenty years! Tim Fockenbrock, Björn Böttcher and Gerrit Thomas decided to recover the project from the dust, releasing a few new songs plus previously unreleased tracks, rarities and remixes. Kai Schmidt is no longer involved. 

Content: The album is a way to get back to the 90s, the decade wherein Ravenous as a side-project of Funker Vogt released 3 albums in between 1996 and 2000. The songs are a softer and more Pop-orientated version of Funker Vogt, but you still recognize some typical bass lines and arrangements of Gerrit Thomas. The new songs are holding on to this approach. You can compare it with some older songs and the previously unreleased “Frozen Tears”, which was meant to be released as a single/EP in 2001. Remixes have been accomplished by Re/Work and The Dust Of Basement, both originally made in 2000. 

+ + + : It’s maybe not a good idea to compare Ravenous to Funker Vogt, but it definitely sounds like a softer and Electro-Pop driven edit. The drums, bass lines, strings and melody lines are clearly evoking Funker Vogt, but the songs are all more polished and driven by clear vocals. The new songs –and especially “Roots” are cool cuts carried by a strong chorus. The previously unreleased “Frozen Tears” is another cool song so in the end it sounds great this previously unreleased EP-title song finally saw the daylight. Among the other ‘older’ songs I especially recommend “Empire” for its harder approach and irresistible, icy lead. It’s also cool to remind us of bands like Re/Work and The Dust Of Basement. It’s also interesting to re-discover a few songs that were originally recorded in the studio of Sevren Ni-Arb (X Marks The Pedwalk) where numerous great artists recorded their work back in the 90s. 

– – – : The question is if this album will also stand for a new start of Ravenous? This one is a cool way to re-discover this project, but a totally new full length would be more interesting. 

Conclusion: If you like the work and sound of Gerrit Thomas, you for sure are going to like this album filled with rarities and some extra new songs. 

Best songs: “Empire – Unreleased Version 1999”, “Faster Than Time – Alternative Version 1996”, “Roots”, “Frozen Tears 2021”. 

Rate: 7½. 

Artist: www.ravenous.de / www.facebook.com/Ravenous-102636321922141 

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404 

Inferno Sound Diaries

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

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(Photo by Ravenous & Pixel Breed) The second pre-release single “Frozen Tears” is now available everywhere as download or stream. You can watch the lyric video below. “Frozen Tears” was originally planned for a 2001 release but never got released in the end.

The new Ravenous album, “Forward to the Roots”, will be released this Friday (October 29th, 2021) on Repo Records for the band’s 25th anniversary. It is the 4th album of the trio consisting of Björn Böttcher, Gerrit Thomas and Tim Fockenbrock.

The album is a mix of new songs (“Roots”, “Here Again” and “Free Me”), unreleased tracks and rarities from the band archive ranging from unreleased versions of tracks from the 1996 debut (recorded by X-Marks the Pedwalk’s mind Andre Schmechta), to unreleased remixes, demos and rarities.

Here is “Frozen Tears”.

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 Ravenous & Pixel Breed) The new song “Roots” is the first new Ravenous release in over 20 years. It is available as a digital single in all relevant stores today. An official lyric video is available on YouTube and can be seen below.

“Roots” is the opening track for Ravenous’ upcoming 25 years anniversary album “Forward to the Roots” which will be released on 29 October on Repo Records and is the 4th album of the trio consisting of Björn Böttcher, Gerrit Thomas and Tim Fockenbrock.

The album is a mix of new songs (“Roots”, “Here Again” and “Free Me”), unreleased tracks and rarities from the band archive ranging from unreleased versions of tracks from the 1996 debut (recorded by X-Marks the Pedwalk’s mind Andre Schmechta), to unreleased remixes, demos and rarities.

Also included is the never released re-recording of the single “Frozen Tears” (originally planned for 2001 but never released).

Enjoy the official “Roots” lyric video.

About Ravenous

Ravenous was born somewhere in 1989 and after their debut album on Off Beat they would release a second album, “No Retreat And No Surrender”, on Zoth Ommog in 1998. “Phoenix” followed in 2000 on Bloodline. And after that the lights went out.

During these 20 years apart, the band members have musically gone their own ways: While Björn Böttcher, after an extensive live artist career with Funker Vogt, ultimately delved into label and artist management with RepoRecords, Gerrit Thomas took a career in music production. Tim Fockenbrock, for his part, worked with several bands outside the scene and even deployed a dubbing career.

Bernard - Side-Line Staff

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

side-line.com

The German electro band returns after 21 years of silence. Björn Böttcher, Gerrit Thomas and Tim Fockenbrock are to release a new album on the 25th anniversary of their 1996 debut album “Mass Mental Cruelty” (Off Beat), November 29th that is.

The new album, “Forward to the Roots”, will be released via Repo Records and is the band’s 4th album.

The album is a mix of new songs (“Roots”, “Here Again” and “Free Me”), unreleased tracks and rarities from the band archive ranging from unreleased versions of tracks from the 1996 debut (recorded by X-Marks the Pedwalk’s mind Andre Schmechta), to unreleased remixes, demos and rarities.

Also included is the never released re-recording of the single “Frozen Tears” (originally planned for 2001 but never released).

Tracks:

1. Roots
2. Here again
3. Frozen Tears (2021)
4. Free Me
5. If you believe it (2002)
6. Roots (Alternative Vocal Edit)
7. Frozen Tears (2001)
8. Violent World (Plain Real Remix 1996)
9. Faster than Time (Alternative Version 1996)
10. Flesh and Bone (Alternative Version 1996)
11. Silverray (Radio Edit 1999)
12. Empire (Unreleased Version 1999)
13. The Last (Demo 1999)
14. Between the Worlds (Re/Work Remix 2000)
15. My Name (The Dust of Basement Remix 2000)
16. The Loop (2002)

About Ravenous

Ravenous was born somewhere in 1989 and after their debut album on Off Beat they would release a second album, “No Retreat And No Surrender”, on Zoth Ommog in 1998. “Phoenix” followed in 2000 on Bloodline. And after that the lights went out.

During these 20 years apart, the band members have musically gone their own ways: While Björn Böttcher, after an extensive live artist career with Funker Vogt, ultimately delved into label and artist management with RepoRecords, Gerrit Thomas took a career in music production. Tim Fockenbrock, for his part, worked with several bands outside the scene and even deployed a dubbing career.

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

Genre/Influences: Dark-Electro.

Format: Digital, 2CD.

Background/Info: “666 Degrees Below” was a solid teaser to Agonoize’s seventh album to date. The Berlin-based combo released their second album on RepoRecords and again asked Gerrit Thomas (Funker Vogt, Eisfabrik) to mix and master the album. The album again included a second disc featuring six extra tracks.

Content: The influences and sound formula of the ‘Hellectro’ band hasn’t changed. Frontman Chris L. seems to be warding the sound formula to remain the same. The sonic universe of Agonoize is made of provocation, which you can notice in the titles, artwork and of course the songs versus lyrics. The sound remains driven by furious beats overloaded by dark strings and carried by heavy, melodic sequences. On top of it all you’ll hear Chris L.  singing in his familiar enraged way. The songs are sung in German, but some choruses feature English words while there also is one song in English. Some of the melodies are reminding me of Suicide Commando, but where Johan Van Roy also likes calmer, moody songs, Agonoize holds on a constant and merciless power. The album features 13 songs and among the tracklist you’ll recognize the already familiar “666 Degrees Below” plus the original edits of “Komakind”, “Angst Ist Macht”, “Faux Amis” and “Dein Gott”, which were featured in an alternative- and/or remixed version at the EP.

The bonus disc brings a bit more diversity revealing a few ‘softer’ songs, but the main trend remains harsh and merciless. The tracklist features and “Frozen”-edit of “666 Degrees Below” plus alternative edits of “Mststck” and “L.ove I.s L.ost” plus 3 real new songs. One of these songs (cf. “Every Day, I Die”) is a kind of hell-electro ballad while both other cuts are pure rage.

+ + + : I think it was not easy releasing a new album after the successful“Midget Vampire Porn”, released in 2019. But Agonoize seems to like challenges and did it again. The work doesn’t innovate, but the band simply becomes better and better. The songs are just what you might expect from Dark-Electro music; harsh, dark, powerful and provocative. Agonoize brings all these ingredients together in a perfect, balanced work. “666 Degrees Below” remains an absolute hit, but I also want to mention “Faux Amis”, the English sung “Love To Hate”, which is a song that will appeal to Suicide Commando fans and “The Age Of Depression”. On the bonus disc I recommend “Tease & Denial” and Krank”, the last cut featuring cool epic chants. “Mststck – Sucht” sounds also more convincing than the original version on the main disc. The nearly constant power of this album is great. I also highly recommend the CD-version for its –once again, great, artistic digipak and artwork.

– – – : You get a total amount of 19 songs and there’s only one single piece –the atypical ballad-like “Every Day, I Die”, which couldn’t convince me. So you’ll have to agree there’s no reason to complain.

