Bryan Zentz has been a dynamic force in the music scene for over 20 years, building an impressive discography that now includes his latest release on Sonic Groove. This American artist continues to showcase his passion for Acid and Techno, blending both genres with a heavier, darker edge. The five tracks on the release hit hard and maintain a raw, unpolished quality—one of the key elements that give the production its unique charm. The final track, however, takes an unexpected turn, adding a groovy, sensual touch to round off the album on a surprising note.(Rate:7½).

Listen to “Street Creeper”:

About Bryan Zentz

Bryan Zentz, also known as Barada, has released acid and techno records since the early 1990s, starting on labels including Experimental and Bush. He has returned repeatedly to Sonic Groove, the Berlin-based techno and industrial label run by Adam X, with the ongoing “Barada Trax” series. “Barada Trax Six” is his latest EP for the label.

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

Canadian producer Rhys Fulber returns with another compelling solo effort in “Balance Of Fear”. Known for his extensive work with acts like Front Line Assembly, Delerium, and Conjure One, Fulber’s solo work takes a different route, delving deep into the realms of Dark-Techno. This album continues his exploration of merging EBM-inspired basslines with Cinematic/Ambient elements and raw Industrial-Techno. The production quality is top-notch, showcasing a fearless and uncompromising approach to sound. Fulber’s freestyle compositions result in some truly standout tracks. (Rating:8).

Listen to “Fall Awake”:

About Rhys Fulber

Rhys Fulber, born October 10, 1970, in Vancouver, British Columbia, is a producer and performer known for his contributions to industrial, EBM, and ambient soundscapes. He began collaborating with Bill Leeb (formerly of Skinny Puppy) in 1986, contributing to early Front Line Assembly releases including “Total Terror” (1986) and “The Initial Command” (1987), and stepped into a central role in Delerium after Michael Balch’s exit.

Between the late 1980s and late 1990s, Fulber became a defining force in both Front Line Assembly and Delerium, with credits on albums including “Tactical Neural Implant” (1992), “Semantic Spaces” (1994), “Hard Wired” (1995), and “Karma” (1997). Delerium’s single “Silence”, featuring Sarah McLachlan, earned the group two Juno Awards for Best Dance Recording. In the late 1990s, he launched the solo project Conjure One, known for cinematic compositions such as “Extraordinary Ways” (2005).

Since 2017, Fulber has released a string of solo albums under his own name on labels including Sonic Groove and aufnahme+wiedergabe, among them “Your Dystopia, My Utopia” (2018), “Ostalgia” (2019), “Brutal Nature” (2021), and “Collapsing Empires” (2022), followed by “Memory Impulse Autonomy” on Artoffact Records in 2025. “Balance Of Fear” is his latest solo release on Sonic Groove. Fulber has also produced for Fear Factory, Paradise Lost, and Econoline Crush, and composed for films including “Johnny Mnemonic” and “Saw”.

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-Techno.

Format: Digital, CD, Vinyl.

Background/Info: This album of Statiqbloom is the seventh opus to date (next to remix-albums and a live one). Fade Kainer joined hands together again with Sonic Groove releasing the new work two years after the brilliant “Threat”.

Content: “Threat” already gave us a taste of intelligent, hard Industrial-Techno and “Kain” just continues on that momentum. This is a dark form of Techno topped with strings, Industrial sound treatments, hard bass lines and even a few vocals lines.

+ + + : I remain baffled by the evolution of Statiqbloom which was quietly, but surely evolving into a more ‘Berliner’-Techno’ style and at least the Dark-Techno of pure Underground clubs. The composition has been developed in a meticulous, intelligent way, resulting in some new pearls such as “Cessation Of Light” and “Treacherous Eyes”.

– – – : It’s never that easy to release a new album after such a genius work as “Threat” although this is a great work as well.

Conclusion: Techno music has perhaps never been so obscure and still magic.

Best songs: “Cessation Of Light”, “Treacherous Eyes”, “Fire Of The Heart”, “Face Annihilation”.

Rate: 8.

Artist: www.facebook.com/statiqbloom

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

About Statiqbloom

Statiqbloom is the solo project of American artist Fade Kainer, who works from Berlin, Germany, and mixes Industrial-Techno with Dark-Ambient textures. In 2025, Kainer paired with Joey Gonzalez of Blush Response for a joint album, “Folding In,” issued on vinyl through Hands, a further step in the project’s evolution documented on “Kain.”

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: Tribal-Techno, Techno-Body.

Format: Digital, CD.

Background/Info: Itako is a French solo-project driven by Raphaël Ott. One year after the “Broken Materials”-album (2022) we get a new full length featuring eight songs.

Content: “Muted Patterns” brings different influences together. There’s a sort of Technoid-orientated basis which has been joined by Electro-Tribal influences and solid bass lines. I also noticed a few softer cuts which have a more evasive feeling. But the main essence of the album remains dark and into Tribal influences.

+ + + : This is an interesting production for the mix of Tribal elements together with Techno and harder EBM bass lines. It’s apart of established standards and yet totally suited for dancefloors. The atmospheres hanging over the songs are not only dark but still have something tormented. And that’s a cool contrast with the cadence which is sometimes pretty sexy. “Erosion” and “Zero Reign” both are absolute attention grabbers. 

– – – : I noticed 2 more evasive cuts (cf. “Neckpain” and “Raw Ceramic”) which couldn’t convince me.

Conclusion: Itako bring us a very artistic and even a bit futuristic Tribal/Techno work.

Best songs: “Erosion”, “Zero Reign”, “Protected Land”, “Ten Years Of Glory”.

Rate: 8.

Artist: www.facebook.com/itako.disco

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

About Itako

Itako is the solo project of Raphaël Ott, based in Strasbourg, France, blending electro, acid, techno, new beat and industrial across a range of tempos. He debuted with the album “Broken Materials” in 2022 through Sonic Groove.

Itako followed with the eight-track album “Muted Patterns,” written, produced and designed by Raphaël Ott, released 3 November 2023 through Sonic Groove in digital and CD formats.

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

Referring to the events that unfolded globally, 2023 has again been a bloody, terrible year. Music continues to be a true therapy for soothing pain and suffering, though it seems to have a diminishing impact on the ongoing horror. Therefore, I’m once again wrapping up the year with a personal selection of my very own ‘best of’ albums.

Throughout the year, over 700 productions were selected, and 450 reviews were conducted. Some productions were declined because the style of music didn’t fit, others weren’t reviewed for not being ‘good enough’, while a final portion of reviews will be postponed to early 2024. I am immensely grateful to all the labels, bands, and promoters for considering my work, and I look forward to collaborating again in 2024.

I extend my deepest gratitude and thanks to Rich Bova (NEIKKA RPM), who has been reading, correcting, and improving the reviews for many years. Without Rich, these reviews would not exist. I also want to thank Bernard Van Isacker, chief editor of Side-Line Music Magazine, for our ongoing, successful collaboration. Last but not least, I thank my lovely wife, Katja, for giving me the time and freedom to pursue my passion.

However…

Looking ahead to 2024, I’ve been scaling back my activities for a few years and plan to reduce them further. Having started with my first reviews and interviews back in 1991, I feel the end drawing near. My aim is to reach 2025, but nothing is certain. I’ve grown a bit tired and disillusioned with how things are evolving.

That’s why I want to express a big ‘F*** you’ to so-called ‘artists’ and label owners who fail to realize or appreciate the work I do in creating reviews and preparing interviews to spotlight them. Guys, I do this for free and in my free time! The attitude and lack of respect shown by some – fortunately a very few – is very, very sad. But, I’m afraid it reflects the world we live in. Behind a genius artist doesn’t always stand a great person. It’s odd realizing that the ‘biggest’ and long-established artists in this scene are often the most accessible.

Writing reviews remains highly subjective and a source of discussion. Remember, it’s always the reviewer’s perception. I assure you, I always strive to substantiate my reviews as best as possible. A review is subjective but must be honest!

Like every year, I’ve selected the best albums of the year 2023. This ‘TOP 25’ encompasses various styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Ritual, Cinematic, Gothic, Post-Punk, Cold/Dark-Wave, Dark-Techno, and a few related genres. It’s always an exciting yet challenging task.

This ‘TOP 25’ is based on the promotional material I received, excluding compilations, ‘best of’ productions, EPs, and singles. So, here’s my ‘TOP 25’ from 2023, and don’t forget to share it with your friends…

Stéphane Froidcoeur (for Inferno Sound Diaries/Side-Line Reviews)

Top 25 albums of the year 2023

1. CERULEAN VEINS “Black” Cold Transmission Music
2. LIEBKNECHT “Fabrikat” Ant-Zen
3. FRONTIER GUARDS “Colony” Aliens Production
4. SOPOR AETERNUS & THE ENSEMBLE OF SHADOWS “Alone At Sam’s – An Evening With…” Apocalyptic Vision / Trisol
5. WAVESHARD “Waveshard” Corvus Records
6. THE EMPATH “Black Hole” Audiophob
7. VNV NATION “Electric Sun” Metropolis Records
8. EFF DST “Incarnate” Ant-Zen
9. ENZO KREFT “XL” Enzo Kreft
10. DELEYAMAN “The Sudbury Inn” TTO Records
11. GIRLS UNDER GLASS “Backdraft” Dependent Records
12. ALIEN VAMPIRES “Return Me To Hell” Alfa Matrix
13. SUN’S SPECTRUM “The Silence After The Fall” Cold Transmission Music
14. DANIEL MYER “Hingab” Sonic Groove
15. SHROUDS “Shrouds” Hands
16. DIARY OF DREAMS “Melancholin” Accession Records
17. MONO INC “Ravenblack” NoCut / SPV
18. ROME “Gates Of Europe” Trisol
19. OHNE NOMEN “The S-Witch” Cold Transmission Music
20. THE SEVEN WHORES OF THE APOCALYPSE “All Through The Waste” Scanner / Dark Dimensions
21. SPANKTHENUN “The Bunker Tapes Vol.3” SpankTheNun
22. BLACKCARBURNING “Watching Sleepers” COP International
23. GOD BODY DISCONNECT “The Weight Of Regression” Cryo Chamber
24. MILDREDA “Blue-Devilled” Dependent Records
25. PASCAL SAVY “Simulacra” Cyclic Law

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, Dark-Techno, Industrial-Techno.

Format: Digital, Vinyl.

Background/Info: Daniel Myer (Haujobb, Architect, Liebknecht, Rendered, Cleen ao) strikes back with a new work under his own name. This is the first work he released by Sonic Groove.

Content: If you’re a bit familiar with the Sonic Groove roster you know what to expect. Daniel Myer transformed himself into a Techno artist although holding on to more familiar influences like IDM and Industrial. The album sounds hard and pumping but still features the familiar sound intelligence and knowledge. A few ghost-like vocal effects have been added now and then.

+ + + : Daniel Myer is an artist who feels comfortable with multiple music styles. I’m not saying “Hingabe” sounds like a total surprise but it has been clearly infused by Dark-Techno elements. The main strength of the work is the sophisticated sound production; featuring great and intelligent sound treatments and Industrial elements while you’ll also notice more atmospheric layers in the background reminding Haujobb. “Hingabe” is a great opus featuring an impressive list of cool tracks. Notice by the way Static Sky, Skelesys, DSX and Hypnoskull have been featured each on one song.

– – – : I don’t see real minus points.

Conclusion: This work might be one of the most sophisticated releases from Sonic Groove; visionary Techno music!

Best songs: “Angst”, “Reale Angst”, “Tactics Dub featuring Hypnoskull”, “Atomic Overkill”, “Ohnmacht featuring DSX”.

Rate: 9.

Artist: www.facebook.com/danielmyermusic

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

About Daniel Myer

Daniel Myer is a German producer best known as one half of Haujobb, the Bielefeld-founded project he continues as a duo with Dejan Samardzic after original member Bjorn Junemann left. Haujobb’s early work, including “Homes & Gardens” (1993), carried the influence of the Vancouver school of industrial before the band moved toward a mix of IDM, industrial and EBM on “Freeze Frame Reality” (1995) and “Solutions for a Small Planet” (1996). The duo continued into 2024 with the tenth Haujobb studio album, “The Machine in the Ghost”, on Dependent Records.

Beyond Haujobb, Myer records under several other names, including Architect, Liebknecht, Rendered and Cleen, each exploring different corners of electronic and industrial music.

“Hingabe” marks Myer’s first release under his own name for Sonic Groove, moving into Dark-Techno territory while retaining the IDM and industrial vocabulary of his other projects.

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-Techno, Experimental.

Format: Digital, CD.

Background/Info: Fabrizio Matrone strikes back unleashing a new album from his sonic alter-ego Matter. The Italian artist has already released several works on different labels like Ant-Zen, Le Petit Machiniste, Soviet Media Kontrol and Kvitnu -which in a way became I Shall Sing Till My Land Is Free)

Content: The work remains faithful to the main sound ingredients Matter is using. There for sure is a Dark-Techno/Industrial element running through the work  which has been sophisticated with IDM influences. Some parts are more Experimental-like but I always connected with Techno-Industrial music.

+ + + : Matter is an artist who no longer has to convince me. Fabrizio Matrone perfectly knows how to compose intelligent Electronic music. This is pure underground stuff for Berliner Techno underground clubs. I can easily imagine this is also the kind of production appealing for Sonic Groove lovers. The work features several great and accomplished cuts but “Futuro” is my favorite one for its extra noise- and crystalline sound treatments.

– – – : There are two more Experimental cuts (cf. “Accettazione” and “Oppressione”) right in the midst of the album which are less inspired.

Conclusion: Matter is a great addition to the ‘young’ Ukrainian label but definitely revealing a top-notch production.

Best songs: “Futuro”, “Resistenza”, “Propaganda”, “Realismo”.

Rate: 8½.

