Genre/Influences: EBM, Dark-Electro.

Format: Digital, EBM.

Background/Info: After having released five albums on Infacted Recordings and next three albums on Digital World Audio PreEmptive Strike 0.1 moves back to Infacted to unleash their ninth full length to date. The work comes four years after the amazing “Progeny Of The Technovore”-album. George Klontzas left the band and was replaced by Yiannis Chatzakis (Degenerated Sequences) who was a live member. Jim ‘The Blaster’ remains the band’s singer.

Content: The album sounds a bit like moving back to the ‘roots’ of the band; a perfect sonic match between elaborated EBM and Dark-Electronic atmospheres. You however will notice Technoid elements as well and even a few Cinematic parts plus a cover version of a Manowar-song. Kriistal Ann (Paradox Obscur) and Cleopatra Caido have been invited to sing each on one song. Last but not least there’s also a remix accomplished by Seven Trees.

+ + + : This album isn’t exactly a new beginning but there’s a different approach in the writing process and injected influences. I however think that there’s a chemistry between both members and the move back to the roots of the band will be noticed by fans. The songs are elaborate and I like the uplifting and somewhat Technoid sequences running through most of the songs -but especially during the second half of the album. “Pause In Chaos/Stop The Madness” is a true masterpiece but I also have to mention “State Of War – Defcon 1 Edit” and “Resurrective Hunger” featuring the emblematic vocals of Kriistal Ann. “Beyond Reality” featuring Cleopatra Caido sounds more Cinematic but is another attention grabber.

– – – : I still consider “Progeny Of The Technovore” as the band’s magnum opus so it’s not an easy thing moving on after such a blasting piece of music. Some tracks are a little less hesitant but I’m confident for the further evolution of the Greek duo.

Conclusion: PreEmptive Strike 0.1 is back and still stands for attractive EBM.

Best songs: “Pause In Chaos/Stop The Madness”, “Resurrective Hunger”, “State Of War – Defcon 1 Edit”,  “Beyond Reality”, “Lunacy Stimulator”, “Marauders From Earth”.

Rate: 8.

Artist: www.preemptivestrike01.com / www.facebook.com/profile.php?id=100046294873850

Label: www.infacted-recordings.de / www.facebook.com/pages/Infacted-Recordings/124099254321690

About PreEmptive Strike 0.1

PreEmptive Strike 0.1 is a Greek duo fronted by vocalist Jim “The Blaster”. The band released five albums on Infacted Recordings before moving to Digital World Audio for three further albums, then returned to Infacted Recordings for “Defence Readiness: Condition 1”, the follow-up to “Progeny Of The Technovore”. Yiannis Chatzakis, also active with Degenerated Sequences, joined as a full member after previously performing live with the band, replacing George Klontzas. Kriistal Ann of Paradox Obscur and Seven Trees both contributed to “Defence Readiness: Condition 1”.

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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Out on December 16th via Progress Productions in a limited edition of 300 copies worldwide is the all new release from the Swedish duo Johan Kronberg and Henrik Karlsson aka. Seven Trees.

The release is a remix album based on their album “Dead/End”, which was released last year. In addition to tracks being “re-treated” by the band themselves, we find acts like Xenturion Prime, Sleepwalk and Run Level Zero as well as new acts such as Skylog.

The album comes in a digipak with artwork of artist Axel Torvenius.

Tracks:

1. Game over (Strobe Mix)
2. Dystopic Illusions (Blind Denial Remix)
3. Phased out (Scatha Floorkiller Remix)
4. Game over (Zephyr Sequenced Rework)
5. Vein of Charcoal (Remixed by Sleepwalk)
6. Phased out (Remixed by Xenturion Prime)
7. Valium Dreams (Dark Ambience Rework)
8. Final Program (Enter the Void Remix)
9. Veins of Charcoal (Remixed by Run Level Zero)
10. Phased out (Remixed by Skylog)
11. Veins of Charcoal (Flourescent Remix by tEaR!dOwN)
12. Dead/End (I am not well 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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There’s a hiatus of twenty four years between Seven Trees’ debut album “Embracing The Unknown” (1997, Zoth Ommog) and their new opus “Dead/End” released on Progress Productions. Johan Kronberg and Henrik Karlsson both remain the single members on board. It’s not an easy thing to label their music, but it sounds to me as the offspring between The Klinik, Project Pitchfork and Front Line Assembly. You never got the feeling this band has stopped composing music for such a long time; “Dead/End” has something retro-like, but still personal and featuring multiple great songs. I talked about it all with Henrik Karlsson.

(Courtesy by Inferno Sound Diaries)

Q: When evoking SEVEN TREES people are always getting back to your debut album “Embracing The Unknown” released in 1997 by Zoth Ommog. What did this album and the fact it was released by Zoth Ommog mean to you and what has been its further impact on your career?