Conclusion: Agonoize moves on there where the previous album stopped, and it’s again an undeniable masterpiece and for sure what will become one of the best Dark-Electro albums of 2021!

Best songs: “666 Degrees Below”, “Love To Hate”, “Faux Amis”, “The Age Of Depression”, “Mststck”, “A Hole” + “Krank”, “Tease & Denial”, “Mststck – Sucht”.

Rate: (9).

Artist: www.agonoize.berlin / www.facebook.com/AgonoizeOfficial

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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: Dark-Electro.

Format: Digital, CD.

Background/Info: Two years after the outstanding “Midget Vampire Porn”, Berlin-based (Germany) Agonoize strikes back. This EP is an appetizer to the seventh full length album of the band.

Content: The title song also is the opener of the EP revealing Agonoize is in good shape. They remain driven by this dark and freaky (h)el(l)ectro style. All aspects are dark and I even dare to say tormented. The songs are hard and bouncing, mixed with melodic sequences and leads while frontman Chris L. is still singing as a possessed soul.

Next to the title song we get 4 more cuts from the upcoming album, but only as remixes. The “Short Cut” of “Angst Ist Macht” is probably pretty close with the album edit and remains pure Agonoize-like. Eisfabrik and Nachtmahr have remixed each one song. The track “Komakind” has been remixed by Nachtblut while there also is a pretty clubby-sounding “Klubkind Mix”.

+ + + : There’s no better way than introducing your new full length album with such a great EP-title song. “666 Degrees Below” simply confirms the status of Agonoize; there’s no other band able to push the boundaries of Dark-Electro to this degree of terror and hell… It’s an extremely powerful song filled with anger and rage, but still masterly controlled. Both remixes by Eisfabrik (cf. “Faux Amis”) and Nachtmahr (cf. “Dein Gott”) are brilliant. Notice by the way Gerrit Thomas (Funker Vogt, Eisfabrik) again did the mixing and mastering of the album. I also have to mention the dancefloor-driven “Komakind”-edit, which is another potential hit. When discovering this EP you can only, but be prepared to welcome the new Agonoize-album.

– – – : I was less inspired by the Nachtblut remix of “Komakind” revealing guitar riffs on top. It all sounds like taking a distance with the Agonoize-sound –however that’s precisely what remixes stand for.

Conclusion: Dark-Electro terror that opens the gate of hell!

Best songs: “666 Degrees Below”, “Komakind – Klubkind Mix”, “Dein Gott – Nachtmahr Remix”, “Faux amis – Eisfabrik Remix”.

Rate: (8).

Artist: www.agonoize.berlin / www.facebook.com/AgonoizeOfficial

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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: Dark-Electro.

Format: Digital, CD.

Background/Info: Early this year Funker Vogt unleashed one of their best albums to date (cf. “Element 115”). The German formation driven by core member and operator Gerrit Thomas seems to have found a second breath since Chris L. joined in. The band has been prolific, unleashing this EP featuring five new songs plus three remixes.

Content: The new songs are in the vein and continuation of “Element 115”. Funker Vogt stands for merciless Electro driven by hard kicks, melodic, but aggressive sequences, elevating choruses and enraged vocals. The opening song “Element 115” stands for this aggressive dance boost, but I can also mention “The Path Of The Gods” and “Stranger”. The band itself remixed the songs “Abducted”, “A Step Into The dark” and “What If I’m Wrong?”, which are songs originally released on the last album.

+ + + : The new Funker Vogt production is getting back to the original power of the band, but the production became more accomplished; rough and brutal, but still refined and melodic. You recognize the arrangements of Gerrit Thomas while singer Chris L. seems to add this little extra to the sound. Among the new songs there’re a few great pieces. “Stranger” is the absolute masterpiece; rough and merciless cadence joined by the typical Funker Vogt sequences and lead. “Element 115” is a great opener, illustrating the rage of this band, which comes also back at “Supernova” and “The Path Of The Gods”. When you get an EP featuring 4 brilliant songs from the 5 new ones you can only, but be satisfied. Among the remixes I want to mention the “Unumpentium-Mix” of “Abducted. 

– – – : I can’t say there are disappointing songs featured on this EP although the remixes of “A Step Into The Dark” and “What If I’m Wrong?” aren’t my favorite.

Conclusion: 2021 seems to be a great vintage for Funker Vogt and the year is not even half over! This is alluring Dark-Electro.

Best songs: “Stranger”, “Element 115”, “Supernova”, “The Path Of The Gods”, “Abducted – Ununpentium-Mix”.

Rate: (8).

Artist: www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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

Funker Vogt is a band, which needs no further introduction. Set up in 1995 by the duo Jens Kästel (vocals) – Gerrit Thomas (machines) they became an instant success, setting EBM- and Dark-Electro dance floors on fire. They never stopped releasing great albums and new hits, but a few years ago now an important change happened in the line-up. Jens Kästel left the band and got replaced by Chris L, this way injecting new ideas to the band. The new album “Element 115” released on RepoRecords is the third full length featuring Gerrit Thomas and Chris L. It’s a solid and powerful opus confirming the leading status of Funker Vogt. I got in touch with operator Gerrit Thomas.

(Courtesy by Inferno Sound Diaries)

Q: The new album “Element 115” sounds in the prolongation of “Wastelands”; a hard and powerful production reminding early Funker Vogt productions! How do you see this evolution from your side and what kind of work did you want to accomplish with “Element 115”?

Gerrit: I think the current album is just a continuation of our work from the last few years. Personally, I can‘t find many parallels to old Funker Vogt productions. We just focused more on melodies and neglected monotonous and technoid song structures. It‘s all more real EBM, I think…:-)

Q: I think there’s a lot to say about the title of the album “Element 115” and the main theme dealing about Alien conspiracies. How did you come to deal with this theme? What is it really all about and what did you really try to express by the lyrical themes?

Gerrit:Well, first of all I have to say that this topic is so extensive that you can only scratch it on the surface with just one album. Chris and I had talked about this theme on a concert trip and decided to produce a concept album on which only the topics of the pre-astronautics should be processed. And so, with the “Conspiracy”-EP, the album “Element 115” and the EP “Mc 5f14 6d10 7s2 7p3” even three releases were created including this topic. For the moment we are ready with this, but we could write many many songs more about aliens and stuff like this…

Q: Even if “Element 115” sounds as pure Funker Vogt, the title of the album, some of the lyrics, the artwork –and especially the booklet, but also the clip of “Lost” sound a bit as an antithesis to the early ‘military’ image of the band! Was it time to change/evolve? How do you see this progression/evolution?

Gerrit:Yes, we got stuck in the typical Funker Vogt topic and had the feeling of repeating ourselves more and more. With this topic, we wanted to break away from that and give ourselves more space for the future. Of course, that does not mean that there will be no more social critical lyrics with military backgrounds in the future.  They’ll just be packaged in more various ways.

Q: Let’s talk about the clip of “Lost”, which is absolutely high-tech and totally different from the usual clips by Dark-Electro bands. What have been the different stages to realize this clip? What did you try to express by the clip and who has been involved to achieve this clip?

Gerrit: Chris did this clip by cutting scenes, which you can buy. But it‘s not an official Funker Vogt clip. He got that much rough material for the official clip of “Olympus” that he could make some more clips and just released them on his own channel. So, “Lost“ is just one of a series of video clips Chris did in his free time.

Q: Next to the “Element 115”-album you also released a new EP entitled “Mc 5f146d107s27p3”, which features five (!) new songs plus three remixes. What’s the true connection between the album and the EP and was it already planned when you were working on the album?

Gerrit:The five new songs on the EP were already in work when the album was released.  They just weren’t finished by the deadline.  Since we planned to add another EP anyway, we just finished the songs and made the three remixes. You can actually see the EP as an extension of the album. Therefore the same title, just presented in a different way.

Q: 2020 has been a year without big festivals and tours, which I can imagine must have been something surreal for artists and the fans. How do you see things evolving and what are the further live plans for Funker Vogt? Do you expect some festivals and event organizers will maybe disappear because of the pandemic impact?

Gerrit:Oh yes, I definitely think so! I personally know several people who have already reoriented their jobs and careers and probably turned their backs on this branch forever.

But for us it‘s not that essential to play concerts because we all have possibilities to earn money in different ways. But for sure, we all want to come back on stage any time, but making plans is not possible these days…

Inferno Sound Diaries

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

www.side-line.com

Out on April 30th, is the brand new Agonoize album “Revelation Six Six Sick”. The trio will celebrate the release one day later, May 1st, with a full-fledged streaming concert from the MSC2 in Mannheim, Germany.

Access to the event is free, but donations can be made of course. During this live online concert, Agonoize will present, among other things, their new album “Revelation Six Six“. The concert is part of the event series “Super Schwarzes Mannheim”. It will start at 6 pm German time.

The new album is the follow-up to “Midget Vampire Porn”, their first new material in 5 years and their first for their new label RepoRecords. The new album was mixed and mastered again by Gerrit Thomas.