Artist: www.facebook.com/matter.it

Label: https://ishallsinguntilmylandisfree.com / www.facebook.com/ishallsinguntilmylandisfree

About Matter

Matter is one of several aliases used by Italian producer Fabrizio Matrone, alongside Fm Chloroform, Heidseck and The Subliminal Persuader. Under the Matter name he has released material through labels including Ant-Zen, Le Petit Machiniste, Soviet Media Kontrol and Kvitnu, working in Dark-Techno, Industrial and IDM territory.

“Frammenti” is Matter’s album for the Ukrainian label I Shall Sing Until My Land Is Free, the successor to Kvitnu.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

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

Format: Digital, Vinyl.

Background/Info: Canadian Orphx-duo strikes back with a new EP featuring four new cuts.

Content: Rich Oddie and Christina Sealey are back with a hard-banging production whereon they’re mixing Dark-Techno with Industrial components and ominous atmospheres empowered with tormented, ghost-like vocal effects.

+ + + : This work moves much further than simply techno and Industrial music. It’s an intelligent fusion of underground styles Orphx transposed into a visionary sound dimension. The dark, tormented, atmosphere they created has something very unique; like dance stuff for dungeons. There’s something to say about each track but I especially recommend listening to “Gateway” and “In The Presence”.

– – – : It’s a pity this is just an EP and not a full length album; I want more from this!

Conclusion: Orphx remain driven through a great and Avant-Garde creative mind.

Best songs: “Gateway”, “In The Presence”.

Rate: 8.

Artist: www.orphx.com / www.facebook.com/orphx

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

About Orphx

Orphx is a Canadian industrial techno duo founded in late 1993 by Rich Oddie, Christina Sealey and Aron West. Their early output was inspired by early industrial music and power electronics before the trio began introducing elements of techno, electro and dub. West left in 1994 to create the noise project Tropism, leaving Oddie and Sealey to continue as a duo, with West later rejoining as a contributing member. The band’s discography includes the album “Pitch Black Mirror” (2016, Sonic Groove / Hands Productions) and the “Archive 1993-1994” vinyl set (2017), released through Sonic Groove, which also released the “The Way Through All Things” EP.

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-Techno, Dark-Techno.

Format: Digital, Vinyl.

Background/Info: Sonic Groove boss Adam Mitchell (Adam-X, Traversable Wormhole) strikes back with his Mass-X-Odus project which he defines as ‘Hard-Power-Tech-Noise’. He doesn’t release new work on a regular basis, “Urban Hell” being the third EP” in ten years.

Content: The EP features 3 cuts inviting the listener to join pure Techno-underground music. The work is mixing dark atmospheres together with pumping Industrial-Techno. The title song features pitched, ghost-like vocal effects reinforcing the obscure side of the work.

+ + + : Industrial-Techno isn’t that new but I like the way Adam Mitchell supports his work with an ominous, dark, touch. Pumping, distorted, beats for underground heads. The title song is a great piece of music whereon the vocal effects inject something extra while reinforcing the darkness hanging over the work.

– – – : I regret Mass-X-Odus isn’t releasing new work on a regular basis as this new EP really kicks ass.

Conclusion: Rough Techno for dark souls or Industrial music for ravers.

Best songs: “Urban Hell”, “Eminent Domain”.

Rate: 8.

Artist: www.facebook.com/AdamXsonicgroove

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

About Mass-X-Odus

Mass-X-Odus is one of several aliases of Brooklyn-born producer Adam-X, real name Adam Mitchell, who has run the New York techno label Sonic Groove since 1995 and has been based in Berlin since 2007. Under the ADMX-71 name he records downtempo industrial material, reviewed by Side-Line as “Coherent Abstractions” on L.I.E.S. Records, while his Traversable Wormhole alias explores a science-fiction-themed techno sound, previously covered by Side-Line with “Sublight Velocities/Semiclassical Gravity” on Hospital Productions. As Mass-X-Odus, Mitchell releases material irregularly on his own Sonic Groove imprint, with “Urban Hell” arriving as his third EP under the name in ten years.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

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

Format: Digital, Vinyl.

Background/Info: Based in Los Angeles (USA) Mexican native Federico Sánchez released his first full length as Axkan. The work features twelve tracks.

Content: Axkan stands for the darkest Techno format which has been infused with Industrial noises. The main part of the album is characterized by powerful, linear, sequences and structures which are sometimes into Experimentalism. Orphx, Ayarcana and UVB have been each featured on one cut.

+ + + : Both debut tracks are really impressive for their dark side and Industrial sound treatments on top of Techno power. Another cool cut is “Decadence” featuring Orphx.

– – – : Despite of the highly recommended great cuts I mentioned most of the tracks remain pretty similar, linear, and without a true apotheosis. So it all becomes predictable after a while. 

Conclusion: Sonic Groove remains to me a label with a great taste and multiple outstanding productions but Axkan is one which can’t totally convince me.

Best Songs: “Hell”, “Decadence”, “Death Of A Physician”.

Rate: 6½.

Artist: www.facebook.com/axkan.techno

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

Listen to “Nightmares” below:

About Axkan

Axkan is the solo project of Federico Sánchez, who was part of the first wave of electronic music producers in Guadalajara, Mexico. Sanchez built the project by mixing electronic production with pre-Hispanic instruments, and now lives in the Los Angeles area, in Pasadena, California.

“Nightmares”, reviewed here, is Sanchez’s debut full-length as Axkan, released on Sonic Groove with guest features from Orphx, Ayarcana and UVB.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Dark-Techno, Hard-Techno.

Format: Digital.

Background/Info: Ex.Hale is an Italian solo-project driven by Francesco Presotto. The artist released several productions in a short lapse of time. “Abstract Blue” is the first work he released for Sonic Groove and was released by the end of 2022.

Content: Ex.Hale definitely stands -together with Maedon, for one of the hardest projects active under the Sonic Groove wing. It’s a dark and hard expression of Techno music with a few EBM influences and Acid bleeps on top.

+ + + : This is how underground Techno has to sound; a naughty and perverted sound driven by furious kicks. I like the low sound vibrations and the passage with Acid-like bleeps. The last cut is another attention grabber for its ghost-like sensation.

– – – : Not the most accessible Techno format but definitely one for the darkest, Berliner, Techno parties.

Conclusion: Four tracks of pure adrenaline.

Best songs: “Expression Of Self”, “Covered In Dust”.

Rate: 7½.

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

Listen to “Abstract Blue”:

About Ex.Hale

Ex.Hale is the solo Dark-Techno and Hard-Techno project of Italian artist Francesco Presotto. “Abstract Blue”, released at the end of 2022, is his first work for Sonic Groove, following a run of earlier self-released productions.

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: Hard-Techno, Techno-Body, Industrial-Techno.

Format: Digital, Vinyl.

Background/Info: This work resulted from the collaborative efforts between Maeghan Donovan aka ‘Maedon’ and Adam Mitchell aka ‘Adam X’. While Adam X is running Sonic Groove Records this album has been released by Tresor Records.

Content: If you know the work of both artists you for sure can have an idea about the sound featured on this album. It’s a hard and dark Techno style infused by Industrial sound treatments and some EBM elements. It sounds pretty straight forward and sometimes a bit tormenting because of the cold blasts.

+ + + : I’m not surprised about this collaboration. Partners in crime and lovers, Maedon and Adam X are inviting the listeners to a true Technoid cataclysm. Maedon is known for her hard and merciless style which you rapidly recognize while I guess Adam X injected a retro-like element. Linear and furious, this work stands for non-stop danceable vibes. The opening piece “Breath In It” sounds by far my personal favorite one.

– – – : I got the feeling the work is getting a bit predictable after a while.

Conclusion: Maedon-X is a kind of damaging and perverted Techno sound for dungeon dancefloors.

Best songs: “Breath In It”, “Corrupt Pigs”, “Subterranean Caverns”, “Subliminal Messages”.

Rate: 7½.

Artists: www.facebook.com/maed0n /  www.facebook.com/AdamXsonicgroove

Label: www.tresorberlin.com / www.facebook.com/tresorberlin

About Maedon-X

Maedon is the alias of American artist Maeghan Donovan, previously active as Pulsewidthmod. Now based in Berlin, she released her debut EP “Against His Will” on Sonic Groove in 2019, followed by the EP “Escape To Berlin” and the debut full-length “Now I Am Become Death”. Adam X, real name Adam Mitchell, runs Sonic Groove Records and signed Maedon to the label after the two met in Brooklyn in 2018.

“The Lion And The Ram” is credited to the joint moniker Maedon-X and was released via Tresor Records, marking the pair’s first full collaborative album together.

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

(By Stéphane Froidcoeur for Inferno Sound Diaries/Side-Line Reviews) 2022 has been once again a sad, bloody and terrible year. Living in a mad world music once more remains a true therapy to appease pain and frustration. Concerts and festivals came back; the perfect place to meet friends again. Artists remain prolific releasing great studio work. So I’m once more closing the year by a personal selection of my very own ‘best of’-albums of the year.

Over 700 productions have been selected while 540  reviews have been made all over the year. Some productions have been refused because the style of music didn’t fit, while other reviews will be postponed to 2023. I’m really grateful to all labels, bands and promoters considering my work and efforts and I hope you’ll go on providing me new promos next year.

I one again have to express my deepest gratitude to Rich Bova (NEIKKA RPM) who for years and years now is reading, correcting and improving my reviews. Without Rich there would be no reviews. I also want to thank Bernard Van Isacker – chief redactor Side-Line Music Magazine – for the successful collaboration. 

Up now to 2023. I already reduced my activities this year and will move on reducing it in 2023. I made my first reviews and interviews back in 1991 (!). Some of the readers and artists weren’t even born when I wrote my first review for Side-Line. So after more than 30 years non-stop activities I think it’s not that strange to move on slowly.

I also want to express a big ‘F*** you’ to so-called ‘artists’ and label owners who don’t realise and appreciate the work I’m doing by making reviews and preparing interviews to get them in the spotlights. The attitude and less of respect shown by those people – luckily a very few number – is just unacceptable… but I’m afraid it reflects the world we’re living in… Behind a genius artist is not always hiding a great person… It’s quite strange to realise the ’biggest’- and long-time established artists from this scene often are the most accessible ones.

Writing reviews remains very ‘subjective’ and always a source of discussion, but keep in mind it will be always the perception of the reviewer. I can assure you I’m always trying to argue my reviews the best as possible. A review will be never objective, but has to be honest!

Like every year I’ve made a selection from the best albums of the year. This ‘TOP 25’ covers different styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Cinematographic, Gothic, Post-Punk, Cold/Dark-Wave, Dark-Techno and a few related genres. It remains an exciting but tough exercise.

This ‘TOP 25’ is taken from the promotional material I got while compilations, ‘best of’-productions, EP’s and singles were not considered.

So, here’s my ‘TOP 25’ from 2022 and don’t forget to share it with your friends….

Top 25 albums 2022

1. IVARDENSPHERE: “Ragemaker” – Metropolis Records
2. DIE ROBO SAPIENS : “Robo Sapien Race” – Alfa Matrix
3. EBE04 : “Inrush – Give/Take
4. CALDON GLOVER: “Labyrintia” – Cyclic Law
5. ROME: “Hegemonikon” – Trisol
6. NEIKKA RPM: “Scorpio In The Hourglass – Alfa Matrix
7. VANGUARD: “Spectrum” – Infacted Recordings
8. SUICIDE COMMANDO: “Goddestructor” – Out Of Line
9. ELM: “Penetrator” – Alfa Matrix
10. OBERER TOTPUNKT: “Totentanz” – Danse Macabre Records
11. THE BIRTHDAY MASSACRE: “Fascination” – Metropolis Records
12. BLACKBOOK: “Confessions Of The Innocent” – DarkTunes Music Group
13. BEYOND THE GHOST: “Sundown” – Cryo Chamber
14. THEN COMES SILENCE: “Hunger” – Metropolis Records
15. PRINCIPE VALLIENTE: “Barricades” – Metropolis Records
16. DAWN OF ASHES: “Scars Of The Broken” – Artoffact Records
17. MONSTERGOD: “Ozymandias” – Space Race Records
18. STATIQBLOOM: “Threat” – Sonic Groove Records
19. AXIOME: “Field Guide To Alien Planets And Other Disco Balls – Audiophob
20. REICHSFEIND: “Darken” – Alfa Matrix
21. FIRST AID 4 SOULS: “I Am The Night” – Alfa Matrix
22. ORDO ROSARIUS EQUILIBRIO: “Nihilist Notes And The Perputual Quest 4 Meaning In Nothing” – Out Of Line
23. KILL SHELTER: “Asylum” – Manic Depression Records / Metropolis Records
24. JAGATH: “Svapna” – Cold Spring Records
25. KILL YOUR BOYFRIEND: “Voodoo” – Shyrec

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: Techno-Body.

Format: Digital, Vinyl.

Background/Info: “World Clash” is the debut work by the collaborative production Max And Max. The project features Maxime Fabre (Crystal Geometry) and Max Durante.

Content: The EP features 3 songs plus 2 remixes. The sound is driven by menacing bass lines appealing to EBM lovers and Industrial sound treatments carried by a danceable kick. I also noticed a few Acid sequences. Remixes have been made by both artists as Crystal Geometry and Max Durante. Notice by the way they each remix a song, which hasn’t been featured as an original edit.

+ + + : This is a fully successful collaboration between both Maxs’. The tracks have been meticulously built up and injected with murderous bass lines and heavy Industrial arrangements. I also like the mysterious kind of flute sound running through “Art & Entertainment”. “Wings” is a heavy piece and definitely a great dancefloor cut. I’m also addicted to the remix of “World Clash” by Crystal Geometry. This artist remains a sound wizard when it comes to exploring the endless possibilities of modular synths.

– – – : The EP is maybe not featuring an ultimate dancefloor cut, but we still get cool and fully enjoyable pieces instead.

