Out now is a joint single from Blutengel and Solar Fake: “Nothing Left”, see the video below. Released through Out of Line Music the collaboration features Chris Pohl of Blutengel and Sven Friedrich of Solar Fake. Chris composed the music, while Sven penned the lyrics.

The EP includes five additional remixes by JanRevolution, Pseudokrupp Project, Scheuber, Wisborg, and Neuroticfish. This release is available in both physical CD format and a limited edition golden vinyl.

On July 20, Blutengel and Solar Fake will perform live at the Dark Summer Open Air at Wasserschloss Klaffenbach in Chemnitz, offering fans a chance to experience their new collaboration live.

About Blutengel and Solar Fake

Blutengel, formed in 1998 by Chris Pohl in Berlin, Germany, is known for its dark pop sound that combines electronic beats, gothic rock, and dark lyrics. The band’s themes often explore love, betrayal, heartbreak, vampirism, and immortality. Over the years, Blutengel has seen several lineup changes but remains led by Chris Pohl and current member Ulrike Goldmann.

Solar Fake, founded by Sven Friedrich in 2007, is a German electronic music project. The band quickly gained popularity with its debut album “Broken Grid” and is known for its energetic synthpop and electro-industrial sound. Sven Friedrich is also known for his work with bands Zeraphine and Dreadful Shadows.

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.

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.

side-line.com

German label Trisol has been set up in 1997 by Alex Storm. He’s also running Apocalyptic Vision, which was his first label. Trisol is characterized by a true eclectic taste of music; from EBM to Dark-Electro to Industrial to Dark-Wave, Neo-Folk and related genres. Trisol is the home of artists such as Rome, Project Pitchfork, Die Form, Clan Of Xymox, Nachtmahr, Asp, L’âme Immortelle, Samsas Traum, Mantus, Scheuber, Persephone ao. Apocalyptic Vision is still active today releasing the work of Sopor Aeternus.

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Alex: To answer this question properly, I need to go back in time a little and begin before I founded Trisol. The first label I founded was Apocalyptic Vision, which I (unofficially) started in 1992, so five years before starting Trisol. In the early 90s, when lots of vinyl albums were being released on CD for the first time, I was waiting in vain for CD reissues of many of my favorite albums –albums by Clair Obscur, Esplendor Geométrico, Memorandum and others. And even back then, I was also a big Sopor Aeternus fan. So I contacted quite a number of labels to suggest they reissue various albums on CD, or that they sign Sopor Aeternus –but not a single label was interested. Completely unfathomable!

After months of investing my time and money into these activities, I thought: ‘Just do it yourself!’ In other words, Apocalyptic Vision was intended as being purely a label for reissuing some of my favorite albums by my favorite bands, as well as for Sopor Aeternus. That was of course naive, but luckily, I was able to pull it off.

It seemed I developed a good reputation with this label, and as a result I received more and more interesting enquiries from bands that I treasured, both personally and artistically (such as DIE FORM). Bands that unfortunately didn’t fit into the Apocalyptic Vision re-release concept. I therefore decided to set up a second label, which enabled me to sign precisely these types of bands.

Apart from those specific re-release intentions for Apocalyptic Vision, the philosophy behind both labels is to work with artists who pursue the ‘total work of art’ approach, and who literally live their art. Good music alone was never enough for me, even just as a fan of bands. What excites me is when artists strive for a synthesis of the arts, in order to then transcend art’s boundaries. This idea of striving for a total work of art still applies today. So nothing in my basic philosophy has changed over the last nearly 30 years.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Alex: As explained above, the important thing for me is the ‘total work of art’ approach. I therefore look for artists in whom I see this potential. What’s more, I’m not interested in copies of copies. Back in 1992, when I founded the label, there were countless Sisters Of Mercy clones about. Some of these were really good, but of course, some of them were really terrible. But even the very best of the clones didn’t interest me. I’m interested in artists who want to create something new, and who have this irrepressible drive; this special ‘spark’. And last but not least, the chemistry must also be right. I’m proud to run an independent label, and for me that means first and foremost that the human element must first be established before a contract is concluded, because goals and visions can only be achieved by working together.

