After parting ways with the post-punk powerhouse Public Image Ltd. in 1985, drummer Martin Atkins found himself in high demand, collaborating with numerous bands such as NIN, Killing Joke, and notably, William Rieflin of Revolting Cocks and Ministry. Together, Rieflin and Atkins embarked on their most ambitious project to date: an industrial music supergroup called Pigface, bringing together the talents of their various associates.

In 1990, Pigface released their debut album “Gub,” which includes the original version of “Suck” featuring Trent Reznor. Reznor later re-recorded this track for the 1992 NIN EP “Broken.” With contributions from artists such as Chris Connelly of Revolting Cocks, David Yow of The Jesus Lizard, Nivek Ogre of Skinny Puppy, Paul Barker of Ministry, En Esch of KMFDM, and Steve Albini, “Gub” has rightfully earned its reputation as one of the most daring sound recordings ever created.

Atkins reflects on the album, saying, “This was such a liberating time—bringing together this extraordinary group of musicians and not worrying about the outcome (although, of course, we did). We had the luxury of working in the legendary Chicago Trax studios with the talented Steve Albini to capture and convey it all. It’s fascinating to think that Trent’s involvement was even a topic of debate—NIN wasn’t well-known yet, and some suggested we could save $150 on a round-trip airfare from Cleveland by not involving him. I vetoed the idea. Bill Rieflin and I came up with the concept for the project during warm-ups for Ministry’s cage tour, and the immense contribution of Francesca Sundsten’s iconic artwork to the project cannot be overstated.”

The album is now receiving a deluxe reissue from Cleopatra Records, showcasing Francesca Sundsten’s restored artwork and a gatefold image of Pigface’s original promotional picture, assembled by Chris Connelly. This reissue also offers bonus remixes and extra track versions for the first time in a single release. The CD edition comes in a premium digipak, while the vinyl version is available in an array of colors.

The tracklist:

1. Tapeworm with Steve Albini
2. The Bushmaster with Trent Reznor & David Yow
3. Cylinder Head World
4. Point Blank with Steve Albini, Chris Connelly
5. Suck with Trent Reznor & Paul Barker
6. Symphony For Taps
7. The Greenhouse with Chris Connelly
8. Little Sisters with Chris Connelly, William Tucker
9. Tailor Made with Steve Albini, Paul Barker
10. War Ich Nicht Immer Ein Gutter Junge? War Ich Nicht Immer Schoen Und Nett? Ich Zerpfluckte Niemals Eine Spinne-War Neimals Frech Und Stahl with En Esch
11. Blood and Sand with Chris Connelly, Matt Schultz
12. Weightless with Chris Connelly
13. Tonight’s The Night (Little Sisters Remix)
14. Winnebago (Induced Tapeworm Remix) with Nivek Ogre
15. The Bushmaster (Bushmaster Remix)
16. War Ich Nicht Immer Ein Gutter Junge? War Ich Nicht Immer Schoen Und Nett? Ich Zerpfluckte Niemals Eine Spinne-War Neimals Frech Und Stahl (Remix)
17. Suck (VX Remix)
18. Suck (Reverse Sitar Mix)

Bernard - Side-Line Staff

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

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The UK goth rock act Salvation will play at the ‘Tomorrow’s Ghost Festival’ in Whitby on Oct 28th with The March Violets.

For those who missed it, the band released the live album “We Gave You Diamonds​.​.​. Live at De Casino!” on CD and purple vinyl in late 2021. There are still a few copies available from this limited vinyl edition of 300 copies. The first 100 copies came with a free Salvation Tote Bag. The CD version holds a 12-page colour booklet with exclusive photos of the band on stage and the fans.

The live recording itself was made at De Casino in Sint-Niklaas (BE) on March 7th 2020 on the final night of a four-date tour supporting The Mission.

About Salvation

Salvation was formed in 1983 by Danny and James, who experimented with noise using bass guitar, synths, and pedals. They recorded their first single, “Girlsoul” on Merciful Release, with the help of Andrew Eldritch from The Sisters of Mercy, and recorded six songs for an album, “Clash of Dreams”, that was ultimately shelved. Only 4 ‘test pressings’ were made at the time and the release was shelved. The album remained unavailable until it was remastered and released in October 2014.