Conclusion: This is a great collaboration and I can only encourage Max & Max to renew this experience!

Best songs: “Wings”, “Art & Entertainment”, “World Clash – Crystal Geometry Mix”.

Rate: 8.

Artists: www.facebook.com/crystalgeometry / www.facebook.com/MAXDURANTE

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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: Techno-Body, Industrial.

Format: Digital, CD.

Background/Info: Skren is a German male-female duo which self-released their second album “Chaos”.

Content: Skren stands for danceable music and Electro-Minimalism. The composition is driven by Dark-Techno, Industrial and EBM. I also noticed an Electro-Punk touch while a few breaks are bringing moments of rest. The songs are mixing instrumentals and songs with raw, powerful vocals.

+ + + : Skren is a band I can’t remember having ever heard before and which took me by surprise. The composition is well-crafted, progressive, and built up with powerful, unrefined sound treatments. The Industrial sound treatments and menacing bass lines inject an extra dark touch to the work. There are numerous cool songs, but I want to mention “Staub (Album Version)” which sounds to me as an ‘industrialized version of early Front 242’. This band might appeal for Sonic Groove lovers.

– – – : The very few softer cuts aren’t the best exponent of the album, but I don’t see any reason to complain.

Conclusion: “Chaos” is an intelligent work composed by visionary and talented artists. This work is a true revelation so let’s keep an eye on Skren.

Best songs: “Staub”, “Tunnel”, “Untergang”, “Im Kopf”, “Chaos”.

Rate: 8½.

Artist & Label: www.facebook.com/skrenband

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Dark-Techno, Acid.

Format: Digital, Vinyl.

Background/Info: Reade White is an old servant of the New-Yorker club scene. He released an impressive number of productions -mainly EP’s. He already collaborated with Sonic Groove, but that was more than twenty years ago now.

Content: “2^nd Qtr” features 4 songs which are the perfect mix between dark-Techno vibes and Acid sequences. The sounds are icy. There also is a cold, groovy cut while the last song is a perfect mix of Techno and EBM carried by sound treatments reminding me of Front 242 and sensual female vocals on top.

+ + + : This is Techno/Acid music for ‘dark cellar’ parties! Pure underground stuff, but also a judicious and harmonic mix between different influences. The frozen atmosphere recovering the work accentuates the ‘underground’ feeling. I can’t say there’s one track to throw away, but I’ve a preference for “Divided Pleasures” which is a terrific apotheosis to a sexy, perverted, Techno/Acid/Body production.

– – – : There are no real minus points here.

Conclusion: Reade Truth makes a stunning return to the Sonic Groove roster, revealing dark, intelligent and efficient Electronics.

Best songs: “Divided Pleasures”, “An Acid Dream”(Or So It Seems)”, “Chemical Playskool”.

Rate: 8½.

Artist: www.facebook.com/profile.php?id=100063769602122

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Dark-Techno, Cinematic, Experimental.

Format: Digital, CD, Vinyl.

Background/Info: Rhys Fulber -next to his other projects he’s involved with, has released an impressive number of productions under his own name in a rather short lapse of time. After having released works by his own label (FR Recordings) he now releases this opus again on Sonic Groove.

Content: Rhys Fulber moves on exploring the realms of Dark-Techno music at one side while still paying attention for his Cinematic- and Experimental work. It’s quite interesting to see how he mixed both influences together resulting in dark, freaky, Techno passages.

+ + + : There’s an interesting duality between both main influences running through this work. I however prefer the more Techno driven cuts reflecting different the sound intelligence of Rhys Fulber. I like his ghost-like Techno music emerging from the title track and “Glory To Labour”. “Palace Of Pioneers” is another cool exposure.

– – – : The work features a few Experimental/Cinematic passages which rather sound as breaks without real importance (like “Dronegail”).  

Conclusion: Rhys Fulber confirms his impressive productivity and even if this album still features a few great tracks it’s definitely not the album I would recommend to discover his ‘Techno-work’.

Best songs: “Glory To Labour”, “Palace Of Pioneers”, “As Far As Dreams”.

Rate: 7.

Artist: www.facebook.com/rhysfulbermusic

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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-Techno.

Format: Digital, CD, Vinyl.

Background/Info: Fade Kainer moved from Brooklyn, NY (USA) to Berlin (Germany). His newest opus was released by Sonic Groove where Sonic Groove owner Adam Mitchell is based as well.

Content: Statiqbloom is clearly taking distance with previous productions (thinking to the previous albums released by Metropolis) leaving the Dark-Electro and EBM influences to join a Dark-Techno approach. The common elements remain the Industrial input which remains present. So in the end we get a hard Industrial-Techno fusion carried by solid bass lines, a few EBM reminiscences and isolated harsh vocals.

+ + + : Fade Kainer is an artist who avoids repeating himself and that’s definitely a very positive aspect. But this album also confirms the talent of the man who accomplished a great and alluring Industrial-Techno format. The work sounds like a violent offspring between different influences. The vocal parts running through “The Unwinding” are pretty cool although I prefer the instrumental format revealed in masterpieces “Devout Error” and “Capacity Of Brutality”. The bass line of the last-mentioned song sounds phenomenal. “Razor Rubble” is another merciless piece worthy of examination.

– – – : The opening song sounds more like an intro or teaser to the upcoming violence of this work. It also is one of the only cuts which can’t totally convince me..

Conclusion: Statiqbloom has evolved in its influences but remains a terrific project. “Threat” sounds like dark- and violent Industrial-Techno.

Best songs: “Devout Error”, “Capacity Of Brutality”, “Razor Rubble”, “Flesh Sacrifice”, “The Unwinding”.

Rate: 9.

Artist: www.facebook.com/statiqbloom

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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: Techno-Body, Dark-Techno.

Format: Digital, Vinyl.

Background/Info: Russian born Dasha Rush is operating from Berlin. She has already released an impressive discography and now returns to Sonic Groove to unleash four new cuts.

Content: The opening cut “El Kinky” is a perfect and hard mix between EBM and dark-Techno featuring glaring vocals on top. The other tracks reveal similar influences but globally speaking become more Dark-Techno driven with some extra cold Industrial sound treatments on top.

+ + + : Dasha Rush strikes back with a hard and punching production. There’s a perfect balance between EBM and Dark-Techno resulting in the phenomenal debut track “El Kinky”. I also like the way vocals have been produced in this track creating a great and bewitching effect on top. The other cuts are cool but can’t compete with the opening piece.

– – – : The best cut is right at the beginning although the other tracks are worthy of examination.

Conclusion: Dasha Rush is another great female artist from the Sonic Groove roster; girl-power-techno!

Best songs: “El Kinky”, “Psycho Runner”.

Rate: 7½.

Artist: www.facebook.com/dasha.rush.music /

 www.facebook.com/dasha.rush.music

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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

Behind Maedon is hiding American female artist Maeghan Donovan. Now based in Berlin (Germany) her sound can be defined as hard, merciless, Techno-Body Music. She got in touch with Sonic Groove owner Adam-X who released her debut EP “Against His Will” in 2019. She next released the EP “Escape To Berlin”. Earlier this year Maedon unleashed her debut full length “Now I Am Become Death” which only confirmed the powerful sound of this artist. This interview is a way to introduce you to the muscled Techno universe of Maedon. Maeghan Donovan is not only a great producer but also an interesting person.

(Courtesy by Inferno Sound Diaries)

Q: How did you get contaminated by Electronic music? And tell us a bit more about your music background and former experiences like Pulsewidthmod?

Maeghan: I became hooked to Electronic music at a very young age, my oldest brother who was a Senior in Highschool when I was in Kindergarten gave me my first tapes. The first two were typical Girl-Pop music. The third tape he gave me was the hook, line, and sinker for me; Depeche Mode “People Are People”. From there on my musical journeys were very diverse over the years,  but I always returned to Electronic-Dance music. 

As for my musical background, I started playing the piano when I was 5 years old and sang in choirs. I went to college for Classical Piano Performance but decided to drop out to pursue building a studio of my own and producing. 

From 2005 to 2014 I spent time learning the ins and outs of synthesis and recording. My first show as my former moniker, Pulsewidthmod, was in 2014. At that point, all my productions were focused more on Pop music but my first shows were playing for Dance parties. I became hooked after my first real rave that I played.

In 2016 I went on my first tour that coincided with my first visit to Namm in Anaheim, California. A few months later, I released my first physical album on cassette tape, “Entelechy”, and booked a 2.5 month coast to coast tour. The music was vocal-centric, Minimal/Dark-Wave. While I was on tour I realized I didn’t really enjoy playing shows where I was performing structured songs and singing. At the end of each set, I would play a more Live PA style. It wasn’t quite Techno, but it was definitely Dance-worthy and that was the time that I focused all my energy on producing music for clubs.

In April of 2018 I released my first 12” on Detroit Underground. In September of that year I moved to Brooklyn, NY. In December of 2018 I played Synthicide and when I was finished with my set I walked from the dance room to the bar and low and behold, who was standing there? Adam-X! We spoke for over two hours that night. He had given me really good feedback on the promo for my Detroit Underground release, “Serpentine Servitude”. It was really cool because he was unaware that I was a female. That’s how I wanted it a the time, I didn’t want my music to be marketed or pushed because I was a woman. I wanted the music to stand on its own. I wore a hood for most of my press shots so it wasn’t obvious that Pulsewidthmod was a woman.

That night at Synthicide, Bossa Nova Civic Club, Adam expressed to me to send him tracks. It took me till the end of April the following year to send him my new productions. He heard my tracks and immediately signed me. As many people know, we are now a couple. This happened after the release of my first Sonic Groove release, “Against His Will”. 

Q: I’m always wondering why there’re less female- than male artists active in the music scene, but especially in Electronic/Industrial music. Do you’ve an explanation and how does it feel to be active in this ‘men world’? 

Maeghan: We live in a world ruled by men, not women. This mentality trickles down into every aspect of society. The entertainment industry is ruled by men and the world of technology has always been a male driven vocation.

I grew up in a world where girls played with Barbies and wore pink and boys grew up with Transformers, and GI Joe and wore blue. (I could care less about barbies, I much preferred transformers and Casio synthesizers.) Because of technology, the world has changed exponentially. Being an Electronic musician means not only being a musician, but being an engineer and a producer. 

Synthesizers are in many ways a very nerdy thing to get into. To the unacclimated musician, they can be somewhat difficult even to get your head around. As a synthesist, you almost have to have an interest in both physics and electronic engineering. As a girl growing up in the 90s, these sorts of things were not marketed to girls. Being a woman, it took breaking the usual societal norms to break into being interested in things that weren’t meant or marketed towards women. 

I felt very alienated to a degree and singled out. Promoters were almost always men. They don’t expect for a girl to make music that appeals to them. They don’t expect that a girl even knows what she’s doing. I would play many opening slots. All this gave me fuel to push myself harder, make my music harder, make it darker, to always strive to outdo myself with each passing show. To sum it up, being a woman making music that was almost entirely a male-centric genre, it pushed me to make music that was harder and darker than all the boys.

The best feeling in the world in a way is the reactions I would get from male promoters. At one party I clearly remember the promoter coming up to me halfway through my set saying to me, next time you play for us, we will give you a prime spot. The funny thing about this story, the same promoter booked me for another party; when it came time to make the poster I asked what my time slot was just to make sure. It’s not worth my time or effort to take my gear out to a show where I’m getting paid the equivalent amount as someone doing door. They didn’t keep their promise so I backed out.

I value what I do and I deserve to get treated with respect.

With all this said, things have changed a lot now. Women along with Transgender, and non-binary artists are being heavily pushed. Because of this, I now feel comfortable letting my personality shine through publicly. I don’t hide behind a hood anymore because I don’t need to, my music stands on its own. My music got me to where I am today, not being the ‘token’ female on the all male line-up.

Q: I can easily imagine your move to Berlin, meeting other artists and visiting clubs must have had a serious impact on your artistic activities. What makes Berlin that different from the rest and can you tell us a bit more about the spirit of this town? 

Maeghan: I moved to Berlin on March 15th, 2020  two weeks ahead of schedule and only two weeks after returning from playing Tresor for the first time. The Berlin that I know is the locked-down Berlin. That being said, Berlin has had a very positive and dramatic influence on my music and music production. 

What makes this city different is the fact that this city not only respects artists but much of the economy has been built around the club culture. Last year Berlin clubs were declared to be a cultural institution to safeguard their future in the time of lockdown. As an artist, this mentality serves as a huge sense of security. Where I come from, being an artist was a constant struggle. I would live day by day, week by week, doing my best to make my rent. Many times I had to sell gear to make up for the difference to pay my rent. 

I refused to let my art suffer for the security of a paycheck. I would live off of bagels or spaghetti so I could spend time working on my craft. This was difficult in itself because those around you, including roommates, would look down on me thinking I was being irresponsible. For me, being irresponsible would be denying myself of pursuing my craft.

Here in Berlin, the cost of living is not nearly as high as it was in Brooklyn. This is another aspect of this city that really helps artists thrive. I am here because I am an artist. If I want to stay here, all I need to do is to continue doing what I always have minus the worries and guilty feelings of being a ‘responsible citizen’. This is something artists around the world should feel everywhere. 

Meeting other artists is the cherry on top with Berlin. I’ve made many friends and for the first time in my life, I feel like a member of an amazing community. Living in Berlin truly is, living the dream.

Q: Adam Mitchell introduced Mædon as one of the hardest projects signed to Sonic Groove. I think you just are the ‘hardest’ one but what do you try to express by your music and especially the debut album “Now I Am Become Death”? 

Maeghan: My music being hard is a result of two things: first, my life experiences, second, we live in a world that’s severely fucked up. “Now I Am Become Death” continues on with the same theme as “Against His Will” and “Escape To Berlin”. I express the atrocities of those who hold the power and rule the world. The title track of the album, “Now I Am Become Death” was started as a more Techno-Body Music track where I sampled Oppenheimer. The quality of the recording from his speech wasn’t sitting well so I decided to say it myself. This is how it morphed into being a more straight up, hard Techno track. My vocals became the lead.

