Out now is a brand new Fatal Casualties new track, “Monomania“, which holds guest vocals by Gin Devo (Vomito Negro).

“Monomania” is the first track taken from the coming “Guest EP II” (release date to be announced). You can check out the track below.

Fatal Casualties will release 3 “Guest EP´s” in 2024 via the German label Minimalkombinat. The contributing guests on the first “Guest EP I” were: Dean Piavani (Portion Control), Stephen Mallinder (Cabaret Voltaire), Émelie Huard (Prosymna), Pelle Ossler and Mick Clarke.

3 of the songs from “Guest EP I” has been released earlier as videos:

About Fatal Casualties

Fatal Casualties is a Swedish experimental electronica band formed in Stockholm in 1986 by Stefan Ljungdahl and Ivan Hirvonen. Initially active from 1987 to 1991, they went on a long hiatus before reuniting in 2010. The band’s first official release was the EP “Paria” in 2012, following years of releasing demos and live performances.

The band’s music blends various electronic styles, often characterized by dark, cinematic atmospheres and experimental sounds. Their third album, “Filter”, released by Seja Records, exemplifies their evolution, incorporating ambient and slow rhythmic elements with an experimental edge.

Fatal Casualties have regularly collaborated with other artists, such as their work with Stephen Mallinder of Cabaret Voltaire and Dean Piavani of Portion Control. These collaborations feature prominently in their trilogy of EPs titled “Guest”, exploring themes of resilience and introspection.

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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Fatal Casualties have published a cover of “One hundred years” (The Cure) with guest vocals made by Alex Spalck (Pankow). You can check the cover in the animated video below.

Fatal Casualties are Stefan Ljungdahl & Ivan Hirvonen. The band was formed in Stockholm, Sweden 1986 and was active between 1987-1991 before going dormant. During that period they recorded a bunch of demos and played live. In 2010 the duo reunited and on August 1st 2012, the band released its official debut EP “Paria” (self-released digitally and as a limited cd on Seja Records 20th of march 2013).

The Italian cult act Pankow, also written in Cyrillic letters ПАНКОВ in the early period, was formed in Florence in 1982. The founding members lasted only a few years. Later the band consisted of permanent members Maurizio Fasolo, Alex Spalck and Paolo Favati.

Here’s the video.

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: Wave-Pop, Industrial, Ambient.

Format: Digital, CD.

Background/Info: Originally set up in 1986 and remaining active until 1991, Swedish formation Fatal Casualties went into hibernation until they started a second life in 2010. After having released three significant albums on Seja Records they now joined hands together with i-Traxx to unleash this new opus, which is the first one in four years.

Content: Fatal Casualties is a band in constant evolution. This new work is however the most difficult one to catch and that’s because of its eclecticism. It remains an Electronic composition, which takes off a rather Doom-like way to move next into Minimal-Electronics. We next get a kind of Trip-Hop cut reminding me of Massive Attack. There also is a strong Industrial approach running through multiple cuts. Some passages are into darker atmospheres while others are into 80s Wave-Pop melancholia.

+ + + : The main strength of this work is the sensation of travelling. Fatal Casualties is not dealing with one explicit genre, but travels throughout different influences creating their most versatile work to date. The album has something stubborn, but it creates the fascination for this work. Finally a band daring to defy established music genres. All I can say is that it resulted in a few little jewels like “Punk Ghetto”, which is a great Minimal-Electro piece with a carrying chorus. Another major song is “It Could Have Been You” for the link with the Massive Attack-style.

– – – : If there’s one single reproach I should make it’s precisely the album’s diversity. I’m sometimes missing a bit of cohesion between the songs. 

Conclusion: Fatal Casualties remains one of the most atypical and personal Swedish Electronic formations, which is masterly exposed at this new opus.

Best songs: “Punk Ghetto”, “It Could Have Been You”, “Café Art”, “Repository World”.

Rate: (7½).