Two examples of this ‘total work of art – individuality – partnership’ trinity are Asp Spreng (ASP) and Alexander Kaschte (Samsas Traum). At the time, I was ripped to pieces for these signings. Lots of colleagues, and above all the press, shook their heads. Today, these are two of my most successful artists, and without them ever having had to compromise their principles in any way. As well as their musical projects, both of them are meanwhile active as authors, owners of their own publishing imprints, A&R people and consultants. In short: they’re indefatigable all-rounders.

But because of digitalization, I also have bands on my roster for whom I only release a digital single here and there. In these cases, I don’t apply the above-mentioned selection criteria quite so strictly. Because of the nature of purely digital releases, this is OK, and things work on this premise.

When all’s said and done, working together should be enjoyable. But even though it’s not really the primary consideration for me: I also need to see a certain amount of commercial success. It may not fit in with romanticised conceptions, but even independent labels and their artists need to earn money. As a result of the major –or more precisely, dramatic –developments of recent years, labels need to unfortunately keep a closer eye on this aspect. If you don’t, you’re out of the picture more quickly than you think. There’s a fitting German saying that says you can’t just live on fresh air. Unfortunately, this is true!

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Alex: Digitalization was and is the most radical upheaval of all. People even speak of it as being a new industrial revolution. The positive aspect of digitalization is the accompanying democratization of the music industry.

Today, we can no longer imagine how difficult –rather, hopeless –it was as a newly founded label back then to get a distribution deal. Especially with a distributor who was actually capable of being able to get CDs into the shops. The difficulties we faced back then, just to get an album reviewed in a music magazine, are barely imaginable! In those days, music magazines were the only medium in, which indies could make their releases known. And if that wasn’t enough: all these problems described here didn’t just apply to Germany, but to every country in the world. As a German label without the internet, and armed only with a telephone connection, how could you find out whether there were relevant magazines –and what they were called –in for example France? I can still vividly recall how, for my very first release, “In Out” (cat no AV 001 CD) by the French band Clair Obscur, how difficult it was to send the CDs over the border into this neighbor country (!) and to market it there. It was as easy as it would presumably be today to export Trisol albums to North Korea, hahahaaa!

Today, the entire world is only a mouse click away. Being able to distribute and market music no longer depends on the benevolence of just a few quasi-monopolists.

And as for the negative aspects –everybody knows what they are, so I don’t know if I still need to list them? Today it’s all about Individual songs and playlists. Whoever succeeds in getting onto popular playlists is guaranteed substantial listener figures. For example, most playlists are orientated towards the course of the day, spanning ‘Good morning!’ to ‘Beating afternoon fatigue’ and up to ‘Gently fall asleep’. The artist is no longer important. Everything is based on users’ habits instead. So it’s no longer surprising that the people listening to music are no longer called ‘fans’, but rather really are called ‘users’. But music is also a haptic experience. Apart from the cover artwork and booklet, this also includes the signs of wear that a record or CD in a fan’s possession for a long time displays. Streaming and downloads are soulless! This soulless consumption also has some quite different ramifications. In the past, you could offer a contract to ten bands that you believed in. Nine of these bands would however never make it, but there was always one band who would make a breakthrough. Earnings from this one band could then subsidize the others, which was vitally important for promoting newcomers and keeping the market dynamic. Today, this is no longer possible. Or on a related topic: protest culture and protest songs. Has anyone ever encountered Fridays for Future protest songs?

Of course, strategies need to be adapted. To explain all that, I’d need to write a reference book. I’ll try to illustrate this by means of an example: When I started, it was all about releasing albums on CD, because vinyl was dead. Furthermore, when realizing album projects, we had to take into consideration that the playing time was way over 60 minutes, because the capacity of a CD is greater than that of a vinyl record. And then, when I occasionally did release a vinyl edition, I usually received the pressing, including test pressings, within three weeks, because the vinyl presses were otherwise at a standstill. Today, when releasing albums, you predominantly have to think about the vinyl edition, and therefore a playing time of 45 minutes maximum. Ideally, this must also be easy to split across two sides of a record. But nowadays, a vinyl pressing means having to plan ahead for nearly six months. In short, virtually everything is diametrically opposed to how things were when I started.