We live in a world where we are ruled by madmen. People follow orders by those in command, and it causes death, repression, pain, suffering … so my sound and this album is me literally saying “Everything is Not O.K.”. That was another track that I originally had a vocal sample of Dave Chappele saying ‘The worst thing to call someone is crazy … maybe the environment is a little sick’. My sound has always been a musical expression of me screaming ‘I’m mad as hell, and I’m not going to take it anymore!’ As time goes by, I’m just getting louder expressing this sentiment.

Q: How do you look back at this album? What have been the main difficulties and eventually challenges in the writing- and production process? And what are you personal criteria to say a track/album is finished? 

Maeghan: This album was written and recorded during the thick of the pandemic when lockdown was in full effect. It was very difficult to complete because there were no shows to play. Playing shows is a vital part of not only the production but the source of inspiration. 

 As I look back on it, I see it as an album created in the darkest and hardest of times as an artist. There was an overwhelming fear that club culture might not return. It’s also an album that’s a demonstration of my transition from being known as an EBM artist to being more versatile with making Techno in general. There’s some Hard-Techno in there, some Rave, and some Acid.

Outside of producing dance music when no one is dancing, the hardest challenge to a degree was making the music in a small space entirely in headphones. When I moved here, I came with only the essentials. My monitors and sub were sold because they weighed too much to bring with me from Brooklyn. I also ended up living with Adam in his studio flat because finding a flat during the pandemic was not an option.

So, I made do setting up in Adam X’s kitchen, mixing and cooking up beats, listening through cans. I really look forward to the future where Adam and I can find a suitable flat here where I can rebuild a studio. 

Q: A last question about your live sets. Do you’ve specific/favorite tracks/artists you’re always playing? How do you prepare a live set and do you notice significant differences between the places and clubs you’re playing? 

Maeghan: I am mostly booked as a live artist so my preparation for gigs is literally making new tracks. The more shows I play, the more new material I get to choose from. The main difference between the places and clubs I’m playing now is this, I’m playing and being booked to play in amazing clubs and parties. Last fall I got to play in Basement and this was such an amazing experience. I also got to play in LA for the first time ever in a proper underground warehouse. This year I look forward to playing in many world renown clubs and parties.

I am beginning to Dj now too, I find it to be very fun. I love being able to play tracks of many of my favorite artists a few of which are Perc, Ansome, Joe Far, Mickey Nox,  Sawf, Anfs, Phase Fatale, Dasha Rush… oh yeah, and Adam-X. Every DJ set I play always includes Sheer Insanity or Sensory Overload.

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: Hard-Techno, Techno-Body.

Format: Digital.

Background/Info: After having released two promising EP’s Maeghan Donovan aka ‘Maedon’ strikes back with her debut album. “Now I Become Death” features nine songs.

Content: Maedon holds onto her devastating Techno power she already illustrated on previous EP’s. This album stands for hard-hitting Techno music with a dark touch on top. The tracks have been achieved with EBM sequences, harsh noises and spoken samplings. The devastating kick injects a constant power to the work.

+ + + : Sonic Groove owner Adam Mitchell (Adam-X) once introduced Maedon as one of the hardest projects from the label. This American artist only confirms this statement, her music being pure sonic adrenaline. The album is driven by hard, merciless kicks and devastating sequences. I like the rather EBM-driven sequences running through “Everything Is Not OK”. I also want to mention the title track for the impressive canvas of noises and effects. This woman stands for a merciless and enraged sound!

– – – : Speaking for myself I would have liked to hear Maedon injecting a bit more EBM elements to her album. It would also have brought a bit more diversity to the composition becoming a bit too similar after a while. But you don’t hear me complaining when listening to dance stuff like this.

Conclusion: Maedon stands for ‘the muscles of Sonic Groove’. This is dancefloor terror.

Best songs: “Everything Is Not OK”, “Now I Am Become Death”, “What You Want – Rüdersdorf Trip”.

Rate: 8.

Artist: www.facebook.com/maed0n

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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, Acid, Techno, Minimal-Electro.

Format: Digital, Vinyl.

Background/Info: Four years after the outstanding “Recon Mission”-album Adam-X strikes back with his seventh full length opus. The work has been written and recorded during the lockdown while the inspiration came from an abandoned factory in the forests of Rüdersdorf (Germany) near Berlin.

Content: Adam-X took me by surprise. Next to some familiar sound ingredients related to Industrial- and Minimal-Electro- plus Techno music he this time injected Acid loops to the work. It resulted in a hard, dark and danceable experience in sound. The Acid influences are progressively coming through while the hard-banging Industrial beats are leading the dancer into trance.

+ + + : This is a surprising release from Brooklyn (USA) born Adam-X. He got inspired by this strange and abandoned place in Rüdersdorf which resulted in an unexpected mix of Industrial-Techno at one side and pure Acid -reminding the glorious days of the Detroit scene, at the other. I’m not saying Adam-X reinvented his sound, but he clearly dares to experiment with new -retro-like ideas. There’s an interesting evolution in the tracklist, the second part of the album being the most exciting one. “1993 Acid Flashbacks” is reaching a true transcendental effect. The last cut “Perceived Alien Invasion” has a similar result. I like the kick driven through this song. This work is a true challenge, but for sure evoking good-old memories from the 90s.

– – – : The Acid sequences running through the work are becoming a bit predictable and repetitive after a while.

Conclusion: The good thing with lockdowns is that many artists got stimulated in their creativity. Adam-X brings great retro influences to life with his own minimal touch on top.

Best songs: “1993 Acid Flashbacks”, “Perceived Alien Invasion”, “Dissociation In Isolation”, “Meteors Galore”, “Dystopic Monolithic Structures”.

Rate: 8½.

Artist: www.adamx.net / www.facebook.com/AdamXsonicgroove

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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-Techno, Minimal-Electro.

Format: Digital.

Background/Info: Georgian Leon Lolishvili aka Boyd Schidt is active as a producer, DJ and label owner (2529 KM). He released his first work for Sonic Groove.

Content: The five tracks of this work are clearly carried by raw, Industrial-like Techno music. Other passages are driven by Minimal-Electro arrangements revealing another and more creative side of the artist.

+ + + : I like this work for its diversity. The Industrial-Techno style has been perfectly assimilated with a more minimal- and intelligent approach, which is mainly emerging at “Defining The Demon” and “Ataraxia 11”. Both cuts have been achieved with great sound manipulations.

– – – : Some passages are a bit too repetitive for my taste (cf. “Steff Unno Son Dri”), but in the end it’s just one track.

Conclusion: Boyd Schidt sounds like the right- and promising newcomer to the Sonic Groove label roster.

Best songs: “Defining The Demon”, “Ataraxia 11”.

Rate: 7½.

Artist: www.facebook.com/boydschidt

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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, Techno, Minimal-Electro, Experimental.

Format: Digital, Vinyl.

Background/Info: Adam Mitchell strikes back with a new opus of his ‘industrialized’ ADMX-71 project. We know the New-Yorker -based in Berlin (Germany) from his other projects Adam X, Traversable Wormhole ao, but also as sonic Groove label runner. “The Aging Process” has been released on the New-York label L.I.E.S. Records featuring nine new songs.

Content: The album takes off with a kind of intro-track, but we rapidly move into a mix of Experimental-sounding loops and Techno-Industrial elements. Quite progressively the tracks become more elaborated, featuring minimal Electro sequences, raw sound treatments and space-like bleeps.

+ + + : The tracklist of the album is interesting as it moves progressively towards more accomplished pieces of Minimal-Electro. I especially recommend listening to the final part of the work revealing three great cuts. The way the songs have been built up is a noticeable aspect here. “The Code Decipher” is a true apotheosis of the work, which has been preceded by “Leading The Way”, which sounds like pure class-minimalism. “Dormant DNA Activation” is the other track left, bringing a mix of astral sound treatments and slow Techno music. Last, but not least I also want to mention “They’ve Instilled Fear In Us” for its cool, vintage sound sculptures.

– – – : some of the opening tracks are more Experimental and not exactly the best exponents of the work. So you have to be a little bit patient to discover the strength of this work.

Conclusion: The fourth full length by ADMX-71 also is the first one in five years, but it remains a great sonic exposure of modern Industrial-Techno & Experimental music.

Best songs: “The Code Decipher”, “Leading The Way”,  “Dormant DNA Activation”,  “They’ve Instilled Fear In Us”, “Catch Me If You Can”.

Rate: 8.

Artist: www.adamx.net / www.facebook.com/AdamXsonicgroove

Label: www.liesrecords.com / www.facebook.com/longislandelectricalsystems

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

Over the past 12 months Inferno Sound Diaries‘ Stéphane Froidcoeur selected nearly 750 productions of which 600 also got a review on Side-Line. Some productions have been refused because the style of music didn’t fit, while a lot of reviews are still to be published in 2022.

Stéphane: “I’m really grateful to all labels, bands and promoters considering my work and efforts and I hope they’ll keep on providing me new promos next year. My greatest gratitude and thank goes once again to Rich Bova (NEIKKA RPM) who for years and years now is reading, correcting and improving the reviews. I don’t have enough words to express my gratitude and without Rich I simply would have to stop this job. No need to say I’ve been once again disappointed by a few so-called ‘artists’ and label owners. The attitude and lack of respect shown by those people -luckily a very few number, is just disgusting… but I’m afraid it reflects the world we’re living in… Behind a genius artist is not always hiding a great person…”

2021 has been also a very special year for Stéphane as he celebrated his 30th anniversary of journalism with an impressive series of interviews featuring very different people from this scene. Stéphane : “Big thanks to Séba Dolimont, Suicide Commando, Juno Reactor, Raison D’Être, Jürgen Vanvlasselaer, Rich Bova, Armageddon Dildos and Bernard Van Isacker who kindly accepted to contribute to this celebration.”

Here are the interviews conducted:

• Celebration Interview with Bernard Van Isacker (Side-Line & Alfa Matrix)
• Celebration Interview’ with Uwe Kanka / Armageddon Dildos
• Celebration Interview’ with ‘Music Lover’ Jürgen Vanvlasselaer
• Celebration Interview’ with Rich Bova / Neikka RPM
• Celebration Interview’ with Peter Andersson / Raison D’Être
• Celebration Interview’ with Ben Watkins aka Juno Reactor
• Celebration Interview’ with Johan Van Roy (Suicide Commando)
• Celebration Interview’ with Seba Dolimont (Alfa Matrix)

Like every year Stéphane has made a selection from the best albums of the year. This Top 25 covers different styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Cinematographic, Gothic, Post-Punk, Dark-Techno and a few related genres and is taken from the promotional material we got while compilations, ‘best of’-productions, EP’s and singles were not considered for this ‘best of’.

But now, here are the 25 best albums!

1. Rome – “Parlez-Vous Hate?” – Trisol
2. Circumpolar – “Awaiting The Dawn” – Alfa Matrix
3. Clicks – “Goth” – Dependent Records
4. Of The Wand And The Moon – “Your Love Can’t Hold This Wrath Of Sorrow” – Heidrunar Mykrunar
5. Crystal Geometry – “Distressing Visions” – Sonic Groove
6. Mechanimal – “Θόρυβος” – Inner Ear Records
7. Raison D’être – “Demonum“ – Cyclic Law
8. Zwaremachine – “Conquest 3000” – Phage Tapes
9. Eclipsed – “Holyiens” – Electro Frequent
10. Nattskiftet – “Stamplar In” – Progress Productions
11. Nnhmn – “Deception Island 2” – Zoharum
12. This Morn’omina – “The Roots Of Saraswati” – Dependent Records
13. Skrika – “Fifth Nature” – Cryo Chamber
14. Llumen – “Polygon Heart” – Alfa Matrix
15. Not My God – “Simulacra” – Metropolis
16. Seasurfer – “Metropolis” – Reptile Music
17. Ps Stamps Back – “Au Bout De La Nuit” – Ant-Zen
18. The Illusion Of Silence – “Gardens In The Dark” – Shadowplay
19. She Spread Sorrow – “Huntress” – Cold Spring Records
20. Blutengel – “Fountain Of Destiny” – Out Of Line
21. Agonoize – “Revelation Six Six Sick” – Reporecords
22. The Force Dimension – “Mortal Cable” – Sonic Groove Experiments
23. Cubic – “The Cubic Alphabet” – Alfa Matrix
24. Pyrroline – “Struggling” – Electro Aggression Records
25. Beckahesten – “Tydor” – Cyclic Law

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Force Dimension is without a shadow of a doubt the most famous Electronic band from The Netherlands. Set up by René Van Dijck in the late 80s, the self-titled debut album (recorded as the ‘Red Version’), released in 1989 became an instant success. The music was labeled as EBM. The Force Dimension got signed to the legendary KK Records. After the debut album they released “Deus Ex Machina” in 1990. We next had to wait till 2017 to see the band releasing the album “Machinesex” on Daft Records followed by the self-released “Sorcery Pigs” in 2018. This year René Van Dijck strikes back with a new album released on Sonic Groove. “Mortal Cable” is hard to label, different from other albums, but it’s a great and minimal creation mixing elements of EBM, Techno and pure Minimal-Electro. I’d a chat with René.

(Courtesy by Inferno Sound Diaries)

Q: Thirty two years are separating your very first self-titled debut album and your newest full length “Mortal Cable”.  Can you compare both albums with each other and how much of the early Force Dimension-sound and way of working do you still recognize in “Mortal Cable”? 

René: It is not so easy to compare as each album has its own -so to say- soul, spirit or energy. I am 32 years older so my mind and way of composing has changed as well. But instrument-wise there is a big difference: the instruments from KK020, the first album, are totally absent in “Mortal Cable”, which is fully composed on 1 laptop, 1 notebook (for the lyrics) and 1 singer, me. Very minimal!

