(Photo by Roger op den Camp) COP International Records and Strict Tempo announce the USA leg of the CX40 World Tour by the legendary Anglo-Irish post-punk group The Cassandra Complex. The band has been celebrating their 40 year anniversary in 2024 with an extensive world tour spanning Europe and the Americas.

As part of the tour they will be making a rare visit to play in the USA in September – October, starting with an appearance at the Cold Waves festival in Chicago, and continuing through the West Coast of the USA. The last time The Cassandra Complex played in America was almost 20 years ago, so this will be a unique chance to see their live show. The second leg of the tour will commence with shows in the USA and Latin America in the Fall, followed by more shows in the UK and EU later in the year.

The band will be supported on USA shows by DJ Vox Sinistra and on European shows by the Swedish post-punk duo Sjöblom. Tickets can be order now.

• 29 Sep 24 Chicago IL, Cold Waves Festival
• 30 Sep 24 Portland OR, Dante’s
• 02 Oct 24 Seattle WA, Central Saloon
• 04 Oct 24 San Diego CA, Corazón del Barrio *
• 05 Oct 24 Long Beach CA, Que Sera *
• 06 Oct 24 Albany CA, The Ivy Room (SF Bay Area) *
• 12 Oct 24 Ciudad de México, Foro 28
• 15 Oc t24 San José Costa Rica, Amon Solar
• 18 Oct 24 Santiago Chile, RBX
• 19 Oct 24 Sao Paulo Brazil, Madame
• 23 Nov 24 Leeds UK, The Old Woolen
• 24 Nov 24 London UK, The Black Heart
• 26 Nov 24 Reading UK, The Facebar
• 28 Nov 24 Bochum Germany, Matrix **
• 29 Nov 24 Bielefeld Germany, Movie **
• 30 Nov 24 Cologne Germany, Blue Shell **
• 04 Dec 24 Berlin Germany, Urban Spree **
• 05 Dec 24 Copenhagen Denmark, Lygten Station **

* with Vox Sinistra
** with Sjöblom

About The Cassandra Complex

The Cassandra Complex was formed in 1984 by Rodney Orpheus (vocals, synths, drums machine), Paul Dillon (electronics), and Andy Booth (guitar, keyboards). Musically they bring a synthesis of post-punk, goth, EBM, and industrial music, coupled with Rodney Orpheus’ voice.

After a long hiatus, The Cassandra Complex recently returned with the album “The Plague”, recorded during the COVID lockdown. In March 2024 they released “Death & Sex”. Both albums are available from COP International Records on CD and on all streaming services.

Rodney Orpheus has also worked as a producer, remixer, and music technologist, working with artists such as The Sisters of Mercy, Kraftwerk, Beborn Beton, The Future Sound of London, Girls Under Glass, Faith & the Muse, Within Temptation, and many more.

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 Roger op den Camp) COP International Records, International Booking Department, and Resistencia Booking have announce the second leg of the CX40 tour of the Anglo-Irish post-punk group The Cassandra Complex. This second leg will take the band, which celebrates its 40 year anniversary, to Germany, Belgium, USA, Mexico, Costa Rica, Chile, Brazil, UK, the Netherlands, and Denmark.

The second leg will commence this summer with festivals in Germany and Belgium, followed by dates in the USA and Latin America in the Fall. The tour continues then with more shows in the UK and EU later in the year. The band will also be supported on select European shows by special guests and labelmates Sjöblom.

You can order your tickets here.

• 11/08/24 Hildesheim Germany, Mera Luna Festival
• 24/08/24 Ostend Belgium, W-Festival
• 25/08/24 Sint-Niklaas Belgium, De Rembrandt Festival
• 29/09/24 Chicago USA, Cold Waves Festival
• 12/10/24 Ciudad de México, Foro 28
• 15/10/24 San José Costa Rica, Amon Solar
• 18/10/24 Santiago Chile, RBX
• 19/10/24 Sao Paulo Brazil, Madame
• 23/11/24 Leeds UK, The Old Woolen
• 24/11/24 London UK, The Black Heart
• 26/11/24 Reading UK, The Facebar
• 29/11/24 Bielefeld Germany, Movie
• 30/11/24 Cologne Germany, Blue Shell
• 01/12/24 Bochum Germany, Rockpalast
• 04/12/24 Berlin Germany, Urban Spree
• 05/11/24 Copenhagen Denmark, Lygten Station
• (More dates to be confirmed)

About The Cassandra Complex

The Cassandra Complex was formed in 1984 by Rodney Orpheus (vocals, synths, drums machine), Paul Dillon (electronics), and Andy Booth (guitar, keyboards). Musically they bring a synthesis of post-punk, goth, EBM, and industrial music, coupled with Rodney Orpheus’ voice.