You can sign up for the event via this Facebook page where more info is available.

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

Genre/Influences: Dark-Electro, EBM.

Format: Digital, 2CD.

Background/Info: Three years already passed since the previous Funker Vogt album (cf. “Wastelands”). The German formation lead by Gerrit Thomas, Chris L and Rene Dornbusch however last year released the EP “Conspiracy” as an appetizer to this new work featuring thirteen new tracks plus an extra disc featuring seven songs.

Content: What is this album and its title all about? Is it about the chemical element Moscovium, which is a radioactive element? One thing is for sure, this album kicks ass! Funker Vogt moves on there where they already revealed similar power at their previous album. The songs are driven by hard-hitting kicks, aggressive sequences and heavy, symphonic leads. Chris L –for whom this is the third Funker Vogt album, mainly sings in German and English. The songs reveal a rather ‘classical’ Funker Vogt sound formula featuring the easy recognizable sound DNA of Gerrit Thomas. There are no real breaks, but a constant power is maintained till the final track.

And the second disc moves in a similar way, opening with the already familiar “The Fallen Race” (featured at their “Conspiracy”-EP. The bonus disc features a few more ‘revisited’ songs from the main disc, but still a few extra songs featuring similar rage and power.   

+ + + : This new album confirms the stunning return of Funker Vogt they’ve shown at “Wastelands”. The songs are pure power, but still carried by solid and melodic choruses. The album doesn’t feature real surprises or innovative elements, but simply wants to remind us Funker Vogt has something unique. You easily recognize it in the sound treatments and global arrangements. But it also sounds like the band has really found a new breath since Chris L joined in. Songs like “Gaia”, “Invasion”, “A.I.”, “Olympus”, “What If I’m Wrong?” and “The Wanting” confirm the endless creativity of this formation. The bonus disc is a cool addition to the album. I here especially recommend “Gate Of The Gods” and the “Bonus Edit” of “Invasion”. Last, but not least I also want to say a word about the great digipak format and especially the booklet featuring cool illustrations. “Element 115” reveals Funker Vogt in great light!

– – – : The last song from the first disc is one of the single cuts that couldn’t convince me.

Conclusion: “Element 115” is a new essential production in the impressive Funker Vogt discography. The band doesn’t maybe bring something really new, but they at least hold on their impressive sound and power.

Best songs: “Gaia”, “Invasion”, “A.I.”, “Olympus”, “What If I’m Wrong?” + “Gate Of The Gods”, “Invasion – Bonus Edit”, “The Fallen Race – Bonus Edit”.

Rate: (8½).

Artist: www.funkervogt.de /  www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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

Hailing from Sydney (Australia) the duo Warren Bones (‘BONES’) and Craig L. Saunders (‘<Sik>’) are active for more than twenty years now as NOVAkILL. They release albums at irregular basis, the newest opus “Iconoclast” being released in 2020 on RepoRecords. It’s the band’s fifth full length and without a shadow of doubt also the most accomplished one to date. It’s a great production appealing for EBM fans in search of well-crafted and intelligent body music.

(Picture credits by Virginia Young / Interview courtesy by Inferno Sound Diaries)

Q: You guys last year released your fifth album to date, which I think was meant as a search for new ideas and progression. What is this all about and in, which way(s) is “Iconoclast” different from previous works? 

BONES: Not so much a search as a deliberate effort to do things a different way. Our first four albums were all done using the same software, Synapse Audio’s Orion, and we had basically approached things the same way. But Orion was discontinued quite a while ago and we ended up moving to Cubase, which led us down quite a different path, which we were keen to follow. It introduced us to a whole lot of things, many unexpected, and we wanted to explore those possibilities.

<SiK>: For us, the progression was in the process. It initially started the same way, developing a few song ideas and sharing them, though once Bones made the decision to do a song a month it gave it real impetus and a coherence. We were building on our usual style, and had a few strong EBM based tracks, that then allowed us to play more and deviate a little, and we kind of expanded the idea of what can be a NOVAkILL track..  The idea for the intermezzo tracks is something we have talked about for a couple of albums, though never did it. This time we of course did, and I feel they lend a lot to the album listening experience.

Q: One thing is for sure, this new work definitely sounds as the most accomplished and mature production to date; retro EBM elements mixed with a very own, powerful and contemporary touch! Did you handle specific references and/or criteria to achieve this work? 

BONES: Not at all. The big difference for us this time around was that we put a time limit on things. We set a goal to write one new song every month in 2018 so that we would have an album’s worth by the end of the year. It worked really well, we had something like 15 songs by September, which meant that for the first time we had new songs that didn’t make it onto the album.

We did all that while we were still using Orion and by the end of March 2019, we had it finished. But during that time we had started working with Cubase and we ultimately decided to re-do all the songs in Cubase and choose the versions we liked more. That meant another year of work but, in the end, “Strike” and “Descent” were the only Orion versions that made the cut.

I don’t normally work with my influences front of mind, but it is inevitable that they will find their way into what you do. If you like the way a certain artist does something, it will always affect the way you approach the same thing. Most of my inspiration comes from the instruments we use. “Twisted”, for example, came from a beautiful pad sound I got from one of our plugin synths that I spent a whole evening just playing from one of my keyboards.

<SiK>: We have a set idea of what constitutes a NOVAkILL track, and though, as mentioned above, we expanded on that a bit there are still elements to our process and style that push us down a certain path to achieve a sound we like, so of course other artists/music we like will be reflected in that. We never think we want to sound like a particular or specific artist, we always set out to make a NOVAkILL track, but of course influences come through. I take a very Post-Modern approach, the whole ‘everything is a remix’ idea, and take influences/concepts/styles and kinda blend them together, then they go through the Bones filtering and production process.

Q: The title of the album “Iconoclast” needs some extra explanation; what or who did you’ve in mind to find the title and how does it reflect the lyrical content of the album?

BONES: To me it is an obvious title for what we do. In ancient times, iconoclasts were people who went around smashing craven idols. Today it is associated with people who speak out against the status quo, which is exactly what we try to do. I actually think “Iconoclasm” would have been a better title, but I didn’t think of it in time.

<SiK>: Our albums often go through a few titles before we settle on one.. and the word “Iconoclast” felt good, and is sorta what we do…  it doesn’t relate to one specific song or idea, but reflects our basic political/ideological standpoint..  ‘don’t blindy trust icons, idols, authority etc.., question them, pull back the curtain,  tear them down if you have to’. 

Q: Tell us a bit more about the writing and production process of the album. What have been the different stages you’d to go through? What were the biggest challenges, the main difficulties you encountered and finally the points of satisfaction and/or improvement?

BONES: First off, I hadn’t written a song in a long time, maybe 8 or 9 years. For “Kill Everyone” and “I Hate God”, Sik had come up with pretty much all the musical ideas and a lot of the arrangements, too. If I’m honest, I had lost motivation and was really only going through the motions. That’s why there was such a long break between “I Hate God” and “(D)anger”.

On the back of “(D)anger”’s success we got to play Wave Gothik Treffen in 2017 and we spent several months rehearsing, far more than we’d ever really done before, and that got me motivated again. I was keen to keep things on the boil, which is why we decided on the schedule I mentioned earlier.

Our production process is pretty simple. Whichever one of us comes up with the idea works on it until it’s in some kind of usable shape, then we share it with the other, who continues the process, refining it and adding extra bits and pieces. They all end up back with me and I add vocals, do the final mixing and mastering.

Obviously we are very happy with “Iconoclast”, it turned out better than maybe we thought we were capable of. Still, we can hear areas where we can improve further still, so we’re keen for a follow-up, although we haven’t started anything yet.

<SiK>: As Bones outlined, this album went through a couple stages, the initial gathering of some sounds and ideas, then the process of building them into songs, with a reasonably strict deadline, and in that process a few tracks were written from scratch.  At the end of a year we had an album that was 90% or more complete, bar final touches and processes, but we had the album done.  We weren’t in a rush to release it, and gave it a little time to ‘rest’, and then, partly as a learning exercise and partly as a ‘what If’, we thought we would try to rebuild the tracks in a different DAW, which forces you to re-examine the elements, and make/remake some of the writing/production decisions. The albums always go through a stage of adjustment/change/etc though usually that is working with what was there, this time it was kind of a tear down, build again, and that process either affirmed what we had, or exposed things that could be improved which, overall strengthened the end product…

Q: What are the main differences between NOVAkILL and all the other (side)projects you both are/were involved with? What makes this project so special?

BONES: That’s easy, we both have the same musical tastes and we (hopefully) never let our egos get in the way of making the right calls. It’s a simple case of the whole being more than the sum of the parts. It’s a rare and special thing that’s allowed us to achieve way more than I could ever have hoped when I first got up on stage, solo, in 1985.

Until recently, I’d never really had any side-projects, but I think at one stage Sik had more than half-a-dozen on the go. But last year I started working on a few cover versions and during that process I realized that it might be a good way to get some live gigs (we haven’t played since WGT in 2017) so I’ve been working on that. I’ve got about 50 covers, mostly successful 80s stuff, and we’re in the process of trying to turn that into gigs. With COVID, it’s been a challenge.