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Alex: The pandemic’s effects on the work of the label can be split into two groups: bands that play live lots or tour, and bands who only occasionally play live, or not at all. For more popular bands, it’s vitally important that album releases are accompanied by a tour. This means that, without a tour, the releases planned for these bands also have to be postponed. But for bands whose releases aren’t supported by tours, the pandemic doesn’t affect release strategies in any way at all. However, some of my colleagues see this aspect differently.

But the effects on physical sales are downright epochal. Because bricks and mortar shops were closed –and to an extent still are –the pandemic’s effect on the decline of traditional offline shopping has been like that of an accelerant on a forest fire. Records and CDs are hardly ever bought in local shops, but rather sold via mail order.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Alex: Ah, the good old days of print media… those days are long gone. Personally, I miss those times enormously, because back then I virtually devoured all the magazines: Glasnost, Zillo, Elegy, D-Side, Side-Line, New Life, Ritual, Black, Ghastly Magazine, Propaganda Magazine and Music From The Empty Quarter. The latter in particular made a lasting impression on my musical taste. In those days, if you read a good review by Zillo journalists Joe Asmodo or Dirk Hoffmann, you knew that you could buy the album in question. And you weren’t disappointed. Those were still the days of quality journalism.

Today, a lot of it is just meaningless crap. After you’ve read the reviews, you often still don’t even know what sort of music they’re writing about, and how the album might sound. The press hasn’t done itself any favors there. To an extent, they have themselves to blame for this irrelevance. Luckily, there are exceptions, and I’m glad that in Germany, we still have Orkus! as a print magazine.

So of course, I’m pleased to cooperate with journalists who turn out really great work, and I can still see a clear relevance, irrespective of whether in print or online media.

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Alex: My biggest achievement is that, after nearly 30 years, I’m still running my two labels. My greatest dream is that I’ll be able to pursue this path for many more years to come. Ideally, literally until the end of my life. There are no special preparations in place for this –only my passion for music and a willingness to always be open to new developments, even if I may not always personally approve of them.

My greatest regret is probably the virtually archetypal A&R error: that artists sometimes slip through the net, and that you then regret this for the rest of your life.

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

Even the best marriages can go through rough times, and even the best marriages can shipwreck. That’s what happened between Project Pitchfork founders Peter Spilles and Dirk Scheuber after more than 31 years. The news is not new, but since we have received quite some questions, here’s some more info.

The split – which happened already at the end of 2020 and which is said to be amicable – was officially announced early March on the Project Pitchfork Facebook page in a German language news update. As of the end of 2020 Dirk Scheuber is no longer part of Project Pitchfork. Project Pitchfork as a band will continue to exist and will record new material. The current lineup of Project Pitchfork consists of Peter Spilles and Jürgen Jansen (The Cassandra Complex) who collaborated with the band since 1994.

Dirk Scheuber from his side is now focusing on his solo project Scheuber which just recently released “Numb”, the fourth full length for the project. You can expect a mix of different elements related to Electro/Wave-pop music. Or like our reviewer wrote: “Scheuber clearly is much more than the Project Pitchfork keyboardist; he’s an artist with a very own sound who has already released four albums featuring a couple of great songs!”

Below you can view the live music video of “Mindflux”.

About Project Pitchfork

Project Pitchfork is a German dark wave, electronic rock group from Hamburg, Germany. It was formed by Peter Spilles and Dirk Scheuber with a first live performance in Hamburg in February 1990. A first demo, “K.N.K.A” followed in August of that year and in May 1991, their debut album “Dhyani” was released.

The band’s second album, “Lam-‘Bras” was released in February 1992 featuring vocalist Patrica Nigiani. Six months later already, the band’s third album, “Entities” was released. Two years later we saw the release of “Io” and by then the band had conquered the dark wave hearts of many.

Tours followed, with even selected gigs abroad and the band started its long voyage releasing several cult albums.

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.

side-line.com

Genre/Influences: Electro-Pop, Wave-Pop.