After a long hiatus, The Cassandra Complex recently returned with the album “The Plague”, recorded during the COVID lockdown. In March 2024 they released “Death & Sex”. Both albums are available from COP International Records on CD and on all streaming services.

Rodney Orpheus has also worked as a producer, remixer, and music technologist, working with artists such as The Sisters of Mercy, Kraftwerk, Beborn Beton, The Future Sound of London, Girls Under Glass, Faith & the Muse, Within Temptation, and many more.

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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Michigan based goth act Vvmpyre have just released their full-length debut LP, “Neon Night Fright” after a series of singles. You can expect a mix of horror with gothic guitars and dance beats.

Vvmpyre initially started out as a DJ on Nightride FM, but slowly evolved from being a mashup artist that dabbled in darksynth production to fully embracing darkwave. Several remixes later a few maxi singles followed, and now there’s the full album.

On the album we find the following guest singers: Brandon Ashley on guitar, plus vocalists Maverick & Jennifer Wilde and Sandra Bullet next to Oceanside85 and Upon Her Eyes.

“Neon Night Fright” is available on all major digital platforms including Bandcamp.

Here’s the video for “Atrocity”.

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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In April 1984 Sandra and Michael Cretu, romantically involved, released a first single together, “Japan ist weit”, a German cover of the Alphaville song “Big in Japan” which had been released in January of that year and which was equally the debut single for the German synth-pop band. If you listen closely you’ll hear that the timing of the song was influenced by “The Safety Dance” by Men Without Hats, but that’s another story. While the Alphaville original sold over 250.000 copies in Germany, the German cover by Sandra failed to chart with only a miserable 125 copies sold.

The duo understood that they should do things differently and by 1985 Sandra gained international success with the song “(I’ll Never Be) Maria Magdalena” and the follow-up singles, “In the Heat of the Night” and “Little Girl”. Also the next album sparked a string of successful singles such as “Innocent Love”, “Hi! Hi! Hi!”, “Loreen” and “Midnight Man”. In 1987, the duo released a cover version of “Everlasting Love” which became a major success. The rest is history. Sandra sold over thirty million records in the 1980’s and topped the charts in twenty one countries in a career that began for her at the age of thirteen.

Here’s Sandra’s “Japan ist weit”, which remained quite loyal, musically then, to the original.

About Alphaville

Alphaville formed in Münster, West Germany, in 1982, led by singer Marian Gold (born Dietmar Hartmann) with musicians Bernhard Lloyd and Frank Mertens, taking its name from Jean-Luc Godard’s 1965 film. Signed to WEA, the band’s debut single “Big in Japan,” released 12 January 1984, became a major international hit and sold more than 250,000 copies in Germany, leading the debut album “Forever Young” (WEA, 27 September 1984). Marian Gold has remained the band’s only continuous original member across subsequent lineup changes and albums including “Afternoons in Utopia” (1986), “The Breathtaking Blue” (1989) and “Prostitute” (1994). In April 1984, German singer Sandra released “Japan ist weit,” a German-language cover of “Big in Japan” produced with Michael Cretu, which reportedly sold only 125 copies before Sandra’s own international breakthrough the following year.

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 Sandra Sturm) To kick off the forthcoming album by Belgian hard-electro pioneer act Suicide Commando, Johan van Roy and co. present a foretaste of what to expect: “Bang bang bang”. This 4-track maxi CD is available now on MCD in strictly limited edition of 500 copies worldwide.

Johan explains the track: “Each day too many people die from gun violence! Even though the song actually is about gun violence, it now also got an extra dimension with the current war in Ukraine. How power, greed, and hate can cause destruction & war. Make music, not war!”