Henrik: It meant a lot to us; it was the perfect label to be on at the time, and we got a lot of exposure. People seem to really like that album, which is equally important for a career in music; it acts as a mental booster for future compositions. Also, our tour with MENTALLO & THE FIXER most likely had an impact.

As for today… I think signing with a prominent label like Progress Productions most likely strengthened the interest in the first ‘come back’ release, the “Trauma Toxicity”-EP. Finally, the expanded re-release of “Embracing The Unknown” in Infacted’s “Classixx”-series was definitely very important too.

Q: There’s a hiatus of 24 (!) years between the debut album and your new opus “Dead/End”. Do you feel it’s still the same band with a similar approach and perception about music or is this something totally different? What are the most noticeable changes & evolutions?

Henrik: We have put a lot of effort into developing our sound to a more modern soundscape, while at the same time leaning towards the more old-school Dark-Electro. We still have the same visions for SEVEN TREES, while at the same time trying to break patterns and challenge ourselves. I think this is quite evident if comparing the EP and the new album, which has a more carefully considered neater production.

Q: Over now to “Dead/End”. What kind of album is it all about and did you’d specific ideas in mind about sound and production? In which way is there a connection between “Dead/End” and the “Trauma Toxicity”-EP from 2017?

Henrik: There is quite a strong connection, despite the differences in production. They both deal a lot with for example the consequences of being subjected to extensive and prolonged trauma. With the EP we were trying out our grounds, see how we wanted the ‘new’ SEVEN TREES to sound. It’s a very dark EP. When working on the new album we felt like we wanted to do something even darker, especially when it came to the lyrics, all the while making that work with our ‘new’ sound. I’m pretty happy with how it turned out. We did not plan for a specific production, it came naturally as we were working on the album.

Q: I was just asking you about the ‘sound’ of SEVEN TREES, which according to me is hard to label, being more a kind of sonic osmosis between different music genres. What does it say about your potential sources of inspiration and do you handle specific criteria and/or references when it comes to writing and production?

Henrik: We don’t have much of criteria at all, except for that we will stay in the Dark-Electro realm. Also, we don’t really like doing club tracks or similar, it’s just not our thing. Honestly as for genre, we don’t really know where to place us either, but people say Dark-Electro so I guess that’s what we do.

We’re both very broad in our taste in music; my favorite band is PLACEBO, and Johan listens quite a bit to Black-Metal. We grew up on Electronic music of various kinds, but eventually broadened our horizons. We both listen to a lot of Electronic stuff nowadays too though, but varying it with other genres.

As for lyrics I draw inspiration from for example Brian Molko and Robert Smith, while incorporating my own style of writing.

Q: “Dead/End” is an intriguing title for lyrical themes, which are clearly evoking despair, disillusion… which can be summarized with one of your songs: dystopic illusions! What did you try to express and what does it reveal about your perception of life and society?

Henrik: Funny you should ask, because this particular song is something we’ve never done before, it’s very different from the other tracks on the album (the lyrics). It is very political, something I never thought we’d do, but with everything that was going on last year over here I guess I felt like trying it out. I wanted to do it in a rather cryptic way though, so it might not be very obvious. There’s quite the pitch black worldview in that song, and I guess in most of the other tracks too.

Q: What are the further plans and especially considering we’re actually going through this ongoing pandemic? Dystopia became reality don’t you think?

Henrik: Yeah, it certainly did. It’s been a crazy year, and it’s been tough for us all, especially being isolated, and to exercise every precaution to not get Covid. May this nightmare end soon! As for further plans, we do have a release coming up, but I can’t say anything about it yet.

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: Ambient-Electro, Cinematographic, Electro-Wave, Industrial.

Format: Digital, CD.

Background/Info: Originally set up as a trio in 1993, in 1995 Seven Trees evolved into the duo Johan Kornberg and Henrico Carlson. The band’s official debut album “Embracing the Unknown” was released in 1997 on Zoth Ommog. Twenty years later they brought the band back alive releasing the EP “Trauma Toxicity”. Last year we got the single “Game Over” and here’s Seven Trees’ second full length in history featuring nine songs.

Content: Seven Trees composes a sound, which is hard to grasp. It rather sounds as a sonic osmosis between different influences, but clearly driven by a retro-Electro style. Some tracks remind me of a more polished edit of Project Pitchfork with some Klink-al sequences on top and haunting atmospheres reminding early Frontline Assembly. But in the end it’s just Seven Trees, an extremely dark Electronic format characterized by haunting atmospheres and ghost-like vocals. Both final tracks even feature an explicit cinematographic approach.