Format: Digital, CD.

Background/Info: “Numb” is the fourth full length for the keyboarder of Project Pitchfork. Dirk Scheuber took off with the excellent “The Me I See” in 2016 and moved on releasing “Changes” (2017) and “Shades” (2019).

Content: The global approach on “Numb” is quite comparable to previous releases. Scheuber is mixing different elements related to Electro/Wave-pop music. The opening song “Mindflux” even has something Future-Pop driven. The songs are again accomplished with carrying choruses. Most of the tracks are danceable, but “Numb” also reveals a few calmer passages revealing a sensible and somewhat melancholic side of the musician.

+ + + : If Scheuber’s debut album was a great surprise, both following works never reached a similar level. “Numb” remains easily recognizable through its danceable and melodic approach, but I prefer this work to both predecessors. First there’s a real great opening song “Mindflux”, which clearly sounds for the dancefloor. Next there’s a perfect twist between danceable beats and sensitive passages revealing subtle piano arrangements and melancholic Electro atmospheres. “Tempting Fate” perfectly illustrates this approach, but I also have to mention “Chrystal Eyes” for its impressive progression. Last, but not least Dirk Scheuber once again proves he’s a real captivating vocalist.

– – – : Scheuber’s sound formula hasn’t that changed since the first album. There’s nothing wrong with that, but it sometimes becomes a bit predictable.

Conclusion: Scheuber clearly is much more than the Project Pitchfork keyboardist; he’s an artist with a very own sound who has already released four albums featuring a couple of great songs!

Best songs: “Mindflux”, “Tempting Fate”, “Chrystal Eyes”, “Prediction”.

Rate: (8).

Artist: www.facebook.com/scu.bar.10

Label: www.trisol.de / www.facebook.com/pages/Trisol-Music-Group/104166526285471

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-pop, wave-pop.

Background/Info: Project Pitchfork keyboardist Dirk Scheuber a few years ago started  a solo-career. His ‘Scheuber’ project is meant to exorcise inner demons resulting in the brilliant “The Me I See”-album (2016). “Changes” has been released one year later and featured similar influences, but not a same efficiency. Time now for the third full length “Shades”. 

Content: Dirk Scheuber hasn’t change any of his influences and sound formula. It remains a kind of dark-melancholic pop music revealing delicate arrangements and noticeable vocals. Two songs have been sung together with the female singer Lilli Engelhardt.

+ + + : “Shades” is a fully enjoyable piece of music on, which Dirk Scheuber again dares to illustrates his fragility as human being. The lyrical content makes you reflect about life and maybe incite to start exorcising your personal demons. “Fame” is a poignant illustration of this lyrical approach, but it also reveals the poetic approach of the artist. Sound-wise “Shades” is mature production revealing an elaborated writing and a musician with great skills to compose carrying melody lines. Both duos together with Lilli Engelhardt inject an extra sensitive flavor to the work.

– – – : What Scheuber is probably missing is a potential hit song. His music is great, the songs are enjoyable, but I can’t really say to have heard an absolute hit song… even if I really love “Tainted Hearts”.

Conclusion: “Shades” is a beautiful album for its artistic production and intelligent lyrical content.

Best songs: “Tainted Hearts”, “Coloured Rays”, “Tempo”, “Fame”, “Recaptured”.

Rate: (8).

Artist: www.scheuber.music.de / www.facebook.com/ScheuberMusic

Label: www.trisol.de / www.facebook.com/pages/Trisol–Music–Group/104166526285471

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-wave.

Background/Info: Peter Spilles assisted by Dirk Scheuber and Jürgen Jansen are back on track adding one more album in the impressive Project Pitchfork discography. The album is available as standard edition and as limited edition featuring an extra disc with an exclusive song and some remixes plus a book.

Content: When I discover a new album of Project Pitchfork I know in advance what will be the main ingredients. Even if that sounds ‘predictable’ it also is what we expect from the Project Pichtfork sound. It’s comparable to your favorite dessert, which you simply want to taste like it always tasted. And for “Akkretion” it means the familiar heavy drum sections featuring the usual bombast, the dark atmospheres hanging over the songs, the carrying melody lines and the typical, growling and charismatic vocals of Spilles.