In addition to “Bang bang bang”, the single “Trick or Treat” which was released on Halloween 2021 is also included on the maxi, along with a remix of each of these tracks.
Watch the video below.

You can check the full MCD below. Read the review of ‘Bang Bang Bang’.

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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In a rather short lapse of time Greek solo-project Metal Disco has released an impressive number of productions. Driven by Werkstatt Recordings label owner -and involved with other music projects like Paradox Obscur, Beatbox Machinery, Resistance Of Independent Music, Hardware Pulse… Kostas Stavropoulos aka ‘Toxic Razor’, the sound of Metal Disco is composed by only hardware equipment. The sound features different influences mixing EBM, Minimal-Electro, Electro-Wave, Electroclash ao. 2021 has been an extremely prolific year for Metal Disco while a new EP has been already released this year. Time for an interview and introduction in the world of this great project. (Courtesy by Inferno Sound Diaries)

Q: You’re involved with multiple projects so what makes the specificity of Metal Disco in comparison with all others? What kind of sound and production did you have in mind when setting up Metal Disco?

TR: Metal Disco delivers a more darkened electro sound especially in the first releases. What I had in mind when starting this project was having punchy drum rhythms with dirty driven basslines in a kinda more minimal approach with not many instruments/sounds involved.

Q: The way of composing your music is very important and especially the use of hardware equipment! Tell us a bit more about your way of working? And does it mean you have something against software equipment and tools?

TR: Indeed hardware instruments is more fun to work with and play, feels like becoming one with a synth or a drum machine when recording or rehearsing and that is something that I can’t find in the virtual software world. The sound is much more richer and breathes like a living entity unlike the sterile virtual instruments which no matter how good they sound it’s like something’s missing..  sitting in front of a screen making music is not my cup of tea, I have tried it in the past and had absolutely no fun but I don’t have something against software as for other people might work better.

Q: Metal Disco has been very prolific during the past few years. Where does this inspiration come from and what’s the usual way of composing when working on Metal Disco?

TR: Inspiration comes mostly after jamming in the studio, synthesizers can offer a wide palette of sounds and mood, sometimes feels like these waveforms devour me, luring me into their deep endless spiral of synthesis.

When starting a new track I mostly give emphasis and work on the bassline parts along with some basic drum rhythm, from there I try to find a fitting lead/melody and later come back to the drums again in order to build the main groove, fills, changes etc. But once the main idea is set the song drives me by itself until it takes the final shape.

Q: You clearly like to release EP’s while each EP sounds like having a different focus and own influences. Tell us a bit more about the most recent productions and how did you see the project evolving throughout the years?

TR: 2021 was a very busy year with one compilation and 3 EPs released, while also working in the collaboration EP with Incirrina and trying to put together ideas for the next full-length album.

In the “Καμία Εξουσία”-EP I also tried for the first time Greek lyrics in the Metal Disco project since I had the self-titled track sitting for around a decade in my studio, so I thought why not record a few more tracks in Greek.. this how “Καμία Εξουσία”-EP was born.

The recent “Misbehave”-EP delivers a more Electronic sound with groovy basslines and I feel it turned out more melodic than what I expected and had in mind when started composing it.

As for evolving this is something I could say for my other band Paradox Obscur since we always try to explore new paths, but for Metal Disco things are simpler, music is more raw, stripped and direct.

Q: You already mentioned the new EP entitled “In Motion” featuring Incirrina. How did this collaborative work happened and what has been the input of Incirrina?

TR: I have collaborated with many other artists for the Metal Disco project in the past and Irini from Incirrina was also part of the latest full-length album “Sex, Drugs & Hardware”.

Since I was looking for someone to take over the vocals in the new EP I thought Irini would fit great in these new songs and all evolved very naturally.

She has taken over the vocal parts in all songs of the “In Motion”-EP and I think this must be the more melodic work for Metal Disco so far..

Q: I can’t get away from the idea you’re devoted to 80s Electronics. What made the magic of this decade and what are your personal ‘masters’ when it comes to musicians?  And do you have contemporary ‘masters’ or simply musicians/producers you respect for their way of working?