Artist: www.fatalcasulaties.com / www.facebook.com/FatalCasualtiesBand

Label: http://musex-industries.es / www.facebook.com/itraxxrecordings

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: Punk, punk-rock.

Format: Digital, CD.

Background/Info: The Reuters is a band from The Netherlands featuring Seja Records owner Johan Buurke. While they have a new album in the pipeline (cf. “Incubation”) this special EP, which is not for sale, is meant to familiarize you with the band. It features two previously released songs plus three new cuts, which are taken from the upcoming opus.

Content: I didn’t exactly expect a band dealing with a mix of punk-rock and some extra psychedelic elements on top. Some passages remind me of The Cramps, but globally speaking The Reuters is a band on its own. It’s a bit rough and clearly unpolished, like awakening some good-old spirits from the 80s, when bands were rehearsing in a cellar or a garage. It sounds pure fun!

+ + + : The punk approach of this formation ha something refreshing. It sounds a bit as a demo and yet, it makes sense. I like all of the songs although I clearly have a preference for “Top Die Back Up”, which is a new one. There are some great guitar parts running through this cut. The opening –and already familiar, song “Ambient Ambulance” is another noticeable cut. I like the deep bass and the global spirit of the song.

– – – : The production can be more polished and styled, but it would be not the same result!

Conclusion: I’m really looking forward to the new album of The Reuters. I’m totally convinced by this punkish EP.

Best songs: “Top Die Back Up”, “Ambient Ambulance”, “Credits”.

Rate: (7½).

Artist: www.facebook.com/TheReutersBand

Label: www.seja.nl / www.facebook.com/sejarecords

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: Psychedelic, dark-rock, experimental, krautrock, chanson.

Format: Digital, CD.

Background/Info: TIJ (The Inconsistent Jukebox) is a project driven by Barry Snaith who’s also involved with m1nk (signed on Seja Records). “Gig Economy” is his solo-debut although he got considerable help and input from guest musicians –mainly his m1nk mates.

Content: m1nk is already something weird –and this is not meant as being negative, but TIJ moves even a step further. It simply is impossible defining the sound of this project, which rather sounds as a sonic melting pot. The opener of the album is mixing psychedelic elements together with some krautrock while the next track comes closer to dark-rock and the next one as a chanson experiment. The songs are clearly filled with a part of dark reverie, the sphere being an essential element of the work. The vocals have something sensual and are perfectly matching with the composition. Electronics and guitar play have been merged together, which I think creates this eclectic approach you can’t totally put your finger on.

+ + + : The main common element with m1nk is the originality of the project. TIJ doesn’t care about established music genres or trendy styles. It all comes from a creative spirit and resulted in a few noticeable songs. I especially like the ‘chanson’-approach running through “Sing Me Something Sinister” and “Let Me In A Dream”, but there’s also something to say about the more rock orientated “A Puppet Pulling Strings”. The sphere hanging over the songs has something particular. But one of the main strengths might be the production of the vocals, which has something sensual and bewitching.

– – – : This album remains something really apart and that’s probably what makes the difficulty and the challenge to reach a wider audience.

Conclusion: TIJ is a project that will appeal to open-minded music lovers and for those who’re thinking out of the box. I can’t say to be totally conquered, but it’s an original work!

Best songs: “Sing Me Something Sinister”, “A Puppet Pulling Strings”.

Rate: (6).

Artist: www.facebook.com/TIJmusic

Label: www.seja.nl / www.facebook.com/sejarecords

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: Experimental, downtempo, jazzy.

Background/Info: M1nk was set up by the English-Greek duoErika Bach – Barry Snaith. After two singles released last year on Seja Records, they’re now back on track unleashing their debut full length. The title “Em One En Kay” is the way you’ve to pronounce the band name. 

Content: The least I can say is that M1nk is hard to label. They’re inspired by bands such as Portishead and Tricky, which is an element you can find in their sound, but it goes much further than simply downtempo and other dubstep influences. There also is a pretty jazzy touch running through the songs that have been reinforced by Erika Bach’s deeply, sensual timbre of voice. The electronics sounds experimental, sometimes like a fusion of sounds and noises while the deep, resonating bass lines are one of the album’s main characteristics.