<SiK>: NOVAkILL is Bones and me. We have a process and a sound unique to that combination. My ‘side-projects’ are often ways for me to just try things and experiment, or just ‘do’. NOVA STATE MACHINE started with the idea of doing a ‘pure’ EBM album, but with a different flavour, and I was after vocals in Russian to create a particular sound,  though in the process of making the first album (which was also a deliberate homage to some of my favourite artists) things evolved… which working with others always brings. I like the collaboration process, and some of my projects are specifically that… a way to work with certain people…  It challenges me to try different things, in ways I wouldn’t normally do. If it is just ‘me’ then I can do whatever the hell I want, be it good or bad… but it is about doing something different to NOVAkILL, sometimes in a small way, like a change to a drum sound, or sometimes in bigger ways, be it song structure or overall sound, but it is all about continuing to work, experiment, learn, develop… and it all feeds back into NOVAkILL through production and writing. ‘Everything is a remix’ some NOVAkILL tracks began life in a ‘side-project’.

Q: We last month celebrated the ‘international EBM day’ (24/2). Does it have a special meaning to you and what’s your perception of EBM?

<SiK>: EBM day has never been a ‘thing’ for us… Every day is Halloween, I mean EBM day… I don’t really go out of my way to mark the occasion. The ‘scene’ down here in Australia is very small, and while there are a few ‘club nights’ here and there,  it is not something I tend to do… though having said that, Bones and I had been discussing resurrecting our Industrial club night “Virus”, but then COVID hit and the idea was shelved. Maybe this year we will do something ‘special’,  start the next NOVAkILL album perhaps…  BONES: I’d never even heard of it until a couple of weeks ago. The scene here in Sydney no longer exists. It’s just gone and I can’t see or think of any mechanism that will change that.                                                                    

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: EBM.

Format: Digital, CD.

Background/Info: Australian EBM duo Novakill is active for more than twenty years now. they’re not exactly releasing albums on a regular basis, “Iconoclast” being their fifth opus to date –the third one released on RepoRecords.

Content: Novakill wanted to progress in sound and all I can say is that this album mainly features an evolution in the global production process. It remains pure EBM –reminding me of an imaginary hybrid of Die Krupps, Front 242 (for some of the bass lines) and Dance Or Die (for the way of singing), but the composition is much more sophisticated than in the past and the sound mix is perfectly balanced. The album features a total of 18 songs featuring a few instrumental intermezzos. 

+ + + : Novakill has definitely reached a high degree of maturity, which is reflected in great songwriting and powerful songs. The songs are elaborated and achieved with Industrial sound treatments like metallic percussion. It resulted in multiple brilliant songs, “Light”, “Underground”, “Anger” and “Fear” probably being the best cuts I’ve heard from this band. Even if I made a comparison with Die Krupps, Front 242 and Dance Or Die, this album has its very own sound. The instrumental pieces don’t really inject a bonus, but it’s an interesting experiment as they reveal a Cinematographic approach, which might open extra possibilities and new paths to discover for the band.

– – – : I think some vocal parts can be a little bit more passionate and powerful, but there’s no reason to complaining here.

Conclusion: Novakill definitely is not the most successful name in the EBM scene and yet this album deserves a special mention in the most accomplished productions in its genre from 2020.

Best songs: “Underground”, “Light”, “Anger”, “Fear”, “Road”, “Way”.

Rate: (8½).

Artist: www.novakill.com / www.facebook.com/novakillindustrial

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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: Future-Pop, Body-Pop, Electro-Pop.

Format: Digital, CD.

Background/Info: It seems that there’s no rest in the Eisfabrik. Gerrit Thomas and his gang are back on track revealing an EP with six new songs and four remixes released a few months after the last album “Kryothermalmusik Aus Der Eisfabrik”

Content: The new tracks are moving on the carrying, emotional and powerful style of the band. The new songs are switching from pure danceable killers like “Free 2020” and Sorrow Face” to more melancholic passages. The songs are mainly driven by danceable kicks, carrying leads and the typical Gerrit Thomas arrangements, which are reminiscent of Funker Vogt.

We also get a few remixes from songs featured on the last album. ES23 remixed “We Don’t care” while this song has been also reworked into an acoustic ballad featuring guitarist Hemke Kay. There also is a remix of “Grim Reaper” and one of “Friends” (featured at the band’s debut album) by Petone.

+ + + : Eisfabrik is constantly switching dancefloor- and evasive tracks. It’s great to get an EP with multiple new songs and even if these cuts aren’t maybe not the best of the band, “Free 2020” and “Sorrow Face” are however powerful cuts carried by strong leads and the charismatic voice of ‘Dr. Schnee’. Gerrit Thomas remains a truly sound guru transforming every single note into a magic moment. Eisfabrik made a great remix of “Grim Reaper”. But I also have to mention the surprising, original and sensitive acoustic version of “We don’t Care” featuring Hemke Kay. This is much more than simply an EP abusing remixes; this is what we in the past would have called a mini-album!

– – – : Eisfabrik has its own sounds and always the same kind of ‘conceptual’ lyrics, which makes this band easily recognizable although it sometimes becomes a little repetitive and predictable.

Conclusion: After their great last album “Kryothermalmusik Aus Der Eisfabrik”, this EP is a great little extra for the fans. The Future-Pop sound of Eisfabrik rules!

Best songs: “Grim Reaper –  No Crop Without Seeds Mix”, “Free 2020”, “Sorrow Face”, “We Don’t Care – Acoustic Guitar Mix”, “Cold As Ice”.

Rate: (8).

Artist: www.eismusik.de / www.facebook.com/eisfabrikofficial

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404

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: Dark-electro, EBM.

Format: Digital, CD.

Background/Info: Two years after the “Wastelands”-album Funker Vogt is back on track unleashing this brand-new EP featuring four new songs, two remixes and one extra remix from an old song from 2012.

Content: I’m not affirming that Funker Vogt has reinvented its sound, but the new songs sound less ‘typical’. The composition remains powerful and ultra danceable, but I get the impression Chris L. is progressively having more impact on the writing process. You still recognize the arrangements and sound treatments of Gerrit Thomas, but some details have changed. The lyrical themes became also deeper, like announcing a dystopian dream that is progressively becoming true.

“Conspiracy” features 4 great new songs plus an excellent remix –or reworked version, of “Date Of Expiration” (originally released at the “Survivor”-album in 2002).

+ + + : Both debut songs (cf. “The Fallen Race” and “CE-3”) definitely appear to be the real title songs. But it’s the “Intruder”-version from “CE-3”, which is the absolute highlight here. The song is driven by powerful dance vibes and a simple, but efficient and aggressive chorus. Another attention grabber is “A New Dawn”, which is carried by an EBM bass line. Chris L.’s vocals are progressively also becoming more explicit in the global production process. I also like this EP for featuring several new –and outstanding, songs. No abuse of remixes here, but just new and efficient songs!

– – – : I can’t say there are real minus points on this work.

Conclusion: There’s no better way striking back with such a powerful and essential EP. Funker Vogt still rules!

Best songs: “CE-3 – Intruder”, “CE-3  – First Contact”, “The Fallen Race”, “A New Dawn”, “Date Of Expiration – Neumix”.

Rate: (8½).

Artist: www.funkervogt.de  / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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

German combo Eisfabrik was set up by singer Charly Barth-Ricklefs (‘Dr. Schnee’) and operator/producer Gerrit Thomas (‘Der Frost’; also involved with Funker Vogt ). The duo got completed on stage by Jan Bertram  (Lost Area, Paragon) and René Dornbusch (Funker Vogt). The ‘icemen’ already released noticeable albums (mainly on NoCut/SPV) and has now unleashed their fifth opus “Kryothermalmusik Aus Der Eisfabrik” on RepoRecords. The songs are driven by ultra-danceable beats, elevating future-pop choruses and charismatic vocals on  top. I asked a few questions about it to Gerrit Thomas.

(Courtesy by Inferno Sound Diaries)

Q: Eisfabrik is now active for several years, having released its first album in 2015. So what’s the balance sheet regarding aspects like albums, live shows and global evolution of the band & sound?

Gerrit: It‘s a straight process from the beginning to the present. Everything is very precisely coordinated and has always had a common thread and certain short-term goals. There had been no coincidences happening to Eisfabrik until now. So, ask me five years later for another balance sheet, I think I would tell you the same: We‘re not getting finished!

Q: The album got preceded by the EP “And Nothing Turns”, which was a rather surprising title song for being a kind of slow future-pop ballad. What made you chose this song as title track and tell us a bit more about the origin and ideas behind this song?

Gerrit: The EP is called “Rotationsausfall In Der Eisfabrik“ – “And Nothing Turns“ is just the most remixed song of this EP. So, both songs had very strong effects on all of us and it was easy to choose them for the first EP according to this release era.