 TR: The 80s was a rather obscure weird era in many aspects but had a great renaissance in the music scenery in various genres It’s impossible to mention all the artists I listen but names like Mylene Farmer, Sandra, Jean-Michel Jarre, Pet Shop Boys, Yello etc are on my top preferences together with some Metal acts like Venom, Bathory, Celtic Frost, Slayer, W.A.S.P. which are not Electronic but evolved and experimented over the years and always has been a great inspiration to my musical ventures.

Concerning the contemporary scene I listen a lot to Electro, Tech-House, Progressive Techno, Trance, EBM, Future-Pop, Synth-Wave, Italo and artists like Motor, Arnaud Rebotini, Black Asteroid, John Dahlbäck, Mind.In.A.Box, Soman, Juno Reactor, Apoptygma Berzerk is always a pleasure to listen their work.

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-EBM.

Format: Digital, CD.

Background/info: Hydrom Line was a side-project set up by Belgian musicians Peter Van Bogaert (Liquid G) and Bart Verlent (Kandinsky) while a few songs were featuring female vocals by Sandra B. (who also did some vocals for Subsection 1!). Two tapes were released in 1991 and 1992. Thirty years later the duo got some of their early songs re-released on cd format by Wool-E Discs.

Content: Hydrom Line sounds like good-old Belgian Electro; a dark sound reminding me of bands like Vomito Negro and Liquid G. Haunting atmospheres joined by EBM bass lines and guitar playing by Bart Verlent. The vocals have something ghost-like while the songs featuring Sandra B. have something desolate and cold.

+ + + : This album is a great way to (re)discover Hydrom Line. The songs don’t really suffer from any weight of time and will appeal for lovers of early Vomito Negro. This is Belgian Dark-Electro power at its best and it’s even a pity this band didn’t get that much recognition. There are several cool songs featured, but I especially recommend listening to “Crash & Burn”, “Don’t Look”, “White Lake” and “Realities”.

– – – : Why did some bands become more famous and recognized than others? Even if some songs are a bit rudimentary, Hydrom Line deserved more recognition.

Conclusion: If you like the early Belgian EBM school, this album is one to put your finger on.

Best songs: “Crash & Burn”, “Don’t Look”, “White Lake”, “Realities”, “Reflections”.

Rate: 8.

Artist: www.facebook.com/hydromline

Label: www.wool-e-discs.be / www.facebook.com/woolediscs

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: Cinematographic, Wave-Pop, Dream-Pop.

Format: Digital, CD.

Background/Info: This compilation features fourteen artists who used and adapted poems of Lory Fayer. It’s a conceptual work, which started with a dream set beside a lighthouse. You just have to imagine all the stories that have happened around this magic place.

Artists: Elisabeth Engarde, Silentport Feat. Lory Fayer, Winter’s Course Feat. Francesca Nicoli, Dens Faust, Eirene, Afterglow, Cendre Froide, Nouvelle Culture Feat. Carissa Denee, Condemnatus Feat. Lory Fayer, The Dreams Never End Feat. Sandra Pereira, SAÐÆMØN, Vestafalia’s Peace, Antipole Feat. Eirene & Paris Alexander and Silentport.

Content: This compilation has something graceful; you can feel the poetry emerging at the surface of the songs. From pure reverie to darker, Wave-Pop and Dream-Pop songs this work is touched by beauty and melancholia. Some songs could be used as a soundtrack. Some of the female singers also express a sensation of fragility. The last part of the compilation creates a kind of climax.

+ + + : I’m always fascinated by compilations featuring less familiar artists, but this album is for sure winning an award. Except Antipole and Francesa Nicoli (Ataraxia) singing on Winter’s course song, I can’t remember to have ever heard one of the other names. I especially like the last songs of the album and I have to mention Antipole for the brilliant Dream-Pop song and Vestafalia’s Peace for the dreamy, beautiful composition. In a similar, dreamy, but more Cinematographic approach there’s the song of The Dreams Never End featuring Sandra Pereira. Cendre Froide sounds heavier and Cold-Wave orientated, and is  a noticeable track.

– – – : I can only hope that some of the featured artists will move on composing such great and promising music.

Conclusion: This compilation is for sure the most atypical release I’ve heard on the Russian label ScentAir, but it also is a sensible and beautiful one.