Q: The Force Dimension belongs to the history of EBM. What does that music style mean to you today and what’s your perception of contemporary Electro-Underground music? 

René: I have nothing with boxes, niches or pigeonholes like EBM or whatever name you give to some kind of music. I listen to songs or to bands, to artists, not to styles. I have no notion of contemporary Electro-Underground music. I do not know. 

Q: Over now to “Mortal Cable”! What have been the sources of inspiration to compose this work (sound- & lyrical wise) and what kind of album did you’d in mind? 

René: My inspiration sources are in my life, what I experience or what I feel or think at the moment when I make a song. I improvised a lot when composing for that album. So I had no idea in mind what was coming out or would be the result. I listen to a lot of music, to a lot of artists and bands, all kinds of styles and maybe that influenced me on a subconcious level. 

Q: How did the album took shape? What have been the different stages you’d to go through to achieve “Mortal Cable”? What instruments and programs did you use and did you encounter major difficulties and/or challenges in the production? 

René: In most of the songs I started with the rhythm, mostly danceable. Then I started improvising melodies and singing the lyrics. I only use Cubase to make music and I use my vocals of course. The lyrics are in most of the cases also improvised. I use a lot of automatic writing and composing, to let my intuition speak. The difficulty in making this album in my home studio was making it with good EQ-levels and mastering. But it turned out quite ok…I hope.

Q: “Mortal Cable” sounds to me as an artist who reinvented his own sound; still pretty vintage-like, but also deeply minimal-sounding and with some extra Techno elements on top. What does this album mean to you and how would you compare it with previous releases? 

René: For me the album, like all songs I create, is a kind of expression for my feelings, ideas and so on. Because of this, the album stands on its own. It is in that sense difficult to compare “Mortal Cable” with previous releases. I did this album mostly on my own and by myself, in contrast with the other albums, which were collaborations with Betty, Tycho and Armin. So this was completely new to me and challenging. 

Q: Music clearly is a perfect remedy for a lot of music lovers to forget the ongoing pandemic. What’s your personal experience about the question and what’s the impact on your activities? How do you expect things evolving? 

René: It is hard to say anything on what people experience when listening to music. It is a personal thing in the end. I have no expectations on how things will evolve in the future. But I hope the world will get better soon. 

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, Ambient-Techno.

Format: Digital, CD, 2 Vinyls. 

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One ao) strikes back with a new album under his own name. He’s now self-releasing his work while previous productions were released by the excellent Sonic Groove. The Canadian producer recorded this album while staying in Canada and getting inspired by nature. 

Content: Is it because of the pandemic wherein nightlife and clubbing was restricted and even forbidden for a while or the strength and beauty of nature, but this work sounds more driven by Ambient music. But it’s not pure Ambient as Rhys injected hard, beating kicks, creating a sonic fusion between Techno and Ambient. The work evolved into colder sound treatments, which even have something Klinik-al like. A few tracks feature vocals –which sound more like an extra effect on top of the music. The last cut is something totally different and more into harsh Techno-EBM featuring enraged vocals by Sara Taylor (Youth Code). 

+ + + : How many years this artist is now active composing music for different projects? Years indeed, and he rarely repeats himself. That’s exactly what he’s doing again on this album. He holds on to the Techno influences from “Your Dystopia, My Dystopia” while adding a more explicit Ambient touch on top. Rhys Fulber explores the possibilities of Techno music by bringing influences together. But above all he remains a great sound producer, creating outstanding sound treatments with powerful beats and blasting sounds. “Marginalized” and “Pressure” both are great exposures of this work, but I also have to mention the very aggressive “Rogue Minority” and the ultra-violent Techno-Body “Stare At The Sun” featuring the demonic Sara Taylor. 

– – – : I can’t say that I prefer this albumover “Your Dystopia, My Dystopia” or “Ostalgia”, but the more explicit ambient approach wasn’t necessary to me. 

Conclusion: The ongoing pandemic inspires great artists to release great things; “Brutal Nature” is a perfect title to summarize this visionary work by Rhys Fulber.

Best songs: “Marginalized”, “Pressure”, “Rogue Minority”, “Stare At The Sun”, “Chemical”. 

Rate: 8½. 

Artist & Label: www.facebook.com/rhys.fulber / www.facebook.com/rhysfulbermusic  Read the news on ‘Brutal Nature’.

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-Techno, Experimental-Techno.

Format: Digital, CD.

Background/Info: Berlin based Italian DJ/producerMassimiliano Durante aka Max Durante has been in the music business since the 80s. He has been involved with numerous projects and now strikes back with a new Max Durante album. After having worked together with labels such as Sonic Groove, Aufnahme + Wiedergabe… he now joined Hands.

Content: Max Durante is clearly driven by the Techno sound of Berlin; a different- and somewhat visionary approach of Techno music. This boosting Techno basis has been supported with darker and harsher Industrial sound treatments, which also reveal some Experimental passages. This music is not just driven beats –as you’ll also discover tracks with slower tempos, but still featuring a true arsenal of dark sound and Industrial noises with now and then some spoken samplings on top. Some of these samplings have a somewhat political dimension.

+ + + : I like the underground format of this record, which totally fits with the approach of Hands. It’s for sure Techno-minded, but featuring explicit Industrial components. I also like tracks driven by slower and broken rhythms.

– – – : This is not the most accessible Techno format because of the Experimental touch on top. It however seems to be more suited for Industrial happenings.

Conclusion: “Der Graue Geruch Nach Metall” is a true sonic bridge between Techno and Industrial music.

Best songs: “In Den Augen Der Revolution”, “Der gedanke Hinter Den Gedanken”.

Rate: 7.

Artist: www.facebook.com/MAXDURANTE

Label: www.handsproductions.com / www.facebook.com/hands.official

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: EBM, Minimal-Electro.

Format: Digital, Vinyl.

Background/Info: The Force Dimension belongs to the collective memory of the 80s. Hailing from The Netherlands, they became a renowned formation from the legendary Belgian KK Records. After a long hiatus they struck back in 2017 with a different line-up and a new album “Machinesex”. Four years later, core member René Van Dijck joined hands together with Sonic Groove to release “Mortal Cable”. 

Content: Forget about the 80s productions of this band and discover the ‘news’ sound of The Force Dimension. René Van Dijck has accomplished a true tour de force. The sound is hard to define, but clearly mixing good-old EBM vibes and bass lines together with a raw, icy Minimal-Electro sound. The sequences are repetitive, sometimes mixed with a melodic passage and always driven by danceable rhythms. The vocals have been produced in a rather robotic way. The album features eleven surprising cuts for dancefloors.

+ + + : I liked the band’s self-titled debut-album (the red edit) originally released in 1989 on KK Records. Thirty two years later The Force Dimension has completely reinvented its sound although holding on a great retro-like approach. You can hear it in the dry snares, the icy strings and good-old analogue sound treatments and effects. But this retro-basis has been boosted by contemporary elements, empowering the sound and getting the sound into an irresistible minimal approach. Sometimes on the edge of intelligent Techno music, the sound remains raw. There’re also sensual passages, which makes me think of music for pleasure games in dungeons…

– – – : The Force Dimension took me by surprise and left me rather breathless. The only single regret I can imagine is that this is just another band… but still another time!

Conclusion: The Force Dimension strikes back with a bang! This is a creative and original album, which is hard to label, but definitely great to consume!

Best songs: “Icicles”, “Deep Stalker”, “Door 2 Door”, “On The Floor”, “Cliff”, “With Your Feet”.

Rate: 9.

Artist: www.theforcedimension.com / www.facebook.com/theforcedimension

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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: EBM, Techno-Body, Hard-Techno.

Format: Digital, Vinyl.

Background/Info: French producer Maxime Fabre is back on track, unleashing ten new songs. The new opus comes one year after the excellent “Senestre”, which was already released on Sonic Groove.

Content: “Senestre” was already a great piece of music, but “Distressing Visions” moves a step further. The power has been accentuated resulting in a furious sonic fusion between good-old EBM elements and merciless Hard-Techno. The tracks feature lots of shouting vocals and samplings, which all together create a feeling of rage. Some tracks are boosted by sampled guitar riffs creating an extreme power effect.

+ + + : Crystal Geometry has reached a point of no return; the ultimate album this French artist might be proud of. The production is violent, like a way to canalize the anger of the artist… maybe against the ongoing pandemic! Who knows? But his work becomes better and better. It’s not just powerful Techno music and solid EBM bass lines, but a great and intelligent composition revealing outstanding sound treatments. The analogue effects, sweeps and noises have something magic. Last, but not least there’s also something to say about the production of the vocals and samplings, leading the listener into an imaginary state of terror.

– – – : The constant power becomes a bit predictable after a while, but the songs never stop taking me by surprise!

Conclusion: “Distressing Visions” has an effect of sonic vitriol; it starts to burn and will smack you in the face as a true uppercut. Respect!

Best songs: “The Threshold”, “Hopeless”, “Krieg: Waging A War Against”, “Ideologies Ablaze”, “Praxis”, “Guillotine”.

Rate: 9.

Artist: www.facebook.com/crystalgeometry

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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

Canadian electronic musician and producer Rhys Fulber returns with a solo album, “Brutal Nature”.

Utilising a smaller home set-up rather than Fulber’s usual preferred studio made for an engaged environment and the creation of a greater number of intimate compositions to sit alongside club and night culture influenced tracks that dominated his previous releases for the Sonic Groove label.

This time around, you can expect shimmering ambient textures and floating voices mixed with pulsating technoid rhythms. The more EBM-flavoured “Stare At The Sun” features guest vocals from Sara Taylor of Youth Code.

The new album will be out on November 26 via FR Recordings.

Fulber is best known for his lengthy (and ongoing) tenures with industrial standard bearers Front Line Assembly and ambient pop exponents Delerium (both with Bill Leeb), his solo project Conjure One, plus a series of recent dark techno-based albums released under his own name. As a producer, he has worked extensively with established metal acts such as Fear Factory and Paradise Lost, as well as the industrial hardcore act Youth Code. Read the review of ‘Brutal Nature’.

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

6TH Circle is not exactly a name that makes ring a bell. Set up in 2017 by American artist Matt Auxier, this American solo-project released the debut album “The Third Estate” in 2019 (Sentient Ruin Laboratories). In 2020 Matt Auxier stroke back with the second opus “The Idle Construct”, which has been released on Adam-X’ Sonic Groove Experiments. The work clearly reflects a passion for old-school EBM reminding the early work of Frontline Assembly. “The Idle Construct” brings the true spirit of EBM alive and is an absolute must have for all fans in this genre of music.

(Courtesy by Inferno Sound Diaries)

Q: I think it’s interesting asking you about your musical background as you got involved in different bands dealing with a totally different music style than 6THCIRCLE? What incited you to start composing Electronic music and how would you introduce 6TH CIRCLE?

Matt: Yeah I’m definitely into a lot of different styles of music.  But mostly dark and heavy. As a kid I always gravitated towards Industrial and Metal and that’s really never changed. What incited me to make EBM/Industrial is I played some demos I had been working on and some people actually liked it. I never had confidence I could make good electronic music, and maybe I still can’t (lol). But to me, it’s important not to limit my creativity which means inclusion of all my influences. 6^th Circle is a love letter of sorts to my teenage love of Industrial.   

Q: What kind of musician/artist are you and how do you see yourself evolving throughout the years? Do you handle personal criteria and references when composing music?

Matt: I’ve always tried to include my thoughts on the world and personal philosophies into my art. To me, that’s what makes art great, speaking the language of the people and the environment we all live in. It also allows for a personal release for me. 

Q: You in 2019 released the debut album “The Third Estate” so what kind of work was it and can you tell us something more about the evolution from that work towards “The Idle Construct”?

Matt: “The Third Estate” was an evolution into what I really wanted to make 6^th Circle become. For example, inclusion of some more atmosphere and underlying noise and that continued with “The Idle Construct”. Both albums are more what I was aiming for when I started the project and I feel each shows growth for me as a producer. I try and make new albums evolve in some way, and touch on a feeling I Imagine before the writing process begins. 

Q: “The Idle Construct” reminds me of late 80s / early 90s EBM and I sometimes get the impression early Frontline Assembly is a potential source of inspiration. What inspired you in the writing and global production of the work and how do you look back at the entire composition process?

Matt: Yes it is absolutely a nod to the old-school style, but I feel I add something fresh to make it my own. FLA has and will always be a huge influence and I think that comes through in the production.  Belgium EBM from the late 80-90s and Def North American acts like FLA, Skinny Puppy, Ministry etc… stay on my turntables so it will always be there in my music in some way. 

Q: EBM is often linked with ‘power’ and ‘rage’, but your album is clearly more into an atmospheric side of EBM. What is this album all about and what did you try to express through “The Idle Construct”?

Matt: In a way, the atmosphere is metaphor for the permanent adversarial culture that exists in the world. The underlying noise that is ever present. The atmosphere allows “The Idle Construct” to stay cohesive and gives it that dark feel that is always a part of the music.  Also, the dark feel just kind of came out given the state of the world when the music was composed. It was made purposefully and also innate in the music. 

Q: 2020 has been a particular year because of Covid-19, but also the election of a new president in the US. How do you as artist and simple citizen feel impacted about these things? And how do you see things evolving vs. what comes next for 6TH CIRCLE?

Matt: It’s always good when we no longer have an active fascist in a position of leadership, even though we all know nothing will really change. Biden is a welcome change, but he has been a straight line conservative throughout the years too. So hopefully I’m wrong, but I don’t expect much change from the Military complex that is the U.S.  But we should always question leaders, as they’re supposed to have the tough answers.

For 6^th Circle, the world around me is always an influence and an inspiration both positive and negative. For now, envisioning what the next album will be and wishing I could do some touring, but always composing and searching for new sounds. 