“And Nothing Turns“ should show that Eisfabrik is also able to produce songs beside  all the typical club stuff. And “White Sheet”, on the other hand, should be exactly that.

Q: What have been the main ideas and eventually references during the writing and recording of the new album “Kryothermalmusik Aus Der Eisfabrik”? What have been the main difficulties you encountered, eventually some songs, which didn’t work the way you wanted?

Gerrit: There had been only difficulties in the German songs we produced this time. They became extremely soft or a kind of silly or infantile. So, in the end we decided not to release them -never and anywhere! Everything else worked as we expected.

Q: You guys clearly like releasing video clips, but what’s the importance and impact of releasing clips today? What are the different stages to release a clip?

Gerrit: I think, nowadays you need a clip for presenting your actual work and to promote it. There are many platforms where you can publish your clips and do promotional ads like on Facebook, YouToube, SoundCloud or whatever. It really helps a band or a musician to get published.

Q: Gerrit, you definitely are a musician with a very own sound DNA; a very own touch you can directly recognize in the arrangements, the leads and the programming of the kicks. But what are the main differences for you composing new songs for Funker Vogt or Eisfabrik? Do you use different equipment, other tricks etc?

Gerrit: There are some secrets in the notation of the basic sequences and the drum sounds which are typical for Eisfabrik or Funker Vogt. I think you can hear them…lol.

Also there are some kinds of songs like “Gladiator“, “Bloodsucker“ or “Thor‘s Hammer“ which I wouldn‘t offer Charly to sing for Eisfabrik. They are only produced for shouters what Chris perfectly does.

Q: I always got the impression Eisfabrik ever started as a pure fun project with a crazy concept. What was it really all about and how did you see Eisfabrik evolving from album to album? And what’s the next step now? 

Gerrit: Well, as I already said in the beginning of this interview, there is a certain process over the entire existing of Eisfabrik. And this will never end. For sure there are always some short-term goals. The last one for example was to enter the Official German Album Charts, the next one is to get a certain average number of ticket sales on our next tour. And so on and on. But you always have to do something for that and shouldn’t leave your aims! It’s really hard work…

Next step in order to get a bigger fan base all over the world is to play more shows in other countries. So, there’s still a lot of work to reach the next goals.

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: Future-pop, body-pop, electro-pop.

Format: Digital, CD.

Background/Info: Here comes the fifth full length album by the German trio Eisfabrik. The work features twelve songs including “And Nothing Turns” and “White Sheet” which already appeared at the EP “Rotationsausfall in Der Eisfabrik”.

Content: ‘Dr. Schnee’, ‘Der Frost’ and ‘Celsius’ are moving on their exploration of poppy-body music. It remains a unique experience, this band being much more than guys with a crazy image. The music is danceable, worked out and always danceable. You clearly can hear the touch of Gerrit Thomas throughout the leads, arrangements and even the way the kicks have been programmed. But Eisfabrik is of course more ‘pop’-driven. The vocals are sung in English come as a contrast to the German title of the album.

You’ll recognize both songs that were originally released on the EP, but are different edits. “White sheet” for example is a quite dreamy outro to the album.

+ + + : The EP was a promising teaser to the new Eisfabrik opus and I’m sure “Kryothermalmusik Aus Der Eisfabrik” will not disappoint you. There’s enough great stuff featured at this work. The songs are driven by ultra-danceable beats, but especially the elevating choruses –which you sometimes can sing along, are pushing the song to an unseen apotheosis. The Eisfabrik-sound formula remains exactly the same, but it also remains a great and professional production!

– – – : This album sounds cool, but no longer surprising. The albums and songs are pretty similar so the magic from the first albums is a bit gone.

Conclusion: If you already liked previous Eisfabrik works, you for sure are going to like this new opus as well. Eisfabrik remains to me the future-pop exposure from Funker Vogt.

Best songs: “And Nothing Turns – Extended”, “We Don’t Care”, “Opposites Collide”, “Journey Of Oblivion”.

Rate: (8).

Artist: www.eismusik.de /  www.facebook.com/eisfabrikofficial

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: Future-pop, body-pop, electro-pop.

Format: Digital, CD.

Background/Info: This new EP by the German Eisfabrik is meant as an appetizer to their new full length album. ‘Dr. Schnee’, ‘Der Frost’ and ‘Celsius’ are back on track unleashing a main song plus a bunch of remixes and a B-side cut. The EP also is their first work released by RepoRecords –which has also been joined earlier by Funker Vogt (featuring Gerrit Thomas aka ‘Der Frost’).

Content: The main song “And Nothing Turns” is a somewhat surprising piece by the Eisfabrik gang. It’s a slow cut, which is driven by solid electro-pop arrangements and dreamy passages. It has something of a future-pop song. The “Club Version” boosted the song to a harder dancefloor edit. Remixes have been accomplished by Covenant, Schattenmann (adding guitars), Beyond Obsession, Robotiko Rejekto and Rob Dust. The remixes bring a real diversity to the song.

“White Sheet” is not what I would call a B-side cut, but a solid body-pop song getting you to dance. The arrangements are once more typically Funker Vogt-like –or should I say typically Gerrit Thomas-driven. Frozen Plasma made a remix of the song as well.

Dr. Schnee is still singing a rather clear and charismatic way.

+ + + : I have to admit the title song didn’t convince me with the first listen. It has something surprising, a bit reminding me of these songs the audience spontaneously put their lighters on in the air (today their mobiles) and sing along. But the track has something elevating due to the heavenly lead and the crescendo like music. Most of the remixes are adding a little extra like the minimal version by Covenant or the empowered with guitar remix by Schattenmann. Beyond Obsession injects some reverie, Robotiko Rejekto brings a retro touch to the work while Rob Dust gets you to dance. I can’t say this EP features a B-side as “White Sheet” is a solid body-pop stomper. Eisfabrik remains inspired creating great sound treatments, elevating leads and danceable rhythms.

– – – : “And Nothing Turns” needs a few listenings before you really get into the song and start to sing along.

Conclusion: This is a perfect way to announce a new full length; releasing a great song with cool remixes and an extra danceable cut.

Best songs: “And Nothing Turns – Club Version”, “White Sheet”, “And Nothing Turns – Schattenmann Version”, “And Nothing Turns – Covenant Version”.

Rate: (8).

Artist: www.eismusik.de /  www.facebook.com/eisfabrikofficial

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: Dark-electro.

Format: Digital, CD.

Background/Info: “A Vampire Tale” is the second EP taken from the last year released album “Midget Vampire Porn”. The sixth full length by the German masters of (h)el(l)-electro is probably their best and most punching work to date. “A Vampire Tale” also was one of the best cuts from the opus so it’s a quite logical choice to release it as title song. Next to the revisited title song, the EP also features three exclusive cuts, three remixes and a very special cover version.

Content: “A Vampire Tale” perfectly symbolizes the album the song is taken from; a hard-hitting song in the purest dark-electro style of Agonoize. Power, melody and harsh vocals are the major aspects to understand this winning sound formula. Next comes a cover version of Prodigy’s mega-hit “Breath”. The song is meant as an ode to Keith Flint who passed away in 2019.

The two new songs are more heavy cuts in the truest tradition of the band. “I Just Want To Live” sounds pretty Suicide Commando-like while “Requiem” reveals the band at its best. The last song left is a calm piece, sort of break.

Remixes have been accomplished by Intent: Outtake, Vanguard and Diverje, which each took a song from the album.

+ + + : This is the kind of EP I totally support. Next to the title song and a few remixes by well-chosen artists you also get 3 exclusive songs and a little extra, which is a Prodigy cover. Agonoize no longer has to confirm they belong to the top of dark-electro standards! Their music is not only powerful, but worked-out and always danceable. Two from the three exclusive cuts could have found their place at the album as well. Among the remixes I especially like the pop touch on the remix of the title song by Vanguard while Diverje did a great job as well remixing “Weltenschmerz”.

– – – : The cover version of “Breath” is cool, but I think this song will get more reaction in front of a live audience. The new song “The Fall” is the only ‘filler’ from this EP although a way to bring some rest in this heavy production.

Conclusion: This EP is an absolute must have, a pretty cool addition to the album and a production the dark-electro lovers are going to like! Agonoize rules!

Best songs: “I Just Want To Live”, “Requiem”, “A Vampire Tale – Blutdurst”, “A Vampire Tale – Vanguard Remix”.

Rate: (8).

Artist: www.facebook.com/AgonoizeOfficial

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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

German dark-electro formation Agonoize last year unleashed their sixth full length album. “Midget Vampire Porn” released by RepoRecords, reveals thirteen new songs filled with rage and sonic terror. I consider their new work as one of their best albums to date; maybe the best one! The constant energy carried by pumping rhythms, elevating choruses and harsh vocals made from this opus one of the best dark-electro productions from 2019. I’d a chat with the band’s captain Chris L. (still involved with Darkness On Demand, Funker Vogt, The Sexorcist).