Mike left the band, but Choque joined with his 12-string guitar and pedals, and the band continued to produce recordings with a psychedelic goth sound.

In 1987, James left and was replaced by Ben and Richard, transforming Salvation into a well-oiled rock ‘n’ roll machine. The band’s “Diamonds Are Forever” album sold solidly at home and abroad and breached the indie charts.

The band continued to tour and record, but Paul left and Choque left for his mistress, The Hollow Men. The band underwent serious auditions and brought on new members, Andy M and George Schultz. The band released their “All And More” EP and in 1989, the band was signed to Miles Copeland’s IRS label and released their album “Sass”. Salvation from then on toured extensively with The Alarm, Fields of The Nephilim, New Model Army and The Wonderstuff.

Constant gigging took its toll, and the band’s groove machine reached terminal meltdown. Danny left the band in mid-1990, signalling the end of their IRS contract. The band recruited another singer, but things were never the same, and the final curtain soon descended.

In March 2020, the band played 4 shows supporting The Mission in France and Belgium.

The current line-up consists of Daniel Mass, Benoît Farvak, Paul Lavender, Nic Bate and Stuart Owen.

Bernard - Side-Line Staff

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

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Out via Sliptrick Records is the new single / official video for the industrial metal act Frau Fleischer.

“Baby I’m Free” is the second single from the first Frau Fleischer album and comes right after the first single “Sacrifice”.

Says the band in a reaction: “This is a hymn to freedom, to the possibility of being and achieving whatever we want, of thinking and looking in our own perfect way and to be as sexual as we want without needing to justify for anything and to nobody. It represents the difficult and hurtful run we do to silence those voices in our minds that try to push us away from our goals, but that run is a dance we love to do, because we stopped caring about things that don’t belong to us anymore and gave ourselves that kindness we deserve.”

The Official Lyrics Video was written by Gabriel Daimon and Lavinia Andreini, directed by Lavinia Andreini and shot by Lavinia Andreini and Michele Celli.

Frau Fleischer are Gabriel Daimon (vocals), Gregory Lambert (guitar), Franz Schultz (electronics).

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: Industrial, electro-metal.

Format: Digital, CD.

Background/Info: French formation Schultz strikes back with a new full length. The last year released album “Shot Of Pain” definitely was their best and most accomplished work to date. “Black Magic Party” reveals ten new songs released for the very first time on Hermès Records.

Content: If you’re a little bit familiar with the sound of Schultz, the album wont have many surprises The main difference with their previous work is the guitar playing which all sounds like having being empowered. This work sounds a bit more metal-driven, but electronic treatments are still there. The vocals are matching with the furious expression of this work. That’s an aspect that even comes through in some of the female backing vocals.

+ + + : The magic of the previous work was the harmony –or complementarity, between guitar and electronics. Well, the best songs of this new work are the ones made with the same formula. “I’m The Drugs” and “Black Out” both reveal the best out of Schultz. I like this furious composition, which is mixing industrial- and metal music. Another song worth to mention is “My Cat Loves Satan”, which is driven by enraged fem        ale vocals, but I also like the sphere hanging over this song. There’s something malicious here.

– – – : Schultz remains driven by their influences, but I regret there’s less harmony between the guitar and electronics like on their previous work. All the tracks are also pretty short (under the 4 minutes) and that’s a pity especially for the best songs.

Conclusion: If you like good-old industrial guitar/electro, this album will catch your attention. It’s pretty entertaining, but can’t compete with the excellence of “Shot Of Pain”.

Best songs: “I’m The Drugs”, “Black Out”, “My Cat Loves Satan”, “Demons In My Computer”.

Rate: (7½).

Artist: http://schultzmusic.fr / www.facebook.com/SchultzIndustrialMetal

Label: www.facebook.com/hermesrecords

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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Schultz saw the daylight in 2002, but things really started in 2004 when Franz Schultz joined hands together with performer VDREY. The band released several albums and did a lot of live performances. After a hiatus of several years Schultz is now back on tracks. The current line-up consists of Franz Schultz (electronic & vocals), ‘GuitarFox’ (guitar & vocals) and ‘Sandy Dynamite’ (live dance & vocals). They this year released the new opus “Shot Of Pain” on BLC Productions, which stands for a kind of new start revealing a furious mix of electronics and guitar.