Best bands: Antipole, Vestafalia’s Peace, The Dreams Never End fea. Sandra Pereira, Cendre Froide, Winter’s course feat. Francesca Nicoli,  Silentport Feat. Lory Fayer.

Rate: (8).

Label: www.scent-air.com / www.facebook.com/ScentairRecords

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.

Format: Digital, CD.

Background/Info: Gary Starky and Sandra Tully are back with their second opus, which just as “Forward/Return” is driven by good-old 80s electro-pop music. The British duo has composed ten new songs while the work has been completed by five remixes.

Content: The album takes off with a rather atypical song, which sounds more into minimalism and still an intelligent experimental pop format. But quite rapidly Subject.2 moves towards classical electro-pop music; songs that will make you feel good. Songs you can sing along and getting you a big smile on the face. Gary and Sandra are singing, often alternating the songs, but still singing together.

The song “Nobody’s There” has been remixed by Daniel Zieske, Diskodiktator, Substaat and two remixes by Frohm.

+ + + : This is music that will give you happiness; catchy songs with cool melodies and danceable vibes. There’s nothing innovative here, but it reminds me to some songs of Erasure while other cuts are more into the Elegant Machinery style. The debut song is a kind of intro, but still a great and intelligent piece of music, which sounds more personal than the rest of the tracklist. I also noticed songs with great sound treatments like “Come Back To Me” and “Nobody’s There”.

– – – : I can’t say that I’ve been disappointed by the remixes, which are okay, but not exactly adding that little more to the work.

Conclusion: If you like the good-old synth-pop music from the 80s, Subject.2 is for sure a devoted servant, transposing the original influences into a refreshing sonic outfit.

Best songs: “Inspiration”, “Come Back To Me”, “These Things”, “Nobody’s There”, “The subject Is 2”.

Rate: (7½).

Artist: www.subject2music.com / www.facebook.com/Subject2Music

Label: www.electro-shock-records.mozello.de / www.facebook.com/pages/Electro-Shock-Records/105471026168220

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.

Background/Info: Subject:2 is a new name active at the wider fields of synth-pop music. The English duo Gary Starky – Sandra Tully joined hands with German label Electro Shock Records to unleash their debut full length.

Content: Gary Starky has worked with Vince Clarke and that’s something you can easily notice. “Forward/Return” is a classical electro-pop formation getting back to the early years of the genre and more especially to bands such as Depeche Mode, Erasure, OMD and co. The songs are indeed very inspired by 80s music although there also is something more personal and contemporary running through the album. The songs remain catchy and melodic. One of the most noticeable songs is the cover version of the disco-hit “Feels Like I’m In Love” from Kelly Marie.

+ + + : Subject:2 deals with the most pure format of synth-pop. You sometimes get the impression to hear Depeche Mode and/or Erasure hiding in the body of this album. Originality is far to find, but it however an accomplished and mature production is. Most of the songs have been sung by Gary Starky, but I also like the female backings. The songs bring no surprises, but there are a few outstanding cuts featured. I especially want to mention “Rubber Made”, which sounds hot and danceable.

– – – : If you’re in search of visionary electro-pop formations, you better can avoid Subject:2. I don’t care about good ‘copyists’ and it’s even quite strange to say that the most atypical song of the album (cf. “Better Luck Next Time”) also is the less convincing cut from the list.

Conclusion: “Forward/Return” is a rather ‘classical’ synth-pop album bringing the good-old 80s taste alive and revealing several cool songs. Let’s keep an eye on this band!

Best songs: “Rubber Mode”, “Life”, “Get Things Started”, “Run Away”, “Feels Like I’m In Love”.

Rate: (7½).

Artist: www.subject2music.com / www.facebook.com/Subject2Music

Label: www.electroshockrecords.tictail.com / www.facebook.com/pages/Electro–Shock–Records/105471026168220

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: Power-noise, industrial-techno.

Background/Info: Four years have passed since the debut album “The Myth Of Lorelei” from the French female duo Cacophoneuses. Sandra and Joséphine are back again on Hands unleashing 10 new industrial assaults.

