Soman &#8211; SIDE-LINE

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.

Audioglobe statistics on the darkwave music sales in 2023 out now

Bernard - Side-Line Staff — Sat, 23 Dec 2023 11:54:57 +0000

Celebrating its 30th year, Audioglobe, the most important distributor in the darkwave scene, just shared a statistical review, revealing the shifts and trends in the darkwave (and related) music genre.

Our readers will surely remember that we have reported on these stats for years, until 2018, the first year that Audioglobe didn’t communicate these stats. Sebastian Koch from Audioglobe explains: “Some customers never really cared that much about these, as they have better things to do than reading boring mails from the undersigned. But… Surprisingly there are quite a high number of customers, that sort of ‘complained’ about the fact, that no stats were being done any longer… The reason is: I was simply always far too busy in past years. Anyway: Here we go with the first new stats since 2017!”

So here are some export facts.

Top 10 Bestselling Labels of 2023 (export)

FABRIKA/DEAD SCARLET
- She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…
METROPOLIS
- Birthday Massacre, Delerium, Front Line Assembly, A Projection, KMFDM, Legendary P.D…
ICY COLD/MANIC DEPR.
- Twin Tribes, Je T’aime, Traitrs, Kill Shelter, Closed Mouth, Talk to Her, Schonwald…
ALFA MATRIX
- Alien Vampires, Front 242, Metroland, Die Robo Sapiens, Elm, 808 Dot Pop, Helalyn Flowers…
RUSTBLADE
- Claudio Simonetti, Ennio Morricone, Lycia Lunch, Spiritual Front, Ketvector, Legendary Pink D…
OUT OF LINE
- Blutengel, Hocico, Solitary Experiments, Suicide Commando, Signal Aout42, Erdling…
TRISOL
- Sopor Aeternus, Rome, Clan of Xymox, Asp, Ostara, Skinflicks, Nachtmahr, Mantus, Soman…
DEPENDENT
- Kirlian Camera, Girls Under Glass, Spectra*Paris, Mildreda, Black Nail Cabaret, Beborn Beton…
ARTOFFACT
- Actors, Noise Unit, cEvin Key, Kaelan Mikla, Ploho, Sacred Skin, Kauan, Ken Mode, Spectres…
AUERBACH
- Spiritual Front, Sol Invictus, Tenhi, Moon and the Night Spirit, Haavard, Hekate, Orplid…

Best Export Territories of 2023

If we look at the Audioglobe stats, we notice that Germany and Greece remain the company’s strongest markets, continuing a trend that has been consistent for ages. However, the 2023 statistics reveal some notable shifts.

Canada, once a prominent market for Audioglobe, has surprisingly disappeared from the export landscape. In contrast, the United States and the United Kingdom have re-emerged as significant territories, marking their return to prominence in the darkwave music scene after several years.

The most unexpected development in 2023 is the rise of Australia as a key market. This growth stands in stark contrast to Switzerland, which, despite its affluence, has seen a sharp decline in sales. Sebastian Koch adds: “The (by far!) lowest sales of all countries where we export to, was to Switzerland… The rich Swiss don’t buy records! Since I left the country (1990), something is wrong back home!”

Here is the top 10 list of export territories:

Germany
Greece
Netherlands
Portugal
USA
United Kingdom
Australia
Spain
Russia
Poland

Not in the top 10, but France, Japan, Malta, Brazil, Sweden, Mexico, and Perù are also good export territories for Audioglobe.

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!

Soman – Vision (Album – Trisol)

Inferno Sound Diaries — Thu, 11 Aug 2022 07:00:00 +0000

Genre/Influences: Dark-Techno, Industrial, Techno-Body.

Format: Digital, CD.

Background/Info: “Vision” is the sixth full length album by Kolja Trelle aka Soman. It also is his third album released by Trisol.

Content: Soman sounds like he is digging a bit deeper in the world of Techno and Rave. The production remains however connected with dark- and raw sound treatments with spoken samplings on top. The leads have a transcendental effect while a few passages are arranged by heavier, Industrial, sound treatments.