(Picture credits by Kevin Stevens / Interview courtesy by Inferno Sound Diaries)

Q: Agonoize is back with a new album, but still with a somewhat different line-up and on a different label. How did these changes happened and what has been the impact of the ‘new’ line-up on the composition process?

Chris: The contract with Out Of Line was fulfilled so it was time to find a new home for Agonoize. RepoRecords are doing amazing work for Funker Vogt, so it was the best choice. 

Our ‘beast’ on the drums was planned as a live-drummer for already a  long time and Sam jumped in as live-keyboarder when Oli took a step back from the live shows because of health Issues. So not  that much changed in the end.

Q: Gerrit Thomas (Funker Vogt, Eisfabrik) also joined in for some additional programming and mastering. What has been his real input and maybe that little ‘extra’ he added to the work?

Chris: I am a musician and a performer and to be honest, I don’t have a clue about mixing and mastering and I don’t want to be able to do it at all. But Agonoize needs a fat mix and a brilliant mastering, which is important for the typical sound. Gerrit is a genius when it comes to that and he added some sounds, which made the whole sound more bombastic in the final mix. We work very close together on Funker Vogt and our old friendship became a lot deeper, so he was my first choice. In the beginning we both didn’t knew if he could give Agonoize the needed punch, without sounding like Funker Vogt. But he got into the sound very fast and I think the credits for the ‘killer sound’ goes to him. 

Q: “Midget Vampire Porn” sounds to me as the most accomplished and successful Agonoize-album ever. How do you perceive the album in the band’s discography and tell us a bit more about the ideas, sound treatments and lyrical content of the work?

Chris: I think the lyrics are pretty typical for Agonoize. Maybe the music sounds more evolved because this time I didn’t had any ‘leftover’ songs from Mike like on the “Apokalypse”-album. There I used 8 songs from Mike and just had to fill in with the missing songs.

I wanted Agonoize to became a bit more mature, but without changing it too much for now. So in the end we added some new sounds to the songs, but kept the basics. And after 5 years I had a lot of rage to get rid of. Also I wanted to experiment with slower, really dark, depressive songs from the deepest dark of my soul. We did that already with, for example, songs like “My Battlefield” or “Drowning In Isolation”, “Unchained” and so on, but “True Blood” and “The Fall”, which is from the upcoming EP, are different from what we did before. 

I think when I finished the “Apokalypse”-album I was at a turning point; not a 100% into what I’m doing, tired and disappointed. Now I’m back with full energy and I think everyone can hear that. And thanks for the compliment  😉

Q: The song “Blutgruppe Jesus (-)” clearly is an important song from the album and has been first released as EP-title track. You also (self)made a clip of that song so what’s the deeper meaning behind and what did you try to express by the clip?

Chris: As usual, mankind is looking for a savior, someone who takes the blame for our failure and sins. We think ‘Hey, let someone else suffer for our mistakes’ never willing to take the blame ourselves. But only you can change your life, your fate. We think we only have to pray 3 The Lord’s Prayer and everything is forgiven, or we just pay for our sins. But in the end that would mean, if Jesus existed, he would have died for nothing. The church is using our fears against us, but in my opinion religion and especially the catholic Church should be well known by now.

Church is oppression, religion the reason for war. Believe in yourself in the first place!

Q: When you’re listening to the new album (and EP) right now, what are the elements of the writing/production getting you proud and are there some aspects you would have done differently?

Chris: I would always do things a difficult way; I’m too self-critical.  But after 1,5 years delay with the album I’m happy that it’s finally on the market. When it came out I already had 6 new songs done, so the next release will not take another 5 years and on new EP “A Vampire Tale” you’ll find 3 exclusive songs as a bonus track meant as a gift for all the fans who were waiting.

Now that the album got an unexpected, overwhelming good response I start to be proud of it, but it always takes a while for me to realize it. 

Q: I often get the impression bands are putting more efforts in their image and artwork than in the music while with Agonoize, every aspect seems to be important! What does it really mean to you and what do you try to express with the imagery (live) and artwork?

Chris: Thanks, indeed it was always very important for me that the videos, the artwork and the stage presence all fit with the songs. I don’t like to give the job to an outsider who doesn’t has a clue or feeling about what I want to express. I was never too much into looking pretty on stage, but more into doing a good and freaky performance. I always created the stage shows myself.

 I am going back to my roots now also, directing, filming and cutting the videos myself. For the artwork I’m very happy to have Sam as part of the band. He is a genius with Photoshop and understands my ideas very fast and he has also very good ideas which fit with the project. It’s similar to Funker Vogt right now; we all work very well together as a team, ideas become a concept and especially live I love to entertain and gladly everyone plays along with my stupid ideas for shows 🙂

It’s slowly getting better and better and I look forward to present my newest ideas to a bigger crowd 🙂

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: Dark-electro.

Background/Info: “Midget Vampire Porn” is the sixth full length album by Berliner (Germany) dark-electro act Agonoize. It also is their first opus in five years and the first one released on RepoRecords. Throughout the years some changes happened in the line-up, but front man Chris L.  is still the captain of the crew.The new work reveals a disc with thirteen new songs and a bonus EP-disc featuring five tracks. Chris L has been assisted by Falgalas Duus (both are also involved with Darkness On Demand) and while Funker Vogt’s captain Gerrit Thomas did the mastering and additional programming.

Content: Agonoize’s sound and influences remain the same-old. The band is still driven by furious dark-electronics carried by heavy –and somewhat industrial-like kicks, icy melody lines –sometimes reminding me of Suicide Commando, and possessed vocals. After a cool epic-like intro, the album brings a succession of hard-damaging cuts. Next to the familiar EP-title tracks this work has a lot to offer and to discover. But the keyword remains the constant power running through the album. The tracks are elevated by great, melodic choruses while there also is a permanent dark, terror-like mood hanging over the songs. The lyrics are sung in German and English.

The bonus disc features 5 extra songs, which are much more than simply ‘disc fillers’. Here again Agonoize shows heavy blasting dark-electro music. One of the songs (cf. “Kingdom Of Darkness”) sounds pretty Funker Vogt-like in the used arrangements.

+ + + : This album simply confirms why Agonoize belongs to the leading formations in their genre. The songs are not only powerful, but still accomplished with great sound treatments and a mature production process. Just pay attention to the perfect harmony between the devilish tempo, the melodic leads during the choruses, the coldness supporting the songs and the production of the vocals. These different, but essential elements just make the difference between a great- and an average band. But you also can hear this difference in little details and I here especially like to mention the female chants running throughout a few tracks. This album features numerous potential hits. I have to mention “Kiss Me Kill Me”, “A Vampire Tale”, “Bullet”, “Antihero” plus the EP’s title tracks “Schmerzpervers” and “Blutgruppe Jesus”. The bonus disc is also worthy of examination. I also have to say a word about the great horror-like artwork of this digipak.

– – – : I don’t really see minus points to mention. This album is probably ‘the’ dark-electro work from 2019!

Conclusion: It was worth the five year wait to welcome the new Agonoize-album, which is without a shadow of a doubt their best work in history!

Best songs: “Kiss Me Kill Me”, “A Vampire Tale”, “Bullet”, “Antihero”, “Schmerzpervers”, “Blutgruppe Jesus”, “Weltenschmerz”, “Apeirophobia” + “Kingdom Of Darkness”, “Gleichschritt”.

Rate: (9).

Artist: www.agonoize.berlin /  www.facebook.com/pg/AgonoizeOfficial

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: Dark-electro.

Background/Info: Five years have passed since the release of the last Agonoize album “Apokalypse”. The Berliner (Germany) formation calling themselves the ‘founders of hellelectro’ are back on track with singer and frontman Chris L (still involved with Darkness On Demand and being the new singer of Funker Vogt) and Falgalas (an old servant involved with Darkness On Demand and before Dance Or Die) plus Gerrit Thomas (Funker Vogt) taking care of the mastering, and also doing some additional programming.

Content: Agonoize hasn’t lost its initial power and rage. Both title songs reveal a powerful dark-(h)el(l)ectro approach. Especially “Schmerzpervers 2.0” is a hard-hitting piece driven by a terrific cadence and icy melodies. The enraged vocals of Chris L. only accentuate the feeling of horror emerging from the songs. The lyrics have been sung in German, but you might find some English words here and there.

Both title songs will also appear on the new album while “Bleed For Me” is a kind of exclusive B-side track featuring heavenly female chants. Both last songs are remixes. First there’s a remix of another new track by Funker Vogt and next a remix of “Schmerzpervers 2.0” by Centhron.

+ + + : Agonoize is back, but it all sounds like they never have taken a break. There’s a similar power and a kind of imaginary high degree of terror. The songs are well-crafted and both title tracks have a serious potential to get you into dance. I like the kind of sacred chants and background organ sound running through “Blutgruppe Jesus) and the overwhelming power and rage from “Scherzpervers 2.0”. Funker Vogt and Centhron both are great contributors for the remix part of the EP, but I have a preference for the punchy remix of Centhron.

– – – : “Bleed For Me” is not exactly a high light, but there’s no reason to complain when you get two cool title songs. I also expected a bit more from the Funker Vogt remix.