This album doesn’t sound that different from what we’re used to hearing although some tracks are a bit softer and sometimes cinematographic-like.

+ + + : Project Pitchfork is a band without real surprises, however each time again and again the band seduces its audience. That’s because of this easy recognizable sound DNA and Peter’s unique timbre of voice. You directly know it’s Project Pitchfork and even after all these years of commitment, there’s no single band doing this better than Project Pitchfork itself! Some of the songs reveal a softer side, which is a bit more pop-driven, but it still is a fully accomplished piece of music with a few outstanding songs. I’m referring to “And The Sun Was Blue” and “Ascension”. The lyrical content of this band always has been very different and I’ve to say Peter Spilles here again convinced me by a sort of space-like existential themes.

– – – : The softer side of the album might be also seen as the single point that will maybe not convince some of their fans. I’m not sure this is the kind of album that will go down in history as one of their major releases.

Conclusion: Project Pitchfork is not reinventing their sound, but has just polished a few elements getting the work softer and sometimes pretty refined. A diamond can be never enough polished to glow…

Best songs: “And The Sun Was Blue”, “Ascension”, “Gravity Waves”.

Rate: (7½).

Artist: www.project–pitchfork.eu / www.facebook.com/ProjectPitchfork

Label: www.trisol.de / www.facebook.com/pages/Trisol–Music–Group/104166526285471

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, new-wave, electro-punk, metal-rock.

Background/Info: Thee Flanders is a German psychobilly formation, which has already released several albums throughout the years. They sometimes seem to cover famous songs. This album features 20 remixes by an impressive list of mainly electro-underground formations.

Content: The main songs of this release are “You Spin Me Round” from Dead Or Alive and “Nightmares” from A Flock Of Seagulls. Both 80s new-wave hits have been covered by Thee Flanders, sung together with Bela B (Die Ärzte) and Markus Meyn (Camouflage) and remixes by Leather strip, Die Krupps, Blind Passenger, Robert Görl, Ad:Key, Beborn Beton, Scheuber feat. G. Thomas, Patenbrigade: Wolff, In Strict Confidence, Absurd Minds, Mirko Hirsch, Head-Less, White Trash Wankers, T.A.N.K., Sound Tessellated, Beyond Obsession, Tomas Tulpe, Modekay, Keller Technik and The Klaak Syndrome.

The result is a very diversified release, which mainly sounds electro-like, but moving from darker-electro remixes to EBM to electro-minimal, but also electro-punk, new-wave and somewhat metal-orientated work. Notice by the way that White Trash Wankers is the only band that remixed another song (cf. “Buried Alive”).

+ + + : This album definitely sounds like a challenge, but especially for the fans of the band who I can imagine aren’t used at all to hearing their favorite band remixed by electronic formations. It’s not only a challenge, but I like this originality and it could be fun to hear one of those famous electro-acts featured on the album getting remixed by psychobilly bands. Why not? But the main point is that especially the remixes of “You Spin Me Round” feature a few outstanding versions. I want to make a special mention for the originality and minimalism of Patenbrigade: Wolff, the groovy approach of Head-Less, the harder version of Die Krupps and into EBM transposed remix of AD:Key. Another noticeable remix is “Nightmares” from Leather Strip.

– – – : There are a few less inspired remixes featured, but that’s rather understandable when you get a total amount of 20 remixes. But the main point remains for sure the reaction of the Thee Flanders fans about this totally weird challenge.

Conclusion: Is it just for fun or a psychobilly formation that has found a way to enter electro clubs? Whatever it is, this work is DJ food and be sure you are going to dance to it!

Best songs: “You Spin Me Round – Patenbrigade: Wolff Mix”, “You Spin Me Round – Head-Less Mix”, “Nightmares – Leather Strip Mix”, “You Spin Me Round – Die Krupps Mix”, “You Spin Me Round – Mirko Hirsch Mix”, “You Spin Me Round – AD:Key Mix”.

Rate: (8).