+ + + : Soman is a pure challenge and especially being signed to a label like Trisol. You don’t exactly expect Techno-driven vibes released on Trisol, but on the other side it also reveals the wider sonic horizon of the German label. And Soman is not just dealing with ‘cheap Techno’ but is a true genius when it comes to infuse his sound with darker, rawer, and Industrial sound treatments. “Turning Things Off” might appeal to fans of Komor Kommando. I also have to mention “Now Listen” for its phenomenal Trance lead. Both debut tracks are also worthy of examination.

– – – : Some passages are just a little too Techno driven, but on the other side it also stands for the ‘no compromising’ attitude of Soman.

Conclusion: Dark-Techno music for Industrial club souls.

Best songs: “Turning Things Off”, “Now Listen”, “Generation”, “Vision”, “Now Listen”.

Rate: 8.

Artist: www.facebook.com/SOMAN.Musik

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

Mark Hockings (mesh) launches ‘Reset’ single for his Blackcarburning project

Bernard - Side-Line Staff — Fri, 08 Apr 2022 11:25:05 +0000

COP International presents Blackcarburning’s EP “Reset”. Blackcarburning is the solo project of Mark Hockings, frontman of UK electropop outfit mesh. The EP features a single mix by John Fryer, a club remix by SOMAN, and two original tracks that will not appear on the forthcoming album including the track “Get Ready!” performed by Neil Francis.

In this latest work, Hockings takes on multiple roles including writing, singing, and programming, and describes the tracks as “electronic music written around songs, emotion, and energy.”

He further adds, “The tracks were written to see what I could achieve by working primarily on my own. It’s been a vehicle for exploring new songwriting and programming ideas, to experiment with sound design and to develop some exciting new directions.”

A video for “Reset” was created by visual artist Howie Venton using some cutting-edge AI. Check the result below.

You can download the release below.

Reset EP by blackcarburning

‘Click Interview’ with Metal Disco: ‘Sitting In Front Of A Screen Making Music Is Not My Cup Of Tea’

Inferno Sound Diaries — Sat, 26 Mar 2022 18:00:00 +0000

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

John Fryer’s Black Needle Noise announces new single ‘Machine’ featuring vocalist Attasalina & violinist Meredith Yayanos

Bernard - Side-Line Staff — Thu, 03 Jun 2021 17:26:47 +0000

(Courtesy Attasalina) Black Needle Noise’s first release on COP International Records is a fact. Out now is a new single “Machine” featuring vocalist Attasalina and violinist Meredith Yayanos. The “Machine” EP features remixes from Christopher Hall (Stabbing Westward), Mark Hockings (Mesh/Blackcarburning), Sick Jokes, Soman and (London DJ) Samantha Togni.

Says Fryer of “Machine”: “It’s taken a while to find the right song for Attasalina so we could collaborate again. She did an amazing job on ‘Messages By Dreams’ and she has done an exceptional job on ‘Machine.’ It’s always a pleasure working with Attasalina, and it’s been great having Meredith Yayanos on board this time around playing violin on the track, adding another dimension.”

Attasalina, best known for her collaboration with Daniel Ash (The Soldiers of Everyday), has also released music with her band The Seraphim Rising and is currently working on her first solo record in collaboration with John Fryer, to be called Freed From Rage and Sorrow. She previously collaborated with Fryer on the Black Needle Noise track “Messages By Dreams.”

Machine by Black Needle Noise with Attasalina

See the video for “Machine” below.

About John Fryer

John Fryer started his career in 1979 at London’s Blackwing Studios (London) and soon began working with seminal bands on 4AD, Mute, Rough Trade and Beggars Banquet, including Depeche Mode, The Wolfgang Press and Cocteau Twins. His achievement in helping develop the latter’s pioneering ethereal and ambient sound ultimately led Watts-Russell to recruit Fryer as his partner for This Mortal Coil.