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: Techno-Body, Industrial-Techno, Dark-Techno.

Format: Digital, Vinyl.

Background/Info: Sonic Groove is celebrating its 25^th anniversary with a compilation featuring 12 tracks. Set up by Adam Mitchell –better known under the Adam X moniker, the American label –now based in Berlin (Germany) became a visionary company mixing Techno music with darker/underground genres like EBM and Industrial music.

Artists: The Source Experience, Max Durante, Orphx, Diagenetic Origin, Panacea, Meadon, Rhys Fulber & Portion Control, Crystal Geometry, Monolith, Adam X, Dasha Rush, Realmz.

Content: The compilation brings familiar projects from the label together; from ‘earlier’ artists such as Max Durante, Orphx, Diagenetic Origin, Dasha Rush and Realmz… to artists who joined Sonic Groove during the past few years like Rhys Fulber, Crystal Geometry, Maedon… The common thread between all artists is Techno music, which they each mixed with a darker influence. The most surprising track is a collaboration between Rhys Fulber (Frontline Assembly, Delerium, Conjure One ao) and Portion Control.

+ + + : This compilation first of all is a way to discover the great label roster of Sonic Groove while it remains one of the very few labels, which welcomed artists mixing Techno music with darker genres. Sonic Groove has been a pioneer and still remains a reference today. When you hear Rhys Fulber together with Portion Control composing a true Techno-Body-Music song with harsh vocals on top, you get an idea what this label stands for. So far I can see the featured artists have composed an exclusive song for this sampler, which makes it only more interesting. I have a preference for the Industrial-Techno style of Crystal Geometry (one of the newest projects on Sonic Groove), but I also have to mention the rough exposure by Diagenetic Origin, the Dark-Techno approach from Panacea and a more explicit track by Dasha Rush. Adam X remains another attention grabber and who better than the label owner he stands for the sound of his label: Industrial-Techno!

– – – : I don’t have real regrets, but some extra artists and tracks would have been cool.

Conclusion: This sampler serves as a perfect shop window to give you an idea about the sonic strength and visionary style of the label. I can only express respect for what this label has accomplished so far.

Best bands: Crystal Geometry, Rhys Fulber & Portion Control, Diagenetic Origin, Panacea.

Rate: (8½).

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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: EBM.

Format: Digital.

Background/Info: Based in Columbus, Ohio (USA), Matt Auxier has been involved with different bands and music styles. In 2017 he set up his solo-project 6th Circle as a move back to his early passion for EBM. “The Idle Construct” is his second album and the first one released on Sonic Groove Experiments.

Content: The opening cut is characterized by spooky vocals, but quite rapidly you indeed will notice the love of this musician for good-old EBM. The album sounds a bit like travelling back to the 80s; the origins of EBM. Most of the songs remind me of the early, dark EBM style of Frontline Assembly. The songs are danceable without becoming hard, but supported with a dark atmosphere evoking the icy 80s years of Electronic- and Wave music.

+ + + : This production is pure old-school like and even if it brings nothing new, it first of all stands for great EBM. There’s a right balance between the overwhelming, dark atmospheres and solid EBM bass lines. Icy bleeps and ghost-like vocals are achieving this retro-styled production. This work brings the true spirit of EBM to life  and that’s also because of the analogue-like effects and sound treatments. There’s something to say about nearly every single song, “Deviant” being my personal favorite one. This song reflects the raw sound approach of 6th Circle.

– – – : This is the kind of production deserving your attention so I hope this album will not fall into anonymity.

Conclusion: 6th Circle is a great surprise for all lovers of retro-EBM. This is an album I highly recommend although it’s not available in a physical format.

Best songs: “Deviant”, “Sanctuary”, “SAGW”, “Traces”, “Lost”.

Rate: (8).

Artist: www.facebook.com/6thcircle666

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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: Techno-Body, Industrial-Body.

Format: Digital.

Background/Info: Maedon (Maeghan Donovan) last year released the promising debut EP “Against His Will”. The American artist now strikes back with a new work featuring three songs while we might expect her debut album for early 2021. The EP title is for sure inspired by her stay in Berlin (Germany) where she recorded these tracks during the quarantine.  

Content: Maedon moves on producing merciless Techno-Body music, which is driven by murderous, beating kicks. The songs have been recovered with a true sonic arsenal of industrial noises and spoken samples. Metallic sound treatments are accentuating the icy sphere hanging over this work.

+ + + : Sonic Groove owner Adam Mitchell (Adam-X) last year introduced Maedon as one of the hardest projects from the label and this new EP only confirms that statement. This girl brings furious Techno music, which has been roughly mixed with elements of EBM and Industrial. There’s a perfect fusion between all different elements creating a sonic osmosis. There’s something to say about the three cuts, but I have a preference for the opening piece (cf. “American Dream”) while the last one (cf. “Pandemonium”) is another cool song.

– – – : I think that Meadon is even able to do better; maybe by adding some extra little details and variations on top of her work. I’m really wondering how her debut album will sound-like!

Conclusion: Meadon confirms her writing skills to compose icy, perverted Techno music; and I mean it as a compliment!

Best songs: “American Dream”, “Pandemonium”.

Rate: (8).

Artist: www.facebook.com/maed0n

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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

Set up as a solo-project in 1997 by Eric Van Wonterghem MONOLITH became a true reference in the Industrial music genre. This dinosaur from the Belgian and international Electro-underground scene has been involved with numerous projects such as ABSOLUTE BODY CONTROL, THE KLINIK, INSEKT, SONAR, DETUNE-X while contributing to the writing of DIVE-albums. He this year strikes back with the eleventh (!) full length album of MONOLITH. “Unnatural Bodies” has been released on Hands and sounds like symbolizing the fusion between Techno- and Industrial music. I talked about it with Eric Van Wonterghem.

(Courtesy by Inferno Sound Diaries) 

Q: “Unnatural Bodies” seems to be inspired by the work of Jim Whiting, which I remember from the great “Rockit”-clip by Herbie Hancock. What caught your attention by the work of Whiting and how do you transpose this inspiration into music?

Eric: Yes he did the “Rockit”-clip and the “Frankenstein”-movie effects I think. I liked his exhibition work in the 80s, the weirdness behind, and how he  created ‘human – machines’,

different from robots programmed  to do certain things. The “Unnatural Bodies” like Jim Whiting called it first were  combined mechanical elements with air-pressure  connected with  parts of ‘dummy’ bodies. His ‘moving art’ seemed  suddenly to be organic and alive.

I somehow liked to achieve something similar with my music, art without rules! When you follow the book how to make art or music, that will mostly never bring something interesting.

Q: What can you tell us about the different stages you’d to go through to release “Unnatural Bodies”? What have been the main difficulties and eventually challenges in the writing and production of the album? 

Eric: To produce a MONOLITH album, I know the creation of sounds is a progress that will take me the most of time. It also is the most difficult part for me, but also the most interesting one. There got always to be some excitement in hearing a melody or sound, if not I start the next day from scratch. After several albums, it can become sometimes more complex as the listeners often like to hear what they know you for, and as a artist I like to evolve,  I take my time until I’m satisfied with the creative part making sounds and feeling all fits into that album.

After that follows the editing, mixing and producing part, that goes fast. After all this year of studio work  for my projects and other bands it became something natural… almost immediately I create what I’ve in mind.

Q: I think it’s really interesting to see the evolution in sound and influences of early MONOLITH releases versus the productions from the past few years. Is that like you said because you like to evolve? And what has been the impact of the Berliner Techno scene on your music?

Eric: I was always interested in a wide spectrum of electronic sounds and music. I liked making the first albums with MONOLITH, back then I  searched  something new in sound, the ‘Tribal-Industrial’-sound was the result and it was not really fitting in any style, it got the attention by a certain audience, and that’s what you need as artist to keep on releasing albums. 

But after years of performing, underground parties and realizing by my own the evolution and concerts everywhere, Berlin was kind of heavier than most parts in the world, as the weekend counts 7 days there… There it was very nice to discover that the techno scene  start liking harder beats and harsher sounds, less melodic music was played, Ambient drone-sound mixed with loud reverbed kicks became a way to escape from reality  and in the Industrial scene there was also a search for a more open sound… less distorted! 

Both scenes crossed borders and started to experiment with their sound. Like many other Industrial artists I liked this evolution, it’s inspiring and so you can reach a new audience and more events. The music played in both scenes was pretty similar,  only the mixing was done a different way.

Q: It’s an evolution you can also hear on the HANDS productions, which became more Techno-driven. How do you explain this phenomenon and what’s the connection between both genres?

Eric: Like I said, both scenes are crossing their borders. Adam X’ label Sonic Groove created back then a good name for a party; it was called ”Crossing the Parallels”; different scenes that fit together, but have another audience. So that phenomenon was a normal thing to happen,  people  going out, meeting people and discovering that there’s more…

Q: You earlier this year also (self)released a digital productions entitled “The Disco Buddha Variations”, “Disco Buddha” being probably one of the biggest MONOLITH hits. What makes the magic of the original edit and tell us a bit more about the different variations/edits of the song?

Eric: The magic in that track was the never ending kick drum. The end of the sound was connected to the start, in that time a not so often heard, with a simple Noise hi-hat making the mechanical rhythm and when I created a singing Buddha on this beat, the track became very recognizable and hypnotic…

The “Disco Buddha”-variations were made 20 years later, although there were in already made some different versions in the years on request for compilations. I performed all these versions as a special on Udo Wiesmann’s birthday event from the famous industrial HANDS label. To keep this memory I released it also on my  SoundOfMonolith Label found on Bandcamp.

Q: The Covid-19 pandemic has seriously affected all artistic life –especially live performances for musicians, so what’s the impact on your own activities? How do you try to manage and face this fact and what are your plans for the coming months?

Eric: It’s heavy for all of us. I’m lucky to get my music, listening records, playing synths, creating sounds… The live action is gone for now and that’s very, very sad; unbelievable when thinking to all events and festivals that have been cancelled. I keep to be creative during- and after lockdown, but I’m patiently waiting with all of you together until this is over; till that moment that we can get back to concerts and festivals in the same way as in the past. We will enjoy that so much and even more than ever before!

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: Electro-Ambient, Cinematographic.

Format: Digital

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Will, Noise Unit ao) is back with a new EP under his own name. Previous works –mainly released on Sonic Groove, revealed the Technoid skills of Rhys Fulber. “Resolve” is meant as the first EP in a series and also is the debut release on Rhys Fulber’s own label FR Recordings.

Content: Even if most previous productions were into Techno-Body music, Rhys Fulber also showed some Ambient influences. “Resolve” can be defined as pure Ambient, a dark sonic trip, which is touching ground with Cinematographic music. The work features 4 songs and has been progressively built up. You’ll also notice the more elaborated “Disused” featuring sampled voices in the background and creating a ghost-like effect.

+ + + : Rhys Fulber is a kind of ‘chameleon’ musician, who can transpose himself to write different styles of music genres. The Ambient approach is not new in his career (even FLA composed Soundtrack music), but this is a different approach. It’s dark, sometimes achieved with Technoid soundsculptures and still reminding me of some Ambient pioneers. The opening cut “Charleroi” is directly inspired by the Belgian city, which is a grey area of abandoned metal industry while the city became also famous because it was there where murderer Marc Dutroux lived. And by the way, it also is the hometown of à;Grumh. It’s a nice wink to the Belgian fans of Rhys Fulber. I however prefer the already mentioned “Disused”, which is finely elaborated with great sound treatments. Both last cuts reveal a kind of dark, inhibited reverie, definitely accentuating the electro-ambient approach of the work.

– – – : “Resolve” is an easy listening work, quite accessible, but definitely not the most exciting production I’ve heard from this sound guru.

Conclusion: Rhys Fulber goes Ambient revealing an intimate, electronic production that sounds as the perfect soundtrack for an imaginary movie.

Best songs: “Disused”, “Charleroi”.

Rate: (7½).

Artist & Label: www.facebook.com/rhysfulbermusic

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

BLUSH RESPONSE is terrorizing the underground scene for the last ten years. Set up by Joey Gonzalez, the American moved from New-York (USA) to Berlin (Germany). He released a considerable number of productions on labels such as Sonic Groove, Ant-Zen, Basic Unit Productions, Aufname + Wiedergabe ao, but recently decided to set up his own label Megastructure_ to unleash his newest album “Void In”. This production is a complex and sophisticated work, mixing different genres like Experimental-, Industrial- and Techno music. The album is hard to catch, but clearly revealing the impressive skills of this sound architect.  

(Courtesy by Inferno Sound Diaries)

Q: 2020 will for sure go down in history as the year of the Covid-19 pandemic. It has seriously affected all artistic activities so how do you experience this situation and how do you manage it as artist? 

Joey: I really miss playing live a lot. I was pumped to go out with a bunch of bookings and also would have been on the now postponed Front Line Assembly / Ministry / KMFDM tour playing synths for FLA, so needless to say I had an exciting year lined up and now it’s all gone.  The virus is a terrible thing and I hope we can find some form of normalcy soon.  I’ve been getting through it by doing what I always do, making music and gaming.  I am a studio rat by nature so if I could spend even more time at home in the studio than I already do, I would.  

Q: 2020 is also the year you released your new album “Void In”, which sounds as an appropriated title for what’s happening all around us, but what is the album all about and what did you try express and achieve? 

Joey: I think I got lucky with the name there! “Void In” was actually all complete and sent off to the plant before the virus hit.  It then took a really long time to come out, but I’m happy I got it out this summer.  As for the inspiration, with all my music, it’s about looking within. The meanings behind the tracks are deeply personal and I don’t really want to share so much to be honest.  But I can give a few clues -some of the titles reference Hideo Kojima’s recent game “Death Stranding”, which was one of my favorite things I’ve played recently and presented an interesting view of a post-apocalyptic world.  It also had a concept called “Voidout” which inspired the title.  But the title is not just about the game, it’s also about what I was feeling on a personal level, and other things. 