Content: The main basis of those ladies sound is clearly driven by hard power-noise music. That’s already what we could experience at their debut work. The sound is now also featuring a few techno influences, getting the production more trance-like. I experienced this work as more varied. Next to ‘classical’ hard and distorted power-noise cuts Cacophoneuses has created a wider sonic horizon where it feels good to dance…

+ + + : “Chaos Theory” moves on there where “The Myth Of Lorelei” stopped. It means that this album goes a step further, exploring new ideas while getting the sound more diversified. The main parts remain however totally addicted to power-noise. Those girls are composing music with a huge dose of testosterone. I especially like the evolution into trance/rave fields.

– – – : I noticed a few details in the global production (like a fade out on one of the tracks), which are a little bit amateuristic, but Cacophoneuses is clearly not into subtle treatments, but into hard power!

Conclusion: I thought testosterone was typically male-like, but those ladies are the exception to the rule. They’re driven you mad with their “Chaos Theory” and I think they’ll make a lot of guys jealous.

Best songs: “Nemesis”, “Sweet Bitter”, “Damage Control”, Take Over”, “X Marks The Spot”.

Rate: (7½).

Artist: www.facebook.com/CACOPHONEUSES

Label: www.handsproductions.com / www.facebook.com/hands.official

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: Experimental, soundscape, dark-ambient.

Background/Info: Jim DeJong has been involved with The Infant Cycle in between 1992 and 2014. He next went on as The Sand Rays releasing a few EP’s. “Remembered Vol.1” is a collection of these EP-tracks released on CD format.

Content: Jim DeJong composed his music as a truly experimentalist. Using different instruments and noises his work remains pretty soundtrack-minded. You feel like entering an imaginary universe made of dark and wet cellars. Resonating sound waves and other deep humming vibrations are bringing the listener into a frightening experience.

+ + + : I like the visual strength of the work, which is a characteristic, but still a reference for this kind of music. You get the impression walking throughout a dark labyrinth of cellars without finding the exit. The sound universe features cool industrial noises joined by field recordings and manipulated electronics. The low sound frequencies are literally bouncing deep in your throat, which is a requested feeling when discovering this kind of music.

– – – : I regret some monotonous passages while there’s no real highlight. I got the impression there’s much more potential hiding in The Sand Rays than what I’ve heard on this work.

Conclusion: I can’t affirm to have been fully satisfied listening to this album although I’ll go on supporting Zhelezobeton which never stops to make me discovering interesting productions.

Best songs: “Something Sure Smells Fishy About Sandra Y.!”, “Pingray 2”.

Rate: 6).

Artist:  www.thesandrays.com / www.facebook.com/theinfantcycle

Label: www.zhb.radionoise.ru / www.facebook.com/zhbrecords

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

Available now on Spotify, iTunes and related platforms is the “Helden” EP by the German endzeit act Totem Obscura. For the occasion Nadine ‘Aengeldust’ Engel and Pedro ‘Acylum’ Engel have joined up with 80’s living legend Hubert Kah (known for his hit-songs and backing vocals for the 80’s icon Sandra).

“Helden” was already available from Bandcamp and now also has hit other platforms too as you can see below.

The EP itself holds 16 tracks including exclusive remixes of other album songs like “Blut Marschiert”, “Eisenmann” and “Bastard”. You can expect aggressive dark elektro with Middle-Age tonalities. Strongly recommended to fans of :Wumpscut:, Acylum, Heimataerde, Yelworc and Das Ich.

Check the EP on Bandcamp:

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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Nadine ‘Aengeldust’ Engel and Pedro ‘Acylum’ Engel have joined up with 80’s living legend Hubert Kah (known for his hit-songs and backing vocals for the 80’s icon Sandra) to record the dowload Ep “Helden”. “Helden” is at the moment only available from Bandcamp, with other platforms to follow soon.

The EP itself holds 16 tracks including exclusive remixes of other album songs like “Blut Marschiert”, “Eisenmann” and “Bastard”. You can expect aggressive dark elektro with Middle-Age tonalities. Strongly recommended to fans of :Wumpscut:, Acylum, Heimataerde, Yelworc and Das Ich.

Check the EP on Bandcamp:

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, medieval-(h)el(l)ectro.