+ + +: What I like about this album is the originality. Even if Seven Trees hold on a vintage sound they create something very personal. You can’t compare this band to another, but they mixed different elements reminding ‘older’ bands. It has something atypical; a sound where the power is hiding in the dense and extremely dark atmospheres instead of hard-beating rhythms. I can’t say this album is featuring a hit, but you get non-stop fascinating, cool pieces instead. I however have a preference for “Phased Out”, which is carried by a great chorus. I also have to say a word about the lyrical content reflecting a kind of uneasy feeling.

– – – : Both last cuts, which are definitely more cinematographic aren’t my favorite ones. They create a kind of antithesis after 7 noticeable songs.

Conclusion: “Dead/End” is the first new album of Seven Trees in more than 20 years, but this formation hasn’t lost its initial magic.

Best songs: “Phased Out”, “Pure Sedation”, “Game Over”, “Dystopic Illusions”, “End Of The Line”.

Rate: (8).

Artist: www.seventrees.se / www.facebook.com/embracingtheunknown

Label: www.progress-productions.com / www.facebook.com/progresspro

About Seven Trees

Seven Trees is a Swedish dark electro/industrial project originally formed as a trio in 1993 by Johan Kronberg, Andreas Wahlstedt and Marcus Johansson. From 1995 the band continued as the duo Johan Kronberg and Henrik Karlsson. Seven Trees released its debut album “Embracing The Unknown” in 1997 on Zoth Ommog, followed by the EP “Trauma Toxicity” (2017), the single “Game Over” (2020) and the album “Dead/End” (2021). The band later released the remix album “End/Dead” in 2022.

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

Electro Aggression Records (EAR) welcomes the veteran Swiss electro act Sleepwalk to its roster of artists. After 5 years of silence, Sleepwalk return with a double disc to celebrate the band’s 25th anniversary.

With “Tempus Vincit Omnia” revisits its old school electro roots resulting in a mix of EBM and dark electro. The album is the follow-up to the concept album ”Nibiru” (2012) and reconnects with its trademark sound which consists of atmospheric accessible melodies, heavy beats, and angry shouts.

The bonus disc of “Tempus Vincit Omnia“ is called “Addendum Est” and includes 4 bonus Sleepwalk tracks and 11 remixes by such acts as Pyrroline, Second Disease, kFactor, Terminal State, Trilogy, Tri-State, Seven Trees, KIFOTH, Atropine No Sleep By The Machine and Amorphous.

You can preview 2 trailers below, for CD1 and CD2. Enjoy! Orders are accepted here.

Read the review of ‘Tempus Vincit Omnia’.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Dark EBM, dark-electro.

Background/Info: With the Swedish duo Seven Trees I feel a bit like going back in time. Set up in 1994 by Henrik Karlsson and Johan Kronberg the band was active during the 90s. The absolute consecration was the full length album “Embracing The Unknown” which was released on the legendary leading label Zoth Ommog and next licensed to Energy Records (Sweden) and Metropolis (USA). Seven Trees wouldn’t release any new work after this successful debut till this mini album featuring 5 new cuts.

Content: “Trauma Toxicity” brings Seven Trees back to life exactly 20 years after their debut and single full length. The songs clearly reflects the spirit of the 90s dark-electro and EBM sound. I got the impression of hearing the offspring between Mortal Constraint (for the industrial approach) and Paracont (for the sophisticated writing). The songs are into some minimalism, definitely dark-minded and supported with beautiful, dark strings. The somewhat harsh, whispering style of singing matches with the sound.

+ + + : Seven Trees holds on to their very own and retro-like sound approach. The songs are well-crafted, somewhat minimal-like and accomplished with intelligence. The haunting atmospheres hanging over this work are essential. The songs have been composed with cool sound treatments. I like most of the songs, but have a preference for the minimalistic “You Slit My Soul”.

– – – : “Trauma Toxicity” is a cool work, but without an absolute hit. The retro-style is maybe not what DJ’s are going to play first in clubs so this release is maybe missing a ‘club-remix’. The final songs “Cold Waves Of Silence” sounds pretty different in influences, like a dark, melancholic electro-pop experiment. It’s not bad at all, but not exactly fitting with the rest of the work.

Conclusion: “Trauma Toxicity” marks the return of Seven Trees and the single fact that they were signed on Zoth Ommog is a real good reason to be curious about their new work. I can reassure you they haven’t lost their original dark seduction and I can only, but hope that we’ll get soon new work by Seven Trees.

Best songs: “You Slit My Soul”, “Black Ice”, “Azure”.

Rate: (7½).

Band: www.facebook.com/embracingtheunknown

Label: www.progress–productions.com / www.facebook.com/progresspro

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