Q: I compare “Void In” as reading a book about quantum physics… you can seize a few things, but it’s hard to catch the essence! I mean the sound and structures are pretty complex and experimental, but how do you see this album in your own evolution as composer/producer? 

Joey: Thank you, I think that’s one of the best compliments I’ve ever received! “Void In” is the latest report in my personal series, and there will be many more to come as I further research the sonic dimension. I am perpetually on a quest to explore sound and synthesis. I have a compulsion that I must make sound, and it’s a part of me much like breathing or eating. This compulsion is unavoidable.

On the competitive side, there is a drive in me to make the best, most impressive thing I can make. To level up my skills to be able to make work of the same stature as the work of my heroes. 

On the fun side, I want to make something that I enjoy hearing. I take great pleasure in just sitting down with my equipment and playing with it until something happens that is exciting for me. With this quest for excitement comes a need to keep things interesting, so I always have to change it up, to look for new paths within sound. The process of making music is a bit like meditation. It heals me. When I jam out tracks I enter a trance-like state where I am moving automatically on instinct. When I’m done and come out of it, I almost forget the moment of jamming. If I go too long without making stuff I really start to get anxious and unhappy. So I don’t like to leave the studio for too long. It’s not good for my health!

Q: You clearly like the album-format. I hear label owners and artists affirming this format will progressively get lost and replaced by singles. What makes an album important to you and how do you see things evolving –still considering aspects such as streaming, social media etc? 

Joey: I personally don’t think anyone has a clue what the right path is, especially now with the virus. Over the years I’ve heard many conflicting stories about what will or won’t happen, but everyone is just making their best guess. There is no certainty. The one thing I’ve learned is to always trust my gut instinct. The times I haven’t have always ended with unhappy results. So I try to go by what I want and nothing else. At the end of the day, music is a personal endeavor for me. There is a time and place for an album as well as a time and place for a single. I think the best message is the one that is truest to the vision of the current project. Whether it’s an album, single, live stream, or a 15 second clip. They are all valid forms and worthy of exploring.  

In my opinion, music streaming is a travesty. It has significantly devalued music, and a lot of people who would have bought a record now don’t because they can just stream it. I think we went too far ahead into the land of convenience without thinking about the consequences. When music downloading first became a problem for artists, Metallica spoke out against it. They were lambasted because they were these rich men complaining that they were losing money, and people were upset because they were so rich. But, honestly, they were 100% completely in the right to take the stance that they did.  

There is a common idea that artists make most of their money from touring. But what happens in between tours? What do they do for income? That’s where record sales would come in. Royalties from sales would help people along in between the massive tours. You can’t tour forever, there needs to be time to make the music. Now with the virus, there is no touring at all, and sales are in a terrible place, and streaming has only helped sales further decline. And the royalty rates are such a joke. 

I have to give big props to Bandcamp for sticking up for artists and doing their Bandcamp Fridays. Those have been a big help to me and many others. I hope people come to their senses and realize that buying music is the way. Or that streaming services start paying much higher royalty rates.  Artists need support, especially now that the idea of touring is a quagmire of uncertainty.

Q: You collaborated with several other artists like Thomas P. Heckmann, Rhys Fulber ao. I can imagine it’s always an opportunity to discover new tricks and ideas, but what did you learn from these collaborative efforts?   

Joey: I’ve been very lucky to work with such legends and learn from them. Rhys and Thomas both have talent flowing directly out of their hands, and one major thing I learned in working with them is to sit back and listen. I don’t mean not participate, but as someone so in control of my own music, it’s nice to let them guide a bit. In the case of Thomas, when we did the DRAX RESPONSE record, we actually did 10 tracks in three days.

From the moment I arrived at his studio we set up to jam and just didn’t stop except to eat or sleep at night. It was an instant synergy and I learned a lot about committing. The entire DRAX RESPONSE release was recorded live in one take, two track out to the computer. There was no multitracking or editing. All hardware synths and effects. A lot like how I do things, but with no ability to change anything at all after the fact. That was a big lesson for me, and I took that knowledge to “Void In” with the track “Chiralium”, which was the first track where I was brave enough to just record a stereo mix.  

Rhys and I have been working together since around 2012 or so when we did the Fear Factory album “The Industrialist” together. He has taught me so much in so many different areas of music, from production techniques to ways to manage my career. I have to fully give it up to him. I’m happy to say he is one of my best and closest friends and owe a lot to him for everything he’s imparted to me. He is absolutely a master of his craft and it was awesome to finally do a record together with him. It feels like we should have done it sooner.  

Q: You this year also set up your own label Megastructure_, which I can imagine is something totally different than only making music. What incited you to set up Megastructure? Is there a kind of label philosophy and what might we expect for the new few months? 

Joey: I made Megastructure so I could have a direct line to my fans when releasing music. I wanted a bit more control over the process of production and scheduling and so here we are. I also decided I want to shine a light on artists I think are talented and want to support. There are a few new releases in the pipeline from other artists now but I don’t want to share too much. I prefer to announce things when they are already almost out. 

As for what to expect, I can say that it can be literally anything. I like a broad range of electronic sounds so it won’t just be Techno or Industrial or any one genre.  

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: Experimental, techno, industrial.

Format: Digital, Vinyl (2×12”).

Background/Info: American artist Joey Gonzalez moved to Berlin (Germany). This artist has released a considerable number of productions on labels such as Sonic Groove, Ant-Zen, Basic Unit Productions, Aufname + Wiedergabe ao, but finally set up his own label Megastructure_ to unleash his newest work “Void In”.

Content: “Void In” might enter into the artist’s discography as one of the most experimental works of Blush Response. Most of the songs are carried by techno driven kicks, but all sounds and noises around are clearly revealing an experimental approach. Some passages are moving to more familiar industrial-techno fields while I also noticed totally abstract-like atmospheric parts, which are somewhat cinematic like. This work has something versatile, like the artist wanted to exorcise his sonic ideas and put it in an experimental-noisy style.

+ + + : Blush Response is a true sound architect, the kind of artist transforming his studio into a sonic lab. Music becomes alchemy, a kind of visionary side upon the future. This music is losing connection with techno music, but appears to be a true fusion between different genres. It’s the kind of work that needs several listens to start catching the artist’s approach… and honestly I’m not sure to have caught it all. You might compare this to reading a book about quantum physics… you can seize a few things, but not the totality. But that makes the genius of this noise guru and the fascination for “Void In”.

– – – : You already might have understood this album is ‘difficult music’, the kind of production for initiates. Some passages are truly experimental and even a bit cacophonous (cf. “Physics As A Weapon”).

Conclusion: The common element about genius artists is that they aren’t often understood. “Void In” perfectly symbolizes this thought.

Best songs: “Chiralium”, “The Second Aethyr”, “Slamhound”.

Rate: (7½).

Artist: www.facebook.com/blushresponseofficial

Label: www.facebook.com/megastructurelabel 

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, experimental, electronic.

Format: Digital, Vinyl.

Background/Info: Ireen Amnes is a British producer and founder of the collective Under My Feet. This album also is the first full length production by Ireen Amnes and also the first work released by Sonic Groove Experiments –which is the experimental sub-division of Sonic Groove.

Content: This album is pure electro-ambient like and totally devoted to the pure astral sound atmospheres. Some passages are reminding me of Jean-Michel Jarre if he would have started making music today… From overwhelming ambient sound waves to linear and minimal sequences to more orchestral arrangements, this music is clearly made to accompany a visual work.

+ + + : the atmosphere created by Ireen Amnes has something awe-inspiring; it all feels a bit like danger is hiding somewhere and can suddenly break through. I like the space sound treatments, but still the minimalism running through “Dissonance” and “Snow Of Tears”, which sounds as inspired by Jarre.

– – – : This work has nothing in common, with the ‘regular’ Sonic Groove productions so you better realize this is something totally different! I don’t have anything against this experimental side of the label although I’m missing a climax.

Conclusion: Ireen Amnes sounds like an ambient electro traveler, creating imaginary spaces with mysterious corners.

Best songs: “Dissonance”, “Snow Of Tears”, “Life will Tear Us Apart”.

Rate: (7).

Artist: www.facebook.com/ireenamnes

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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-techno, minimal-EBM.

Format: Digital.

Background/Info: Sonic Groove welcomes a new artist hailing from Rennes (France). This DJ/producer has unleashed his debut work featuring four cuts.

Content: “Hounds” reveals 4 different cuts, which are driven by a heavy mix of industrial, hard-techno and EBM. The right ingredients to get signed by Sonic Groove and no doubt about it the Berlin based label run by Adam Mitchell (Adam X) has a nose for this kind of talented artists. Rawkorder indeed offers an impressive fusion between all the aforementioned ingredients. The opening track is more into hard industrial-techno while the next track has something rather minimal-EBM driven. Both last cuts hold on to the industrial input and even touch ground with some kind of industrial/tribal music.

+ + + : This is a brilliant starter for this new artist. The EP not only features 4 different cuts, but there’s something to say about each single track. “Vein” is a truly sonic bomb to take off and especially the industrial part of the song is impressive. The track –and other songs as well, reveal impressive sound treatments. The EBM input emerges at the next song (cf. “Sonic Assault”), which also sounds more minimal-like. The final song (cf. “Last Strike”) is another noticeable track for already great sound treatments, but still a kind of tribal influence in the background. It has something transcendental, which will make you dance!

– – – : A few spoken samplings or even real shouts are the only element I’m missing here.

Conclusion: Rawkorder brings different, related influences together. This is a successful debut and definitely one of the most promising artist’s I’ve heard on Sonic Groove over the past few years.

Best songs: “Vein”, “Last strike”, “Sonic Assault”, “Umami”.

Rate: (8½).

Artist: www.facebook.com/rawkorder

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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

Crystal Geometry is a project set up by French producer Maxime Fabre. As the artists says it is his ‘techno project’, which is driven by hard techno elements and minimal-electronics with some EBM on top. After having released some noticeable EP’s on labels such as Hands, Tripalium Records, RND.Records and of course Sonic Groove, the debut full length “Senestre” (Sonic Groove) has been unleashed this year. The work has been introduced as ‘a rebellion against oppressive powers’. So this is what Maxime Fabre has to say about it.

(Courtesy by Inferno Sound Diaries)

Q: Maxime, I think you were previously involved with metal music. So how did you get in touch with electronic music? And do you see similarities between metal music and your ‘techno’ style? 

Maxime: As a listener when I was teenager I got interested in the feeling of violence in music. In a couple years, scanning through different subgenres, I went from listening to Iron Maiden and hard-rock bands alike to  Mayhem and black-metal. I was interested in the most extreme form of music.

That’s how I found out about hardcore/speedcore and how started my journey into electronic music. I guess the regular use of guitar sounds and vocals in the tracks I have produced as Crystal Geometry might be considered as similarities between metal and my style of techno

Q: Tell us a bit more about the Crystal Geometry-sound properly speaking? What’s the main goal when you start working on a new track? 

Maxime: What I am usually trying to achieve is a correct blend of influences, I am trying to sound like Atari Teenage Riot meets Burzum meets DAF and the result should be able to move a crowd of freaks raving in an abandoned weapon factory (lol).

Q: I think to have read you’re very demanding when it comes to your work. What does this say about yourself? Does it mean you consider a track as never achieved? And how would you analyze your personal evolution as artist/producer? 

Maxime: I am not really a perfectionist when it comes to production, I often think that my best tracks are the ones I spent less time on. If a track takes longer than a couple of days to produce  it almost means I won’t finish it ever.

When it comes to performing it’s all very different for me and I am almost never satisfied with my performances. I always think I should have done better and that there was so many things that went wrong.

Q: You recently released the new album “Senestre”, which is meant as ‘a rebellion against oppressive powers’. Is this an album with a message or just a kind of rebellion? How did you transpose these feelings/ideas into sounds and tracks? 

Maxime: It’s not an album with one message. It revolves around the concept of rebellion, but each track has its own focus. Some of them are straightforward (“Occupied Territories”, “No Respect For Officials”…) some are more metaphorical and are left to interpretations (“We Follow The Left Hand Path”, “Sirius Light” …).

Titles, lyrics, the use of samples or the general composition is how the message can be perceived 

Q: You clearly like to compose your music with modular equipment. I notice more and more artists are getting wild again for modular equipment, but what makes it that special for you? Can you briefly explain how you work with this equipment? 

Maxime: For a very long time I dreamed of creating a perfect groovebox for performing live, I’ve been doing it for years and I’ve used a terribly long list of machines, all with their shortcuts and qualities. My main interest in modular equipment came from this; it’s the way I found to create a system that I could use to perform how I intended it. For me, in the first place, it wasn’t about sound design or experimentation.

Nowadays I have two different systems that are constantly evolving (but that I have limited in size and don’t want to expand anymore). There is one I use to play live when I perform. The other one is designed for studio work, which I use as a sound source to create clips of material that I include in my productions or to process other machines.

Q: Tell us a bit more about the way you produce yourself on stage? How do you prepare a live performance and do you change some aspects of the live show depending the place where you play or the audience? 

Maxime: Before the last two/three years I was trying to create everything on the fly when performing live. I used a lot of generative music techniques on the modular and was completely improvising. Nowadays I perform tracks like a band would play its songs. I already know the scores, but I improvise around it. I still use generative techniques for the drums or other rhythmic elements as that kind of part are easy to create on the fly.