Conclusion: This EP is the perfect teaser to announce the new album of Agonoize!

Best songs: “Schmerzpervers 2.0 (Verlängert)”, “Blutgruppe Jesus (Absolution)”, “Schmerzpervers 2.0 – Centhron Remix”.

Rate: (8).

Artist: www.agonoize.berlin /  www.facebook.com/pg/AgonoizeOfficial

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

Inferno Sound Diaries

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

www.side-line.com

A few weeks ago we announced the comeback of Agonoize on RepoRecords with the EP “Blutgruppe Jesus (-) / Schmerzpervers 2.0”, today we can give you some extra info on their new album as well which arrives almost five years after their last one, “Apokalypse”. “Midget Vampire Porn” will be a 2CD album for which you can already see the teaser below and is out on October 25th, that’s tomorrow!

The 2CD set will hold 13 tracks on the first disc, plus 5 bonus-tracks on the second disc. Good to know, it was Gerrit Thomas (Funker Vogt) who was responsible for the mastering of the new material.

Here’s “Blutgruppe Jesus (-) / Schmerzpervers 2.0” to wet your appetite for tomorrow.

Bernard - Side-Line Staff

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

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After almost five years the hellektro crew of Agonoize return with a brand new EP and official video-clip. The EP also contains one exclusive track (“Bleed For Me) only available on this release, and two remixes by Funker Vogt and Centhron. Mastered by Gerrit Thomas (Funker Vogt), the Ep counts 5 tracks:

• Blutgruppe Jesus (-) (Absolution)
• Schmerzpervers 2.0 (Verlängert)
• Bleed For Me
• A Vampire Tale (Funker Vogt Rework)
• Schmerzpervers 2.0 (Centhron Remix)

The video for “Blutgruppe Jesus (-)” can be seen below.

The EP announces the band’s upcoming album “Midget Vampire Porn” to be released on their new label, RepoRecords.

Bernard - Side-Line Staff

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

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After almost 5 years of studio silence the hellektro act Agonoize returns with a brand new EP and on a new record label, RepoRecords. The new EP “Blutgruppe Jesus (-) / Schmerzpervers 2.0” brings two tracks in extended versions. Both tracks are taken from the upcoming album “Midget Vampire Porn”. Next to the extended versions the EP also contains one exclusive track (“Bleed for Me”), only available on this release, and two remixes by Funker Vogt and Centhron.

The release was mastered by Gerrit Thomas (Funker Vogt).

The first edition of “Midget Vampire Porn” comes as double-CD digipak and holds 5 bonus-tracks next to the 13 tracks from the normal album: “Inferno”, “Kingdom of Darkness”, “1,2,3”, “Gleichschritt” and “Alone in the Dark”.

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 German electro band Darkness on Demand are to release their new album “Detoxination” on March 3rd via RepoRecords. This is already the second album for the former Dance or Die musicians Wagner and Falgalas and shortly comes after the release of the EP with the same name.

For this album the line-up consists of Falgalas (keys and music), Wagner (vocals and lyriks) and the former keyboarder of Miss Construction, Seba. Darkness on Demand was formed in 2017, a first album followed in 2018, titled “Post Stone Age Technology”.

Here’s the official album-teaser for “Detoxination”.

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.

Background/Info: “Ikarus” is the second EP taken from the last and successful “Wastelands”-album. We get 2 versions from the title song, 2 new tracks and one revisited version of one of the band’s biggest hits ever “Tragic Hero”.

Content: “Ikarus” was one of the album’s best and most kicking songs. We get a “Single version” and a harsher “Crashed Mix”.

Both new songs are in the ‘violent’ and ‘merciless’ vein of the new album. Especially “Dogma” is a heavy sonic assault mixing dark-electronics and EBM. Last, but not least we get a “Neumix” of “Tragic Hero”. The main ‘new’ element is Chris L who’s now singing this great hit.

+ + + : “Ikarus” is the perfect EP! Next to a cool and efficient title song, this EP also reveals impressive B-side cuts. But I can’t speak about B-side cuts when listening to “Dogma” and even “The Last Stand” is a great piece of music. I especially like the irresistible EBM bass line running through “Dogma”. The updated version of “Tragic Hero” reveals a singer who now has perfectly integrated the Funker Vogt commando.

– – – : “Ikarus” is a solid EP without any real minus points. A must have for the fans!

Conclusion: The “Wastelands”-album already revealed there’s a fresh new breeze running through the Funker Vogt camp. They sound harder and more aggressive than ever before and that’s what this new EP seems to confirm.

Best songs: “Ikarus – Single Edit”, “Dogma”, “Tragic Hero – Neumix”.

Rate: (8½).

Artist: www.funkervogt.de / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: Dark-electro, EBM.

Background/Info: “Wastelands” is the second Funker Vogt album with Chris L on vocals while Gerrit Thomas remains the sonic Captain and René Dornbush to complete the line-up. Next to a regular version, Funker Vogt also released a limited version in digipak format plus featuring 4 bonus cuts.

Content: The last year released “Code Of Conduct” was an honest production, but definitely not the best I’ve heard from Funker Vogt. “Wastelands” gets back to the initial power of the band –which they never totally lost, but it’s a long time ago they sounded that aggressive.

This is a hard album driven by the typical danceable kicks, fast sequences, EBM-driven bass lines and the magic touch and arrangements of Gerrit Thomas on top. The songs are sung in German and English language, but Chris L seems to be more comfortable singing in English.

The 4 extra songs are revealing a similar power.

+ + + : This work really features all ingredients to speak about a terrific album. There’s a constant power running through “Wastelands”. There’s no real break, but a succession of powerful and danceable songs. I noticed some great EBM-inspired bass lines and the traditional punchy electronics and mind-blowing kicks. This work could have been entitled “We take no prisoners”! The songs reflect the great experience and maturity of the members. I also have to say a word about a few titles such as “Ikarus” and “Thor’s Hammer”, which are great metaphors for their lyrical content.

– – – : This is without a shadow of a doubt one of Funker Vogt’s best albums from the past 10-15 years. The songs are maybe a bit similar, but it remains pure Funker Vogt so there’s no reason to complain!

Conclusion: Merciless and powerful, “Wastelands” clearly confirms that Funker Vogt is still alive and more kicking than ever before!

Best songs: “Bring The Fight”, “Bloodsucker”, “Atme Den Schmerz”, “Thor’s Hammer”, “Feel The Pain”, “Dance On Your Grave”, “Ikarus”.

Rate: (8½).

Artist: www.funkervogt.de / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: Dark-electro.

Background/Info: One year after the “Code Of Conduct”-album, which stand for the band’s resurrection featuring their new singer Chris L (Agonoize, The Sexorcist, Dance Or Die, Darkness On Demand), the German master of dark-electronics is back on track. “Feel The Pain” is a teaser announcing the new full length.

Content: This EP features 2 edits from the title song, a B-side cut and 2 reworked old ‘anthems’ of the band. “Feel The Pain” sounds in the purest Funker Vogt tradition with an extra melodic touch on top. “Der Letzte Kampf” is more than simply a B-side track and sounds hard and merciless, this time with German vocals.

“Funker Vogt 2^nd Unit” and “Gunman” both are Funker Vogt hits, which have been refreshed, reboosted and featuring their new singer on vocals.

+ + + : “Feel The Pain” is melodic and danceable title track, which will for sure get people dancing. I personally prefer the harder and merciless “Der Letzte Kampf”, which sounds like Gerrit Thomas on his best. Together with the reworked ‘old’ hits, this EP serves as a strong appetizer to welcome the “Wastelands”-album.

– – – : We already discovered Chris L on the previous album. Even if he’s a great singer for this kind of music I realize –and I’m only speaking for myself, it takes time to forget the natural charisma of Jens Kästel –and especially on both reworked songs.

Conclusion: “Feel The Pain” is exactly what you might expect from an EP; a cool title song, a solid B-side cuts and nice little extras. Up to “Wastelands”!

Best songs: “Der Letzte Kampf”, “Feel The Pain – Extended Version”, “Funker Vogt 2^nd Unit – Neumix”, “Gunman – Neumix”.

Rate: (8).

Artist: www.funkervogt.de / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: EBM, body-pop.

Background/Info: Known and adulated in a former life as Dance Or Die, the German trio resurrected as Darkness On Demand. After an interesting debut full length “Post Stone Age Technology” the band strikes back with a second EP taken from the album. The title song of course is a wink to an early Dance Or Die major song (cf. “Psychoburbia”).

Content: The title song wasn’t my favorite from the album although it’s filled with great nostalgia. It however is a dark, melodic and alluring EBM-driven song. Next to the “Album Version”, this EP reveals remixes by Eisfabrik, Agonoize and DoD (which stands for Dance Or Die and Darkness On Demand).

The EP also features 2 extra (new) songs and I here especially recommend “Quicksand”.