Among the tracklist you’ll recognize both previously released singles “The Far Side” and “eBomb”.           

+ + + : This album sounds like a challenge, but it’s a damned good- and original one. The mix of jazzy influences together with pure experimental sound treatments and the heavy, vibrating bass lines has something magic. I also enjoyed the somewhat psychedelic guitar playing. Any good album needs the right vocalist and here again M1nk took me by surprise. The sensual and somewhat mysterious vocals feel like the cherry on the pie.

– – – : M1nk doesn’t feel like a band that might conquer an electronic- and/or gothic underground scene –which has been often the target from Seja Records. So it will be hard challenge, but it will maybe enlarge the label’s horizon. I was less convinced by both last cuts, which are somewhat different.

Conclusion: Challenges are always somewhat tricky, but I really hope this album will get a deserved recognition.

Best songs: “Devil under”, “Some Elusive”, “Love Sign”, Psycho Erotic”, “eBomb”.

Rate: (8).

Artist: www.m1nk.com / www.facebook.com/m1nk.official

Label: www.seja.nl / www.facebook.com/sejarecords

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: Apocalyptic-rock, doom-rock, krautrock.

Background/Info: Set up by Nathalie Houtermans (vocals)  and Hans Dirksden-Smits (guitar) they later on were joined by Martin Kooy (bass) and Jacob van der Linden (drums). After two self-released albums on cassette format they now joined hands together with Seja Records to unleash the official debut album of Katie Kruel.

Content: If you’re a bit familiar with the Seja roster, you’ll have to agree Katie Kruel will definitely enlarge the sonic horizon of the label established in The Netherlands. The music sounds pretty dark, sometimes a bit doom-like. It has something apocalyptic-rock driven joined by the enraged vocals of Nathalie Houtermans. Some passages also has something krautrock-minded so in the end Katie Kruel is mixing and revisiting different genres and influences.

+ + + : The dark sound merged together with the enraged vocals both create a dangerous cocktail. It’s a furious opus, which especially on the second half is reaching a sonic cataclysm. The furious format has something exciting, which mainly emerges at “Still” and “Jinx”. I also have to say a word about the dark, sober, but cool artistic digipak.

– – – : If you’re familiar with Seja Records, you for sure are going to be surprised. It sounds like a challenge, which might catch the attention of a wider audience. I have to admit it’s not really my favorite album from the Seja roster. 

Conclusion: It’s not that easy to get an idea about the sound of Katie Kruel, but if you take Can, Limp Bizkit and Nirvana together and you’re next adding an extra dark touch on top you maybe will have an idea what to expect!

Best songs: “Still”, “Jinx”, “Headless Heart”.

Rate: (6½).

Artist: http://katiekruel.net / www.facebook.com/Katie.Kruel

Label: www.seja.nl / www.facebook.com/sejarecords

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-wave, ethereal-gothic, goth-pop.

Background/Info: Hailing from Israel, but based in The Netherlands this is the first new studio album since “Third Wish” (2006) for Sophya. Set up in the late 90s by Sonja Rozenblum and Idan Karutchi, Sophya became a recognized and established formation at the wider fields of dark-wave and gothic music.

Content: “Broken Mirrors” takes off with a surprising minimal-electro piece, which is less representative for the rest of the album. I however have to mention there are a few more electronic passages, which sounds pretty vintage-like and even joined by robotic vocals. But the sound is rapidly evolving towards the more familiar dark-wave format on, which electronics and guitar plus bass are in perfect harmony with each other. The sweet melancholia reminds me once more to Cocteau Twins while other guitar parts might remind you of The Cure. The male- and female vocals are mainly alternating from song to song.

Notice by the way a few guest musicians have been invited to achieve this album.