(Courtesy by Inferno Sound Diaries)

Q: The origins of Schultz bring us back to the early millennium years. Can you briefly remind us how it all started with the Schultz project? Your meeting with VDREY? The release of the first albums till the new work “Shot Of Pain”?

Franz: Schultz started in 2002 as a solo project. In 2006, somebody in Swiss asked VDREY to create an art performance for a fetish event. She asked me if I was interested to work with her on it, and then the project continued to grow from this moment to now… In 2014, VDREY decided to give her last concert in the same place where everything started in 2006. After a few years break, we have released in 2017 a 6-tracks album called “Raw Fucking Power” and VDREY sang on several tracks. In 2017, a local festival contacted us to open for Dirk Ivens and Clan of Xymox, so we invited GUITARFOX and SANDY DYNAMITE to play with us on stage. Some months after, VDREY left the project, to another artistic choice. We continued with four members during a short time and now we are three; a formula that suits us perfectly today.

Q: “Shot Of Pain” has been written and released after a break. Why did you need a break and what has been its impact on the new album?

Franz: This break was a kind of breathing after being performing all over the world for over 8 years, it was a necessary pause, I think. A moment of questionning, the opportunity to do something else and to wonder if I still wanted to make music or to do something else of my life. The impact was very benefic for this new album. I came back more motivated than ever, the brain brimming with new ideas to express.

Q: “Shot Of Pain” feels a bit like a new beginning or should I say the album on, which you gained maturity and found the perfect balance between guitar and electronics. Tell us a bit more about the composition of the work, the lyrical content and what does “Shot Of Pain” mean to you?

Franz: For me it is really a new beginning. The opportunity to express what I had in my mind for some time without having the means to express it. I am not a singer and I am totally unable to play guitar. But I wanted to learn and work to get this result, and with the arrival of GUITARFOX and SANDY DYNAMITE, I’ve been able to concretize it all. The recording took a year because we all are perfectionists, but when we listen to the result, I think it is a full satisfaction for us all.  And when I read that this equilibrium is perfect, I can only be delighted with the choices we made. Shot of Pain has many meanings for me, a long and sometimes painful work to achieve, the dose of suffering that accompanies all process of creation, but also a big slap in your face.

Q: You seem to like working with guest artists. What do you like in these collaborative efforts, how did it happened technically and tell us a bit more about the input of the French punk-band Ludwig von 88 on two songs from your last album?

Franz: In fact, my relationship with K.B is a strange story. I knew K.B from Ludwig Von 88 for several years without knowing who he really was, just as a work friend… Talking with him he revealed to me what seemed to be obvious to him because everyone around us knew it. Then, I explained him that I was also into music, and asked him to record some tracks with us, which he immediately accepted without knowing what to expect. The recording was done in 30 minutes, I told him to do what he wanted, he improvised, and then, two titles were born. We stayed in touch since this time more than in the past, and we will have the honor to open for his band in a few weeks, a dream that seemed totally unrealistic a year ago.

Q: VDREY seems very important in the ‘image’ and ‘live shows’ of Schultz, but what’s her input in the global writing/production process?

Franz: VDREY had a very important impact on this album for several reasons. First of all, because the first versions of some tracks were sung by her (on the 6-tracks album “Raw Fucking Power” released in 2017). During all the time we’ve been working together, we did everything together, she also realized all visual stuff on stage but also on video. We have worked like that during several years, the music on my side, the visual part on her side. She appears several times in this album (also on the first video “I Hate You” because for me, it represents a transition between the SCHULTZ of before and the SCHULTZ of today. She is a founding member of the project, and if one day she wants to come back in the band, the door will be wide open.

Q: We all know how difficult it became to sell physical releases, which I think must be very frustrating for artists and record companies. How do you as an artist experience this evolution and is there something like a strategy to fight back and catch the attention of listeners and potential new fans?

Franz: It’s a strange period for music since several years. I make music since a long time, GUITARFOX and SANDY DYNAMITE too, and we all knew the time when it was easy to sell 500 records in a few months. For sure, things have changed, people now are listening more music on their phone or computer, and don’t care at all if quality is better on CD or not… The music is now more a commercial product than an art… They prefer buying CD only when they want to have a beautiful object in the hands, something concrete and not a simple digital file. In the past, physical supports were the only way to have music at home, excepted radio, but things have evolved, and now people want everything for free or cheaper price.