Band: www.theeflanders.de / www.facebook.com/theeflanders

Label: www.half7records.de /  www.facebook.com/Halb-7-Records-203287363058978

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 Swedish act Machinista are working hard on the final tracks for their upcoming album “Anthropocene”. But you won’t have to wait that long to hear new material from the band as they have now released a brand new single, “Let darkness in”.

“Let darkness in” features Dirk Scheuber (SCHEUBER, Project Pitchfork) on guest-vocals and is backed by the b-side “Universe is here” taken from the upcoming album. You can listen to it below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Genre/Influences: Dark-pop, wave-pop, electro-rock.

Background/Info: Dirk Scheuber (Project Pitchfork) last year took numerous music lovers by surprise unleashing his solo-debut “The Me I See”. The album revealed an alluring and totally accomplished dark electro-pop format on, which the artist exorcised some of his heaviest inner demons. Music heals all pains! One year later Scheuber is already back on track unleashing “Changes”.

Content: The music and inspiration hasn’t changed that much. The music still sounds dark and melancholic, which is true for the lyrics as well. Dirk Scheuber again invites the listener to chase some of his dramatic life experiences. That’s an aspect that comes really true when you pay attention for the lyrical content.

The music remains melodic, sometimes a bit moving into pop-rock influences, but definitely different from established standards. Dirk Scheuber again reveals to be a talented and passionate singer.

+ + + : “The Me I See” was not just a one-shot experiment and that’s for sure an important element, especially after this successful debut. So I was eagerly awaiting the second chapter in Scheuber solo-career. He has created a sound, which you can’t directly link with any other band and that’s a damned great thing. Scheuber is not a copyist and has enough experience to make a step away from  Project Pitchfork. He has found a great exit to cure his wounds, music becoming the perfect ally to beat any form of addiction. I like the melody lines and the melancholia running through the songs. The final tracks are more elaborated and definitely the best part of the opus.

– – – : “The Me I See” took me by surprise, but this album leaves me a bit skeptical. The debut album sounded more intimate while you really can feel the ‘pain’ on it while “Changes” maybe has a similar sensation for the lyrical content, but not for the composition. The songs are more repetitive and even predictable while I’m missing the climaxes from the debut album. It feels a bit like this album was more written in one and the same flow while missing the spirit that made “The Me I See” that successful.

Conclusion: I often hear artists saying that releasing a second album after a successful debut work is a bit of challenge! That’s a bit what I experienced listening to “Changes” from Scheuber. Don’t get me wrong, it’s a cool and entertaining work, but the work stands in the shadow of the debut opus.

Best songs: “Fragile”, “Spiritwalker”, “Form”, “Bliss”.

Rate: (7).

Band: www.scheuber–music.net / www.facebook.com/ScheuberMusic

Label: www.trisol.de / www.facebook.com/pages/Trisol–Music–Group/104166526285471

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-wave, EBM.

Background/Info: Twenty five years after their official debut album “Dhyani”, which became an instant success, Project Pitchfork is back on track with a new opus that has been announced by Trisol as one of their most important releases to date. Peter Spilles and his acolytes featuring old servant Dirk Scheuber –who previously this year took the world by surprise unleashing a brilliant solo-opus, accomplished 12 new songs.

Content: Globally speaking the new album reveals the most familiar elements of a good Project Pitchfork album. There still is the hard and impressive bombast, which you mainly can hear in the rhythm sections next to the reverie synth parts and subtle piano arrangements. Project Pitchfork once more excels in bringing opposite elements together, which finally results in a harmonious and mature writing.

One of the main strengths of the songs remains the carrying chorus lines. Project Pitchfork has this fine taste to create carrying and somewhat wave inspired melody lines. You now and then will notice an industrial touch, but still hard and merciless EBM passages. “Look Up, I’m Down There” can be evasive and next hard and merciless. That’s a bit comparable to our daily life, which remains an important source of inspiration for the lyrical themes. The lyrical content remains another important aspect of the work and I especially like the kind of symbolism and metaphoric approach.