Background/Info: Behind Totem Obscura is hiding Pedro ‘Acylum’ Engel and his wife Nadine ‘Croona’ Engel. They’re both known for their work under the Acylum moniker, but Nadine recently also released a harsh and industrial new album as Aengeldust. “Nordische Fest” is the second opus of Totem Obscura.

Content: Totem Obscura is a bit to Heimataerde, like Acylum is to Wumpscut! “Nordische Feste” mixes dark-electronic elements together with medieval atmospheres. The German lyrics bring a gothic touch to the work. But the album is not excelling in power and sonic violence, but reveals overwhelming atmospheres and even melancholia. I sometimes get the impression Totem Obscura got inspired by the imaginary world of “Game Of Thrones” and I think to have recognized samplings from this famous series running through the album.

The album also features a song featuring Cosmic Armchair, which logically resulted in a more danceable approach. Another noticeable cut is “Helden” for featuring Hubert Kah (who did some backing vocals in the 80s for Sandra). Last, but not least you’ll discover remixes by Ruined Conflict, Hell:Sector and Crytek.

+ + + : I really admire the work and genius of Pedro Engel who according to me is one of the most talented musicians of his era dealing with dark-electronics. But he also is a man of many talents, which can accomplish much more than only Acylum tracks. I have to admit I expected this album to be a bit harder, but globally speaking I like the medieval atmospheres this album has been made of. I like the bleak mood recovering the songs, which feel like announcing a nearby disaster. It all sounds raw and tormented. The famous EP-song “Eisenmann” remains one of the major cuts of this album, but I also have to mention “Blut Marschiert” for its coldness. The medieval chants running through a few cuts inject an extra touch of mystery and visual appeal. Among the remixes I want to mention a great contribution by Ruined Conflict.

– – – : I expected a harder and powerful album, but that says more about me instead of the band. “Nordische Feste” is not the kind of work that will put dancefloors on fire (like early Heimataerde) although it’s a fascinating experience.

Conclusion: Totem Obscura transforms dark-electronic music into a medieval voyage and other fantasy universes. This is the perfect alternative soundtrack for “Game Of Thrones” or “The Lord Of The Rings”.

Best songs: “Eisenmann”, “Blut Marschiert”, “Bluttanz”, “Blut Marschiert – Ruined Conflict Remix”, “Gestandig”.

Rate: (7½).

Band: www.facebook.com/totemobscura

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.

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Genre/Influences: Synth-pop.

Background/Info: Plazmabeat is a Hungarian duo set up by Niki Laczó (vocals) and Grag Velvet (music & lyrics). The band has been busy for a couple of years now and have mainly produced self-releases. “Plazmapop” is a kind of ‘best of’ taken from both previously released digital albums.

Content: Plazmabeat deals with a kind of ‘happy’ synth-pop music. You now and then will notice a melancholic touch, but globally speaking this is a catchy production that makes you feel good. There’re some interesting and artistic elements added by real instruments like guitar, saxophone ao. The composition sounds sweet and delicate, and features all the essential ingredients to achieve an alluring electro-pop work.

Some of their most catchy parts remind me a bit of Elegant Machinery, which is more than simply a reference in the genre. There’s this little retro feeling that brings us back to late 80s music. The happy-pop style at “Ajándék” reminds me of Sandra for some of the arrangements.

One of the most noticeable characteristics however appears to be the vocals and especially the Hungarian language. It’s really particular and not that typical, but it’s appreciable.

+ + + : This is a mature and accomplished work, which thanks to Advoxya Records will be hopefully discovered by numerous synth-pop lovers. Plazmabeat is a real cool surprise.

– – – : This album is missing a potential hit. There are several cool songs, but not the kind of synth-pop tune you’ll keep in mind and a catchy chorus inviting you to sing together with the band.

Conclusion: Hungary and synth-pop music was a rather surreal match until I discovered Plazmabeat revealing a fully enjoyable work.

Best songs: “Lelkünk Könyvei, “Ráncok – 2015 Re-mix”, “Napkelet”.

Rate: (7).

Band: www.plazmabeat.hu / www.facebook.com/plazmabeat

Label: www.advoxya–records.com / www.facebook.com/pages/Advoxya–Records/265765706059

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