Since then, Fryer has produced many iconic artists, including Love and Rockets, HIM, Cradle of Filth, Clan of Xymox, Nitzer Ebb, Dead Can Dance, Yaz (Yazoo), Xmal Deutschland, Fields of the Nephilim, De/Vision, Stabbing Westward and many others. Fryer has also produced many film soundtracks, such as Seven, Clerks, Johnny Mnemonic, Mortal Kombat, Faust and Resident Evil: Apocalypse.

Currently Fryer also works closely with COP International and its roster and this debut Black Needle Noise release on the label is being hailed by COP founder Christian Petke who says, “I know how much this project means to John and I think it represents some of his finest work. Black Needle Noise is his vehicle to execute his artistic visions. It is not bound by style or fashion but represents the distilled essence of a man honing his craft for 40-plus years. To say it is an honor to represent Black Needle Noise on COP International is an understatement.”

Fryer recently celebrated a #1 entry on the German DAC Charts with the Chiasm & John Fryer album “Missed The Noise”. Good to know, Fryer acts as an A&R and a producer at COP International Records, helming the work of artists such as Stabbing Westward, Azam Ali, Chiasm, Stoneburner, Blackcarburning and more.

Gasoline Invertebrate – Damage Over Time (Album – Tigersquawk Records)

Inferno Sound Diaries — Sun, 04 Oct 2020 18:30:19 +0000

Genre/Influences: Dark-electro, dark-pop.

Format: Digital.

Background/Info: “Damage Over Time” is the second official full length album by Gasoline Invertebrate. After the “Freak Drive”-album released three years ago, we get ten new songs by Brian Graupner who’s mainly known for his involvement with The Gothsicles. Notice by the way and that’s a real important aspect of this record, nearly all songs have been produced by a different producer!

Content: “Damage Over Time” is mainly driven by dark-electronics, but most of the songs are polished with electro-pop elements. The melodic side of the work is immediately noticeable and especially the song featuring Chris Connelly (cf. “Scarlet Slip”) has something pretty dance-like. Behind this ‘dark’ fusion between the music styles you’ll also notice multiple sound effects symbolizing the elaborated format of this work. The tracklist is progressively evolving towards harder and harsher cuts.

+ + + : “Damage Over Time” is an interesting work for different reasons; it’s not only a danceable and well-crafted composition, but there’s a great fusion between darker, powerful electro and pop-like melodies. It creates something apart from all other bands repeating the same old dark-electro sound formula. Chris Connelly is a noticeable guest on this album and that’s also a good reason to discover this work… although “Scarlet Slip” is not my favorite cut. I think if there’s a potential hit featured on the album it must be “Feast”, which is not only powerful and danceable, but still has a great retro-like melody line. Among the producers you’ll find artists such as Martin Bowes (Attrition), Vasi Vallis (Reaper, Frozen Plasma), Kolja Trelle (Soman), Brant Showers (Aaimon), Steven Archer (Stoneburner, Ego Likeness) ao.

– – – : I know it must be surprising to say that the song featuring Chris Connelly is the single one that can’t totally convince me. It has something more ‘commercial’ and ‘danceable’-like, which doesn’t really fit to the rest of the tracklist.

Conclusion: “Damage Over Time” is a noticeable and alluring second album for Gasoline Invertebrate.

Best songs: “Feast”, “Headschatten”, “Let The Demon Out”, “Boston”, “Rejected Organ Transplant”.

Rate: (7).

Artist: www.facebook.com/gasolineinvertebrate

Label: www.facebook.com/tigersquawkrecords

Sirus – The Book Of Gates (EP – Digital World Audio)

Inferno Sound Diaries — Thu, 17 Sep 2020 18:30:26 +0000

Genre/Influences: EBM, industrial.

Format: Digital, CD, Vinyl.

Background/Info: “The Book Of Gates” is the second single/EP taken from the Australian formation’s last full length “Apocrypha” (2018). There’s a limited 7” vinyl format, which is only including two songs while the CD and digital edit are featuring two extra songs/remixes.