+ + + : “Look Up, I’m Down There” is one more accomplished album for Peter Spilles. It’s probably not his best album ever although one of the best from the past few years. The music mixes power and evasive passages while always carried by solid choruses. I like the symbiosis between rough drum sections and refined piano arrangements. I also have to mention a terrific EBM bass line running through “Titânes”, which is for sure one of the most surprising cuts of the album. This album will ravish all the fans of the band.

A last, but essential aspect of this album is the great artwork. The gothic-like front cover is absolutely great and artistic and that’s an aspect you’ll never get on digital format.

– – – : I can’t say that “Look Up, I’m Down There” is as surprising as announced. I can’t say that Project Pitchfork is reinventing its sound, but it remains a damn great sound!

Conclusion: Project Pitchfork remains a very single sound experience in dark electro underground music and this album is there to remind us why this formation belongs at the top for years now. This is definitely one of the major releases from the end of 2016!

Best songs: “Titânes”, “Look Up, I’m Down There”, “Furious Numbers”, “Blind Eye”, “Volcano”.

Rate: (8).

Band: www.project–pitchfork.eu / www.facebook.com/ProjectPitchfork

Label: www.trisol.de / www.facebook.com/pages/Trisol–Music–Group/104166526285471

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-pop.

Background/Info: Dirk Scheuber will always linked to Project Pitchfork and the one behind the keyboards. He got involved in a few other bands like Kyova and Ribcage, but that’s already a while ago now and none of these projects become really successful. It was high time for Dirk Scheuber to walk into the light, leaving Project Pitchfork in the shadow to reveal his real skills.

Content: “The Me I See” seems to have been created and composed as a kind of final cure to exorcise personal demons. We all know the greatest masterpieces have been often realized when an artist touched the bottom of mental disease. This album sounds dark, although filled with a hope. The music of Scheuber left me breathless. Comparisons with Project Pitchfork are unavoidable so even if Peter Spilles is a genius, this album is definitely more accomplished than the latest albums from the ‘pitchies’.

The songs are driven by pop-minded grooves while carried by danceable kicks. There also is a fascinating evasive atmosphere supporting the tracks. It sounds a bit space-like and is reinforced by multiple astral sweeps. The vocals are pretty cool, but maybe remain the single element that could have been better and especially more passionate.

This is a beautiful album with a very personal pop approach. The choruses are sometimes elevating the music towards a climax. A few songs even remind me to a darker expression of Moby.

+ + + : The album sounds very personal because of the intimate lyrical content. The beauty of the lyrics totally match with the accomplishment of the music. It’s a dark kind of pop-music revealing exciting groovy passages and danceable rhythms. The choruses have a transcendental feeling. “The Me I See” is a real revelation in sound and a brilliant production revealing the real Dirk Scheuber.

– – – : I’m convinced that the production of the vocals could have been better. Don’t get me wrong, Scheuber is a talented singer (singing in English), but I’m sometimes missing a bit more passion.

Conclusion: “The Me I See” is a brilliant album from an artist who probably remained for too long in the shadow of Peter Spilles. Respect Mr. Scheuber, you’ve accomplished a pure sonic jewel!

Best songs: “Out Of Time”, “Space”, “Human”, “Chyta”, “Methods”.

Rate: (8½).

Band: www.facebook.com/ScheuberMusic

Label: www.trisol.de / www.facebook.com/pages/Trisol–Music–Group/104166526285471

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

5 years after releasing “First Anthology”, Project Pitchfork now sees “Second Anthology” being lined up for a release in March (you can pre-order the 2nd anthology right here, the first one is available here). The set again comes as a double CD set, this time holding 33 songs, including lots of rarities such as an exclusive brand-new song; an unreleased duet version with Sven Friedrich (Solar Fake, Zeraphine); 4 songs which were entirely re-recorded and re-sung; and 6 completely reworked tracks.

All tracks have been remastered and the package comes with a 28 pages booklet. As we wrote back in 2013, the band is a ‘living legend of electronics’, and this new double CD anthology explains you why.

So far they have released 17 studio albums, including “Blood”, released in 2014. Based in Hamburg (Germany) Project Pitchfork currently has the following line-up: Peter Spilles, Dirk Scheuber, Jürgen Jansen and Achim Färber.

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.

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