+ + + : “Broken Mirrors” doesn’t feature the magic from the early days, but I can assure you it’s a noticeable ‘return’ for Sophya. The duo delivers an accomplished piece of music, which takes me by surprise for its electronic minimalism (cf. “The New One”, “Machine”) while confirming the evasive and melancholic dark-wave style (cf. “Technicolor”, “Soul Stealer”, “Open Eyes (Digging Souls)”. Sophya brings good-old 80s souvenirs alive while this band always has had something apart from other bands. The guitar play reminds an important and great part of the work while Sonja Rozenblum still has this melancholic way of singing.

– – – : “Broken Mirrors” is a noticeable return and according to me a fully enjoyable album, but as I said the magic is a bit gone. Sophya can’t take me by surprise as they did in the past.

Conclusion: “Broken Mirrors” is an appropriate title for an album filled with melancholia. A mirror is a fascinating and symbolic object in many cultures, but a broken mirror has something baleful… but maybe not for gothic bands!

Best songs: “Machine”, “Technicolor”, “Open Eyes (Digging Souls)”, “The New One”.

Rate: (7½).

Artist: www.sophya.nl / www.facebook.com/sophyamusic

Label: www.seja.nl / www.facebook.com/sejarecords

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: Minimal-electronics, electro-experimental, cinematographic.

Background/Info: Swedish duo Stefan Ljungdahl and Ivan Hirvonen are back on track and have released their third album since their comeback in 2010. The band became one of the flag holders of Seja Records and always has composed an intelligent electro format mixing dark-electronics carried by slow cadences and more cinematographic- and experimental genres.

Content: “Filter” is an interesting title for a work where I got the impression Fatal Casualties filtered some of their initial influences. The band once got compared to Klinik on their debut work while “Filter” clearly sounds like it is moving towards more sophisticated and experimental styles.

The sound remains electronic, but with a more minimal approach. It’s more into atmospheric creation and cinematographic passages, revealing fascinating parts and great sound treatments. It’s mysterious-like and into dark-reverie while sometimes carried by industrial sound treatments and other analogue-like manipulations.
The vocals are really soft and sometimes remind me a bit of Edward Ka-Spel. It however is the perfect match with the sound.

+ + + : Fatal Casualties seem to be always in search of new ideas and different sensations. I think they fully succeeded in this quest –for so far it was intentionally, delivering a few new overwhelming pieces. The cinematographic aspect of the work is definitely one of the main evolutions, which reaches a climax on “Homo Erectus”. Another noticeable song is “Saga”, which is driven by a slow rhythm and accomplished with great sound atmospheres clearly appearing to be the main element of this work. Even the guitar playing by a guest musician on “Unknown Place” is into this ambient aspect.

– – – : “Filter” is what I should call a ‘difficult’ album. It’s the kind of work you have to listen a few times before getting into it. It also is quite different from previous productions, which will for sure catch the attention of new fans… but on the other hand, maybe losing a few older ones. I think the artwork –especially from the front cover, could have been more original.

Conclusion: Fatal Casualties definitely turns into ambient spheres, but remains faithful to their original sound intelligence.

Best songs: “Homo Erectus”, “Saga”, “Kramp”.

Rate: (7).

Band: www.fatalcasulaties.com / www.facebook.com/Fatal-Casualties-189979181047462

Label: www.seja.nl / www.facebook.com/sejarecords

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

Seja Records and Fatal Casualties are to release the very first Fatal Casualties 7″ single. This new single, called “Jag Är Inte Rädd För Dig, Men Jag Är Rädd För Vad Du Gör Med Mig” (English: “I’m Not Afraid For You, But I’m Afraid Of What You Do To Me”), will be released the first of November.

The release itself will have an ultra-limited edition of 100 copies divided into 50 black vinyl and 50 white vinyl copies. Both versions will come with a different sleeve and can be ordered right here. The vinyl versions don’t have an A or B side but instead a black and white side. The black side features “Lord, I Found Allure”.

You can listen to the 2 songs below:

A video is also available, and was directed by Maria Levina.

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