+ + + : You can’t expect much more from an EP; a cool title song, interesting remixes and especially the one made by Eisfabrik. But you’ll also discover two new cuts. “Quicksand” is a nice surprise. Darkness On Demand moves on there where Dance Or Die stopped so in the end it’s all a bit the same band. The fans will be ravished.

– – – : I still don’t consider “Back To Psychoburbia” as the best song from the album, but it for sure remains an important song (also because of the link with Dance Or Die). The new track “Never Too Late” is just a B-side track without real consistence.

Conclusion: Dance Or Die is still hiding behind this new band name so the fans will be not disappointed discovering that this legendary formation is still alive and kicking.

Best songs: “Back To Psychoburbia”, “Back To Psychoburbia – Eisfabrik Remix”, “Quicksand”.

Rate: (7).

Artist: www.facebook.com/darknessondemand

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: EBM.

Background/Info: The EP “City Of Dreamers” was an appetizer for the debut full length of the German trio Darkness On Demand. We all know Wagner, Falgalas and Chris L. as members of Dance Or Die (while they of course are involved with multiple other famous projects) while this new band (featuring the same initials as Dance Or Die) is meant to be a new chapter in their career.

Content: The EP revealed a mixture between EBM elements à la Dance Or Die and epic arrangements reminding me of  Winterhart (another project by Wagner and Falgalas plus ‘old’ Dance Or Die-member Heiko Duus). The album is a bit different and only features rare epic influences. The work sounds in the line of Dance Or Die and could have been released under this moniker. It only becomes more intriguing why the trio finally set up a ‘new’ formation.

Anyway, the album will please to the lovers of Dance Or Die. The songs are well-crafted and carried by the charismatic vocals of Wagner. The second part of the work is more captivating. You’ll get a few harder cuts revealing the accomplished composition made of subtle bleeps, beautiful synth parts recovering the songs structure and some hostility emerging from the global atmosphere.

+ + + : Dance Or Die always has been a rather atypical band in its genre and so is Darkness On Demand. This is the logical continuation with some very explicit winks to the past or what do you think of the title “Back To Psychoburbia”, which reminds of the second full length of Dance Or Die entitled “Psychoburbia”. You rapidly notice this album has been composed by an experienced combo of musicians who have created an alluring sonic bridge between 90s influences and contemporary electronics. I like the strings recovering the songs and the easy recognizable bombast of the drum sections. The already familiar EP title-track “City Of The Dreamers” is one of the most noticeable cuts in the beginning of the album, but the best part comes at the end with the title song and “Chain Reaction”, “Believe In Yourself” and “Forever”.

– – – : I was rather surprised after having discovered the EP, which was more like a mix of EBM and epic music and this debut album revealing a more explicit EBM approach. It remains pretty confusing to find the difference between Dance Or Die and Darkness On Demand. This is a cool album, but without ‘the’ absolute hit!

Conclusion: This debut album of Darkness On Demand is covered by darkness and the shadow of Dance Or Die. Only nostalgic fans will complain, but Darkness On demand stands for the future while Dance Or Die remains a legendary band from the past!

Best songs: “Post Stone Age Technology”, “City Of The Dreamers”, “Chain Reaction”, “Believe In Yourself”, “Forever”, “Darkness On Demand”.

Rate: (8).

Artist: www.facebook.com/darknessondemand

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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: EBM, epic-body-music.

Background/Info:  Wagner, Falgalas and Chris L. is a German trio we all know from Dance Or Die. This formation became one of the hottest EBM and aggro-pop bands from the 90s. It’s now time for a new chapter in the musicians career so they set up Darkness On Demand. This digital EP is a teaser to the album “Post Stone Age Technology”.

Content: I can’t get away from the idea that you’ll recognize some heavy elements reminding you of Dance Or Die. It’s all in the aggressive sequences running through the songs and of course the charismatic vocals of Wagner. There also is an epic touch supporting most of the songs and that’s an element that comes closer to Winterhart (project of Wagner and Falgalas). The title song is a heavy piece of music revealing monstrous sound blasts and heavy kicks like drones. I also noticed tracks revealing a more minimal approach and other passages accentuating the epic part of the band. The opening song is a remix of the title track by… Dance Or Die.

+ + + : Darkness On Demand still has this good-old Dance Or Die spirit, but there also is something new running through the compositions. It’s a mix of EBM and epic/orchestral arrangements. It’s a powerful creation, which fits Wagner’s unique timbre of voice. The title song is cool cut, but there are more interesting songs featured here. I also like the this EP for featuring several songs that will be not be on the album, which makes it much more than simply an appetizer.

– – – : I like most of the songs, but I can’t affirm to have noticed an absolute dancefloor hit. Darkness On Demand is an atypical band inspired by EBM and clearly a challenge!

Conclusion: Dance Or Die is dead, long live Darkness On Demand! I’m looking out for the album to hear the real potential of this band.

Best songs: “The Fire Is Not Out”, “City Of The Dreamers – DoD Remix”, “Wir Stürmen Heut Das Parlament”.

Rate: (7½).

Artist: www.facebook.com/darknessondemand

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

Inferno Sound Diaries

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

www.side-line.com

The 3 Dance or Die members (Wagner, Falgalas and Chris L.) have joined up to start a brand new project: Darkness on Demand. You’ll notice the similarity in the abbreviated bandnames (DoD). The first official release – via RepoRecords, will be the EP “City of the Dreamers” which will be followed by a debut album, titled “Post Stone Age Technology”, to be released on February 23.

The single contains 6 exclusive and unreleased non-album-tracks: first of all a dance remix of the title track “City of the Dreamers” followed by a remix of the album track “Body Bleed” by Kunstwerk which describes a travel into an android future. In addition you will find 4 more unreleased tracks.

You can watch the video for “City of the Dreamers” below.

Tracklist:

1. City of the Dreamers (DoD Mix)
2. Body Bleed (Kunstwerk Remix)
3. Fracking all the Rules
4. The Fire is not out
5. We take Revenge
6. Wir stürmen heut das Parlament
7. City of the Dreamers (Album Version)

For those who are a bit too young to have known Dance or Die, it is/was (?) a German electronic band formed in 1988 by Andreas Goldacker and Gary Wagner in Berlin. Falgalas (born Heiko Duus) joined the band in 1993, first for live touring, later as a full member. Chris L. (born Christian Lorenz) joined in 1998 for live performances. The band scored a ‘monster hit’ in the scene with the track “Psychoburbia” in 1992. Those were the golden days of electro indeed!

Bernard - Side-Line Staff

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

side-line.com

The 3rd album from the Falun, Sweden based act Me The Tiger, “What is beautiful never dies”, is almost here (next week to be precise). The album comes after the release of the “Hollow” single in June. Out via RepoRecords you can already enjoy the teaser with snippets from 7 new tracks, taken from the brand new album.

The band’s previous 2 albums can still be found here. Me The Tiger are Gabriella Åström (vocals & synth), Tobias Andersson (synth & guitar) and Jonas Martinsson (drums).

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

Genre/Influences: EBM.

Background/Info: Set up 20 years ago by the Australian duo ‘BONES’ and ‘SiK’, Novakill is back on track unleashing their 4^th full length after a hiatus of 7 years. The album is again released on RepoRecords and reveals 11 new songs.

Content: Novakill holds on to their familiar and successful sound formula, which mainly consists of pure EBM driven ingredients. The songs are mainly driven by slow BPMs, but the entire production remains pretty danceable. It’s a formula reminding me of numerous 90s productions, which remains the main source of inspiration of the band.

“Danger” is a kind of dark-body-music production revealing icy, but aggressive sequences empowered by some extra powerful sound blasts. The drums reveal a few metallic percussion sounds, which is another familiar EBM element.

+ + + : Despite of the lack of innovation, “Danger” is a well-crafted album with a professional production process. It mainly comes through in the music, and also in the vocals. I like the sound treatments and powerful boosts running through the work, but also the impressive vocals production. “Danger” also reveals a few lyrical ‘engaged’ themes.

– – – : You don’t really get the impression that Novakill is striking back after a long silence. This album could have been perfectly released 10 years ago. They clearly avoid any form of innovation and that’s maybe a pity.

Conclusion: “Danger” sounds a bit like eating your favorite plate; you don’t want to change the recipe, you just what to hold on the familiar ingredients to get the taste of your meal.

Best songs: “Crashing Down”, “Waiting To Die”, “Zombiekillers”.

Rate: (7).

Band: www.novakill.com / www.facebook.com/NOVAkILL-129543637093255

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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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RepoRecords have signed a new band, the Swedish electro-pop act Me The Tiger. Out now is the band’s new official video for “What Promises Are Worth” which is also the band’s newest single taken from their forthcoming album “Vitriolic” which will be out on September 4.

The band, which formed in 2012, consists of the trio Gabriella Åström (Vocals & Synth), Tobias Andersson (Synth & Guitar) and Jonas Martinsson (Drums).

Below is the “What Promises Are Worth” video. The 4-track single can be downloaded right here from iTunes, the 13-track album can be downloaded already too from iTunes including the bonus track “Time after time”.

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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