Personally, I know the amount of work involved in creating an album, from the writing to the pressing, and I think it’s a form of the artist’s respite to buy an object when there’s been real work behind it. We try to adapt, to propose beautiful visuals, beautiful graphics, beautiful videos or original objects as on the project we are currently working on and on, which we will start to communicate in a few weeks. The social networks are also very important but double-edged, it is very hard to catch the attention of listeners due to a very large offer, it can take months or even years, and everything can collapse in a few minutes. It is the idea we express in the track “Fake World” in the album “Shot Of Pain”.

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: Industrial, electro & metal.

Background/Info: Schultz is a French solo-project which saw the light of day in 2002. Later on Franz Schultz joined hands together with painter and stage performer VDREY. Several albums have been released on different labels, but “Shot Of Pain” is the first new opus since the self-titled album released in 2011!

Content: I can’t say that Schultz reinvented its sound, but there’s more harmony between guitar parts and electronic treatments. The result is an extremely powerful opus, which sometimes makes me think of an imaginary fusion between Cubanate and Birmingham 6. Electro vintage sounds (sometimes evoking The Neon Judgement) and heavy metal guitar riffs are the essence of this work.

Some guests have been invited to achieve a few songs, but the most surprising feature is for sure the legendary French punk formation Ludwig von 88 contributing on 2 songs.

+ + + : Schultz has gained an impressive maturity resulting in  a brilliant and totally accomplished piece of work. There’s a genius harmony between guitar and electronics. This is a crossover sound evoking some pioneers in the genre. I also like the production of the vocals; they’ve been used more like an extra effect while sampled passages are still featured. There are several noticeable songs on this album. I have a preference for the body-industrial like “Fuck Buddy” and “Drugs Are Sins” featuring VDREY and Ludwig von 88.

– – – : I don’t see real minus points about this work!

Conclusion: “Shot Of Pain” sounds as great industrial-body music; a sexy fusion between metal and electronics and definitely an album that has to put Schultz back on the industrial music map.

Best songs: “Fuck Buddy”, “Drugs Are Sins”, “My Wish”, “House Of Misery”, “La Musique Me Rend Sourd”.

Rate: (9).

Artist: www.facebook.com/SchultzIndustrialMetal

Label: www.facebook.com/BLC–Productions-1534826426812404

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: IDM, industrial, experimental, dark-ambient, electro-minimal.

Background/Info: David Lynch fans and especially the “Twin Peaks”-ones will directly recognize the legendary extract ‘The Owls Are Not what They Seem’. Russian label Zhelezobeton previously released the sampler “Now It’s Dark”, which already was a tribute to the legendary filmmaker. This new tribute features mainly remixes from these songs. Most of the bands are featured with two cuts.

Bands: Reutoff, Sal Solaris, Kryptogen Rundfunk, Anthesteria, Peter Theremin, Wunderblock, Light Collapse, Povarovo ao.

Content: This is a quite diversified compilation featuring a total amount of 25 tracks. Most of the bands are hailing from Russia. This sampler is an invitation to discover a varied selection of music tracks inspired by the work of David Lynch and transposed into different kinds of music.

+ + + : I like the concept, but the main strength of this album definitely appears to be the discovery of less familiar and simply unknown music projects. The IDM orientated cuts are pretty inspired and I especially want to tip the track of Relic Radiation remixed by Sal Solaris. Another noticeable cut is the one by Povarovo remixed by Bionoid. I also want to mention another track of Relic Radiation remixed by Alex Schultz, which moves into electro-minimalism. The IDM tracks clearly are the best exponent of this sampler.

– – – : Diversity creates a lack of coherence between some tracks. It’s quite strange to hear a totally industrial and experimental cut as an ode to David Lynch while other cuts are definitely more electro- and even dance-like. On the other side it also stands for the work of Lynch, which often is hard to seize.

Conclusion: This is a noticeable compilation, which I absolutely recommend. It will give you the opportunity to discover a bunch of ‘new’ bands, but still many cool cuts. I would like to know what David Lynch would think about it….

Best bands: Relic Radiation, Povarovo, Krytogen Rundfunk, Light Collapse.

Rate: (8).

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