Content: The work takes off with the original edit of the song, which is characterized by a solid and harmonious twist between guitar play and electronics. The chorus has something wafting while some broken rhythms are empowering the dynamic of the song.

Remixes have been done by Sirus frontman Josh Romboaut plus Soman and Dave Inox.

+ + + : The title song is a right choice for a maxi; it’s a cool and powerful song, with a kind of Eastern tune on top. Among the remixes I like the more club-driven remix of Josh Rombout and the minimal-EBM approach of Dave Inox.

– – – : I regret there’s only one song –plus remixes, featured at this work. A real bonus would have been a new track.

Conclusion: Sirus brings a cool single/EP featuring a powerful title song plus cool remixes.

Best songs: “The Book Of Gates – Dave Inox Remix”, “Book Of Gates – Take control Mix”.

Rate: (7).

Artist: www.facebook.com/sirusofficial

Label: www.digitalworld.audio / www.facebook.com/DigitalWorldAudio

Grendel returns with ‘Ascending the Abyss’ – mixed and mastered by Kojla Trelle (Soman)

Bernard - Side-Line Staff — Tue, 23 Jul 2019 11:18:37 +0000

After the release of the last Grendel studio album “Age of the disposable Body” and the re-release of their harsh electro album “Inhumane Amusement” (a 2CD set including bonus tracks), Grendel quickly returned to the studio to record a sixth full-length album.

The new studio effort has 10 all new songs and was mixed and mastered by Kojla Trelle (Soman).

Grendel formed in 1997 and was named after the beast in Beowulf. Grendel was signed by the German record label NoiTekk — a sub-division of the now defunct Black Rain label — which released their first studio album, “Inhumane Amusement”, an expanded and remastered version of their demo CD. The band is currently signed to Infacted.

Here’s a live snippet from last week.

‘Click Interview’ with Soman: ‘I Am Fond Of Ignoring Rules’

Inferno Sound Diaries — Sun, 24 Mar 2019 18:00:28 +0000

Kolja Trelle is not exactly what I would qualify as a ‘traditional’ electronic artist. His debut album “Sound Pressure” released in 2003 on Out Of Line revealed a real sonic challenge consisting of EBM and industrial music mixed with techno music. The next full lengths “Mask” (2007) and “Noistyle” (2010) both released on Infacted Recordings only confirmed this open-minded approach; dark electronic music without borders, but the most important thing about it all, is that dark-electronic fans liked it. After a hiatus of eight years Kolja Trelle went back into business and started composing new material. The digital EP’s “N”, “O” and “X” served as teasers to the new album “NOX” released on Trisol. This production sounds as the ultimate offspring between different influences and got an instant enthusiastic feedback. SOMAN is back!

(Courtesy by Inferno Sound Diaries)

Q: “Nox” is the first new Soman album since “Noistyle” (2010) although you remained active as DJ and did a few remixes, right? I can imagine such a break can be very prolific when it comes to creativity. How do you look back at this ‘break’ as composer and what has been the ‘click’ to compose a new full length?

Kolja: This break was in fact something like a writer´s blockade, due to a lot of changes going on at the same time. What got me back on track was both a call from my now-manager Guenther, and re-discovering the thrills of producing electronic music. Once that was settled, we just needed a plan -and a label;)

Q: Everything moves and evolves very fast in our society today and I think it’s not that different in the music business. What have been according to you and during this ‘break’ the main positive-/negative changes and evolutions?

Kolja: Hmm, impossible to name everything I can think of, so only in short:

Negative changes : decline of the ‚dark‘ electronic music scene, major improvements / evolutions happened somewhere else.

Positive changes: the impressive ability of the global electronic music scene to re-invent itself every once and a while, even when you think everything has already been said and done.

Q: Today it becomes clear that industrial, EBM, techno, trance are quite compatible with each other while when you released your debut work it was a challenge. So in a way you were a visionary artist who build a sonic bridge between all these styles! What did it really meant to you and how did it feel today after the release of “Nox”?

