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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

S-L: What’s next up for you?

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

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

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

Jan Ronald Stange

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

www.facebook.com/jrstange

(Photo by Reset Records) The English musician and singer Robert Marlow (real name Robert Allen) is no more. Marlow passed away on Thursday 22nd September after a short and unexpected illness. The news was communicated by a close friend of Marlow on Facebook. He would have turned 61 on October 21st.

About Robert Marlow

Robert Marlow was an English synth-pop singer, songwriter and musician and grew up in Basildon together with future Depeche Mode members Vince Clarke, Martin Gore and the late Andy Fletcher. But there’s more, he was also tied to Alison Moyet, with whom he played in a band, the Vandals. He ended up playing in a band, with Vince Clarke, called the Plan, and later French Look, with Martin Gore and Paul Redmond.

In 1983 Marlow formed The Peter Pan Effect. The project initially was born when Marlow was in a band called Film Noir, with future keyboardist and guitarist for the Cure, Perry Bamonte. After Clarke left Depeche Mode, Marlow approached Clarke and secured some studio time at Blackwing Studios with him and Eric Radcliffe. He was offered only one day, and decided to record “The Face of Dorian Gray”. This led to extra studio time. The single was released on Reset Records, a label founded in 1983 by Vince Clarke and Eric Radcliffe. The B-side was the track “The Tale of Dorian Gray“.

After that, he released three more singles: “I Just Want to Dance”, “Claudette” and “Calling All Destroyers”. Due to little airplay and low sales the album was shelved until 1999 when the Swedish label Energy Rekords released it.

In early 2002 Robert Marlow founded Marlow, which was a duo with Gary Durant. The duo released the single “My Teenage Dream” in 2002. An album followed in 2009, “Inside Outside”, on Electro-Shock-Records which would release all of Robert Marlow’s later side-project albums. The title track was arranged and produced by Vince Clarke, who had also remixed a track on the album called “Home”. The follow-up album “The Future” was never released and the duo split up in 2012. However in 2013 he would release a reworked version of “The Future” as “The Future Remixes”.

After the split of Marlow, Robert Marlow once again performed as a solo artist and released a new 7 track EP, “The Blackwing Sessions”, again on the German label Electro Shock Records. The release held tracks with other vocals and instrumentals from the “1982–1984 recordings in the Blackwing Studios”.

Cleopatra Records would later on release standard US releases of “The Peter Pan Effect” and Family Fantastic’s “Nice!” in a limited edition box double pack with additional info about Vince Clarke’s involvements in the two projects on the back. Family Fantastic was a project formed in 2000 by Clarke and Phil Creswick (ex-Big Fun), featuring various high-profile singers from the UK.

I have had the pleasure to interview Robert Marlow a couple of times, and although he never became a big superstar, he was ok with what he had achieved despite having to wait decades to see his dreams come partially true. A sweet person, maybe too kind for this world.

Our most since condolences to Robert’s friends and family.

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: Electro-pop, dance-pop.

Background/Info: The “Electropop”-series became one of the most exciting compilations in the electro-pop genre style, but especially a sonic canvas to discover Conzoom artists and new, upcoming talents. One of the main particularities of the sampler also is the number of “Extended”-versions. This new series features 14 bands!

Bands: Emt, Insight, JanRevolution, Kosmos, Mechatronic, Midnight Resistance, Nordika feat. Felix Marc, Polyester8, Rename, Rroyce, Shelter, The Sweetest Condition and Robert Marlow.

Content: This new edition of “Electropop” reveals an impressive number of less familiar pop artists. The main influence running through the album remains electro-pop although there also is a solid dance input recovering most of the songs. The first and main part is pretty dance-pop orientated, but progressively moves towards a more familiar electro-pop sound during the second part.

+ + + : I like a compilation on, which you can discover a lot of new names and that’s precisely what this sampler stands for. Next to rather new names I also noticed some more familiar artists, getting us back to A Different Drum (a label we’re missing) and the genius of an artist like Robert Marlow. This is a sampler that will make you feel happy and get you into the dance.

– – – : The more into dance-pop formations are not the most exciting ones. I noticed cool songs, but no real hits!

Conclusion: “Electropop” is a compilation-series I enjoy and which always gives me the opportunity to discover new names. I can’t affirm this vintage is the best one to date, but it remains a great sampler.

Best bands: Robert Marlow, Rroyce, Midnight Resistance, Shelter.

Rate: (7).

Label: www.conzoomrecords.de / www.facebook.com/conzoomofficial

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