Kolja: I always had the feeling that all this separation of styles did not really make sense to me, but marketing-wise, it might be a different question. With ”Nox”, I definitely went into a direction that does not care about artificial borders any more. Might not be quite be what the ‘Zeitgeist’ is at the moment, but well… I am fond of ignoring rules.

Q: Compared to your previous albums, I get the feeling “Nox” even goes a step further; it all seems the DJ inside of you has been more present in the writing process of this album than ever before, but what is it really all about and what kind of album did you wanted to accomplish?

Kolja: Honestly, I had definitely lost touch with what was going on in the ‘dark’ scene at the moment, or I did just not like it. So I decided to take a risk and try out the new stuff, which I liked a lot because of DJ-workshops I held at the time, covering all aspects of electronic music, from dark to dubstep, techno to house… So it was really about trying to find a way out of that ‘dark’ dilemma, plus producing stuff that would make me dance, too 😉

Q: “Nox” is doing great and reached the first place of the famous ‘Deutsche Alternative Charts’. What does that mean for an artist and what’s the real impact of the DAC?

Kolja: The DAC give a good feedback on what DJs or club-visitors think of your music. It does not tell an awful lot about commercial success, sad enough;) So for me, this excellent feedback keeps pushing me quite a bit, looking at it both as a compliment and commitment.

Q: Soman is again performing and I think you’re again working with dancers. What might we expect from the new live performances and what do you need to speak about a successful show?

Kolja: I´ll try as hard as I can to transfer the positive vibes we have on stage to the audience in front of us. A SOMAN show is not a place to remain calm and looking cool, it´s rather an experience of how much fun you can have if you just let go;) So what do I need for this to happen? Sometimes no more than 5 people in the audience, but more often a decent crowd, a perfect sound system and a bit of a budget to add light and projection. Not too much, I would say…

Soman – Nox (CD Album – Trisol)

Inferno Sound Diaries — Sun, 10 Mar 2019 21:00:53 +0000

Genre/Influences: Industrial-rave, dark-techno.

Background/Info: Kolja Trelle aka Soman is back! After his last album “Noistyle” (2010) we didn’t hear that much from this German visionary artist. But as a phoenix rising from the ashes, Soman struck back in 2018 with the three singles (cf. “Growler”, “New Lead” and “Blue Flame”) announcing this new opus. “Nox” is the fourth full length in the artist’s discography.

Content: The sound formula of Soman hasn’t really changed and hasn’t been affected by the weight of time. The tracks are all instrumental versions, mixing techno, industrial and EBM. The techno input became more important than ever before and even moves into pure and rather classical dance leads. From raw industrial sound treatments to dance leads, this album is a heavy and danceable melting pot.

+ + + : I especially like the raw, industrial sound treatments and alluring bass lines this album has been made of. It’s pure underground! It sounds aggressive while some of the leads have a real elevating effect. “New Lead” is a phenomenal track illustrating the sound –and genius of Soman. The sound production is just perfect revealing a high tech approach. Soman doesn’t really innovate, but appears to be the ultimate artist for avant-garde techno fests. It also is interesting to observe this artist released his work on 3 leading labels from the German underground scene; the debut album on Out Of Line, two albums on Infacted Recordings and this new opus on Trisol. I think it just confirms the huge respect for this artist and especially when you know it’s a rather unusual artist for the Trisol label.

– – – : I’m not convinced by some of the dance leads, which are sometimes a bit cliché and cheap. It creates a surprising duality with the harder and unpolished industrial sound treatments, but I think Kolja Trelle can do much better.

Conclusion: This is without a shadow of a doubt one of the most noticeable comebacks from the past few months. Soman is back and I think the scene needs such an artist.

Best songs: “New Lead”, “Growler”, “Blue Flame”, “Milda”.

Rate: (8).

Artist: www .facebook .com /SOMAN .Musik

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

L’Âme Immortelle – Letztes Licht (CD EP – Trisol)

Inferno Sound Diaries — Sun, 10 Mar 2019 19:00:45 +0000

Genre/Influences: Gothic-pop, electro-wave.

Background/Info: One year after their latest successful album “Hinter Dem Horizont” the Austrian duo Sonja Kraushofer – Thomas Rainer strike back unleashing this ‘extended’ EP.

Content: The title song was not my favorite from the album. We here get a “Classic Version” next to the “Album Version”. There also is a remix made by Blue May Rose. We also get 2 exclusive songs with a dreamy atmosphere. The song “Fear” originally released in 2004 has been reworked while we also get a few more older songs, which have been remixed by Soman and 18 Summers. Last, but not least 3 songs from the band have been covered by Collection D’Arnell-Andréa, Dunkelsucht feat. Chelsey Schill and My Equinox Divine.

+ + + : I like the global concept of this EP, which next to a title track featuring a few different edits reveals exclusive songs, remixes and especially cover versions. L’Âme Immortelle remains faithful to their sound featuring the graceful vocals of Sonja Kraushofer, but there also is some diversity injected by the other artists. That’s precisely what I expect from an EP. I recommend the cover version of “Fallen angel” by the French formation Collection D’Arnell-Andréa (now signed on Trisol).

– – – : I’m still not a huge fan of the title song. I think there are much better songs featured at the last full length, but it also is a matter of taste. I also expected a bit more from the remixes.

Conclusion: The concept of this EP is absolutely great! This is so much more than releasing a title song and asking for an endless list of bands to make a remix.

Best songs: “Fear – Re-Recorded 2018”, “Fallen angel – Cover by Collection D’Arnell-Andréa”, “Demon be Gone – Cover by Dunkelsucht feat. Chelsey Schill”, “Lake Of Tears – Cover by My Equinox Divine”.

Rate: (7½).

Artist: www .facebook .com /LAI .official

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

Lights Of Euphoria – Traumatized (CD Album – Infacted Recordings)

Inferno Sound Diaries — Thu, 02 Jun 2016 21:08:49 +0000

Genre/Influences: EBM, body-pop.

Background/Info: Twelve years have passed since the “Gegen Den Strom”-album (2004) released on Accession Records. We got a couple of EP’s in the meantime, but “Traumatized” announced the comeback of Lights Of Euphoria. The line-up still consists of Jimmy Machon and Torben Schmidt while Thomas Gaarn joined in as a new member. “Traumatized” is the 7^th full length by the Danish-German combo.

Content: This album sounds a bit like a new start and the least I can say is that it was a long, but prolific break when it comes to speak about efficiency and sound creativity. “Traumatized” takes off a rather familiar way with body-pop music revealing vague Depeche Mode influences. Quite progressively the work becomes harder and even harsh and into pure EBM. The songs are well-crafted and meticulously elaborated. “Traumatized” reveals outstanding bass lines, aggressive sequences, raw sound treatments and Jimmy Machon singing with more rage and charisma than ever before.

Lights Of Euphoria remains faithful to some of their most familiar influences and I especially refer to the great melody lines. It sounds a bit old-styled and ‘poppy’ as well while totally matching with the harder essence of the production.

The album ends with a cover version of Depeche Mode’s “Stripped” featuring Soman. It’s an interesting cut as you rapidly recognize the original song, which has been adapted into the typical Soman-style.

+ + + : “Traumatized” is a fully successful album revealing all the maturity of the band, which mainly excels in the global sound research and treatments. The EBM influences have never been this strong and efficient. The global production –with a special mention for the vocals, is absolutely great. The song “Schwarze Sonne” which was previously released as EP title song (2012) is my personal favorite cut.

– – – : The pop ingredients referring to Depeche Mode as the debut song is not exactly the best element of the work.

Conclusion: It’s really weird what a break can do with artists, but not many bands are striking back with force and brilliance like Lights Of Euphoria did on “Traumatized”.

Best songs: “Schwarze Sonne”, “Under My Spell”, “Waiting”, “Book Of Lies”, “Questions”, “Stripped feat. Soman”.

Rate: (8).

Band: www .facebook .com /lightsofeuphoria

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