Very often preparing a live performance starts with tuning my system as I regularly swap a couple of modules to try new ideas. Then I work on a setlist of tracks; I never play the same set twice. I create some patterns that works with said tracks and doing so I generally rewrite some synth parts. I create banks of samples that I will use on stage, new drums, movie samples, guitar sounds …

The setlist is always thought in the context of the place and the audience (and also of the time I will play and the line-up. It’s not set in stone and while performing I can alter it but while working on it before the gig I try to visualize the party, the mood the people should be in what they would expect and how to surprise them…

For some gigs I wrote new tracks specifically aimed at the audience, for example I wrote “Occupied Territories” before playing Khidi (Tbilisi, GE) as 20% of Georgia is still occupied by Russia or before playing RAF25 (St. Petersburg, RU) I wrote an anti authoritarian track titled “Elektroshocker” featuring samples in Russian in support of the actvists being trialed in the Russian high profile ‘network’ case in the city.

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: Techno-EBM, minimal-EBM.

Format: Digital, Double Vinyl.

Background/Info: French producer Maxime Fabre has already released some noticeable EP’s on labels such as Hands, Tripalium Records, RND.Records and of course Sonic Groove. This is also the label where he now has launched his new album “Senestre”. The album is meant as ‘a rebellion against oppressive powers’.

Content: If you’re familiar with the sound and work of Crystal Geometry and the music taste of Sonic Groove you know what to expect. “Senestre” is a truly sonic fusion between minimal-EBM and hard techno power. It resulted into a rough and somewhat production, which is driven by constant dance beats and solid bass lines. Most of the songs are featuring vocal effects, which sound like being sampled. 

+ + + : Crystal Geometry is fascinated by modular synths and that’s an element you rapidly will recognize emerging from the icy, vintage sounds. The work features 10 songs and there’s no real relief in the devilish tempo, which has something bewitching. I also like the solid bass lines the tracks have been made of. This is not a styled and sweet techno production, but a perverted format, which sounds rough and unpolished. The vocal effects inject a cool bonus, which have its impact at “Sirius Light” and “Occupied Territories”. 

– – – : The sound formula is sometimes a bit repetitive. I think a few more vocal lines or samplings could inject a little extra. 

Conclusion: Crystal Geometry has accomplished a great work, which will catch the attention of EBM-lovers and dark-techno heads in search of aggressive vibes.

Best songs: “Sirius Light”, “1312 Bombs”, “Ténèbres”, “Occupied Territories”, “Political Prisoners”.

Rate: (8).

Artist: www.facebook.com/crystalgeometry

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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

Originally from New-York (USA), but living in Berlin (Germany), Adam Mitchell is known in the industrial- and EBM scene for his minimal-electro driven projects Adam-X and ADMX-71. Adam is also running Sonic Groove, which is a visionary dark-techno/body label releasing productions from artists such as Orphx, Rhys Fulber, Fixmer / McCarthy, Monolith,  The Panacea, Blush Response ao. He is a renowned DJ, producer and event organizer (Tresor Club). For more than 10 years now he’s also releasing music under the Traversable Wormhole moniker. This project is definitely more techno-driven, but always featuring a dark touch on top. After numerous EP’s, Traversable Wormhole is now back with its first self-released full length album “Regions Of Time”. The album is available on digital platforms and as a double vinyl edition. The work stands for the obscure side of techno music and is for sure worthy of examination.

(Courtesy by Inferno Sound Diaries)

Q: You set up Traversable Wormhole already a while ago, but you didn’t really release new stuff under this moniker for a few years while you were more prolific with your other projects Adam-X & ADMX-71. Where was this break good for and what brought you back to Traversable Wormhole and this new production?

Adam: Traversable Wormhole is a very specific conceptual sound for me. I’m very much into creating soundtracks for space travel themes. For a while I felt I pushed the boundaries as far as I could go with the sound. So I needed to take time and space from the project until I could come up with new ideas. I was also busy with another formerly anonymous side-project titled The Secret Initiative, which ran consecutively at the same time as the Traversable Wormhole releases. This project was a bit more loose feeling and fun for me to make from Traversable Wormhole as it’s taking old techno and EBM ideas and transforming them into the present day. I had way less restrictions recording this project and recorded 20 songs over the course of the last decade. So I had my hands full with other projects and lost focus on recording new Traversable Wormhole material.

Q: “Regions Of Time” is the first full length album so what incited you to achieve an album instead of new EP’s and what is the album all about?

Adam: I created it more on instinctual feeling then anything else. I made two songs for a single, but then the ideas just kept flowing. I thought why not just go all the way on it as I know the fans of the project would love hearing a full length album way more then a single. It is also way more gratifying as an artist to record an album then a single. I wanted a new challenge and so I took it on.

Q: You always claimed this projects stands for the sci/fi side of techno music, but what do you really understand with this ‘quote’ and what does it reveal about your personal interest for science fiction, space and wormholes?

Adam: I love astronomy, star gazing and all things related to outer space. I also love science fiction movies & comics and that has a big influence on me too. I love the segment entitled “Jupiter & Beyond The Infinite” in the movie “Space Odyssey : 2001” where Dave is traveling through space and then entering into the rings of Jupiter. Traversable Wormhole songs can easily be my rendition of a soundtrack to that particular scene in the movie. Also I’ve always had a huge passion for techno that has a sci-fi futurism feeling to it. It invokes thoughts in me of outer worldly subjects and fantasies and I love music that creates thought provocative images.

 Q: Tell us a bit more about the writing of this album? What have been the different stages you’d to go through? The equipment you used? And do you notice main differences in the composing process between Traversable Wormhole and your other projects?

Adam: I have been making music solely with Ableton and plug in synth’s since 2005. I’ve done the hardware thing for the 15 years prior to this of releasing music. For me it’s not about the tools you use it’s how far you can expand your mind to create. I also love total control in every event happening in my songs. I’m a total perfectionist. I go deep into automation with several events often happening at once on a note with effects, filters etc. You cannot do with two hands and hardware. I’m limitless now where as when I worked with hardware I felt more constricted. With that being said when I tell other producers that I don’t use any hardware many are quite in shock stating my music sounds like it’s done on hardware. What I really love about using Ableton is I usually will create several different song sketches at first. Then I will bounce back and forth between the sketches so as I don’t get bored of working on the same song for hours on end. It also helps me keep the flow of the album this way as I’m hearing several different songs in a day. I’m more in tune with the overall feel this way. This process of writing and recording is the same for all the projects I do.

Q: Whatever you want to call it, I experienced “Regions Of Time” as the dark side of techno music! It’s filled with icy sound treatments and hostile atmospheres, but it all remains definitely techno- and danceable like. There clearly is a scene in Berlin for this kind of techno music. Tell us a bit more about it? Is it an important scene (clubs, artists, promoters etc)? Why is it that specific for Berlin?

Adam: What you experienced is my actual intention for the listener to feel. I want the listener to feel very heavy low, deep bass, the sonic boom per se in space travel. In technical terminology the sound of Traversable Wormhole is often 10-15 hertz lower in frequency then most other techno music. Most low bass in techno music is recorded in the 50 and higher Hertz range of low frequency. Traversable Wormhole is hitting much lower in the 38-45 Herz range. This creates a huge feeling on a sound system with great sub bass cabinets/speakers.

There is a scene globally for this kind of music. I’ve played many countries under this project. The Japanese especially love deeper, dark music as such. So I wouldn’t say the sound is more enjoyed in Berlin then other places. It’s quite universal in techno.

Q: How do you see this scene evolving and how do you see yourself evolving towards your next productions? What brings the future for Traversable Wormhole?

Adam: I’ve entered into 30 years in 2020 since my first record came out in 1990. One thing I’ve learned in this time is it’s awfully hard to predict what comes next. I really have no idea what the next changes are to come in the music scene itself. Early in the 1990’s when I began music styles were changing rapidly year to year. Changes are super slow in modern day times. There really hasn’t been any significant changes in techno since the early part of the last decade with exception of some artists speeding the BPM’s up plus 10.

As for my own productions it’s also hard to say. I try not to think too far in the future because I’m already nearing 50 years old and have lived more then half a life. I prefer to live day to day and let my music take me instinctually to wherever it can without over thinking how I can evolve with it. I will always have an urge to push boundaries as long as I’m creating music. So you can expect more futurism forthcoming in the industrialized techno bubble I live in.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Dark-techno, industrial-techno.

Format: Digital, Vinyl (2xLP).

Background/Info: Adam Mitchell, who we all know in the industrial scene as Adam-X, gets back to his ‘old’ techno project Traversable Wormhole. We might speak about a ‘comeback’ as this project hadn’t released that new in years while “Regions Of Time” is the first official album properly speaking.

Content: The main basis of the composition is definitely techno-like, but you rapidly will realize this artist avoids cheap and classic techno clichés. The tracks have been overloaded with elements of EBM and icy, industrial sound treatments. Even some of the drum patters aren’t into the classical, repetitive format. This is techno music from another dimension, which is for sure linked at the so-called sci-fi approach of this genre by Adam Mitchell.

+ + + : What I especially like in this production is the way techno music has been elevated to a higher dimension. The addition of icy- and industrial like sound treatments creates a dark and even somewhat hostile atmosphere. Some passages are getting close to a trance climax (cf. “Wormhole Highways”). This album reveals the true techno sound from the underground; somewhat rough, definitely dark and accomplished with brilliant little bleeps and noises.

– – – : This kind of techno music remains a challenge; some narrow-minded people will not like it because of the ‘techno’ label while it probably sounds too ‘alternative’ for classic techno-heads. So this is techno music for avant-garde freaks! Both debut songs feel a bit hesitant, but what’s coming up is absolutely worth to listen.

Conclusion: “Regions Of Time” sounds a bit as techno from another galaxy and that’s why it also has something visionary!

Best songs: “Casimir Energy”, “Vacuum Field Stress”, “Wormhole Highways”, “Rotation Frequency”.

Rate: (8½).

Artist: www.facebook.com/TraversableWormhole

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords Read the news on ‘Regions Of Time’.

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-techno.

Format: Digital.

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One ao) last year released his second full length solo-album “Ostalgia”, which was a new exploration of contemporary dark-techno paths. “Baut Mit!” features four remixes from songs originally released on “Ostalgia”.

Content: The Berlin techno-underground scene is probably one of the most famous ones in the world. Sonic Groove’s owner Adam Mitchell is based in Berlin and I can imagine it has incited Rhys Fulber to get remixed by artists from the German capital of techno music. Tommy Four Seven, Headless Horseman, Traversable Wormhole and Phase Fatale took each one song from “Ostalgia” and transposed them into their own techno perception. From the cinematic-techno interpretation of “Misery Whip” by Tommy Four Seven to the brutal remix of “Apostel” by Headless Horseman to the acid-retro like remix of “Fisson” by Traversable Wormhole to the more techno-industrial driven “Right Hand Of the Free World” remixed by Phase Fatale, this EP stands for diversity.

+ + + : Diversity is for sure the main strength of this work. I heard a great remix by Headless Horseman, but Traversable Wormhole’s merciless transformation of “Fisson” is my personal favorite. I enjoyed the kind of whipping snare drum and the acid-like sequences.

– – – : This EP is food for DJ’s, but I’m missing an extra song or remix by Rhys Fulber himself.

Conclusion: Rhys Fulber remains a source of inspiration, even for artists who are not familiar with darker electronics and industrial music.

Best songs: “Fisson – Traversable Wormhole Remix”, “Apostel – Headless Horseman Remix”.

Rate: (7½).

Artist: www.facebook.com/rhysfulbermusic

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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 EBM, techno-body, industrial-techno.

Format: Digital, Vinyl.

Background/Info: Behind Maedon is hiding American female artist Maeghan Donovan. She got some experience with dark-techno under the ‘Pulsewidthmot’ moniker and now set up Maedon. “Against His Will” is the official debut record released on Adam Mitchell’s label Sonic Groove.

Content: Forget about easy clichés girls can’t make rough music! Maeghan Donovan brings hard and unpolished techno-music driven by solid EBM bass lines. The tracks have been achieved with industrial sound treatments and fine bleeps. The EP features 4 hard-hitting cuts of EBM-minimalism!

+ + + : There’s an impressive sonic welfare running through this work. The sound production is voluntary unpolished and brutal, which mains emerges from the kicks, but the work is accomplished with an impressive sonic canvas of industrial noises and fine bleeps. I also like the way the tracks have been constructed, moving towards transcendental breaks. The icy sound treatments are brilliant, reinforcing the tormented sphere supporting this production.

– – – : The rhythms are somewhat linear, which is not that surprising for this kind of production, but Maedon abuses a bit of the rough format. 

Conclusion: This is not techno music for the clubs, but a format for dungeons and dark cellars; this is a perverted techno format I like!

Best songs: “Illusion”, “Special Report”.

Rate: (8).

Artist: www.facebook.com/maed0n

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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-techno, IDM, minimal-electro.

Background/Info: One year after the successful album “Your Dystopia, My Utopia”, Canadian electro veteran Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Noise Unit ao) strikes back with his second solo-album. The title of the album reflects ‘ a romantic nostalgia for the old but comforting ways of Communist East Germany – and a yearning for rigid systems after progression into the future has led to chaos and uncertainty’.

Content: The title of the album might be understood as a sonic metaphor from an artist in search for good-old electronic sounds. One thing is for sure, Rhys Fulber moves on exploring techno paths, which he meticulously merged together with harsh industrial sound treatments. This album sounds more into the techno direction, but still reveals the sophisticated approach of the musician/producer. The second half of the work becomes more elaborated and into IDM.       

+ + + : Rhys Fulber confirms feeling comfortable composing ‘’his type of techno music.” The industrial-techno genre isn’t new at all, but this artist mixes it with some good-old sound treatments. But the album also sounds like a magic box, which features an endless number of sonic tricks and effects. Some tracks are progressively evolving towards a truly climax. Just pay attention to “12 Steppes” and the darker “Consum” and you’ll seize the complexity of “Ostalgia”. I might prefer the previous album, but what I especially like on “Ostalgia” is that Rhys Fulber evolved with his techno exploration.

– – – : “Ostalgia” made me a bit nostalgic from the more explicit EBM and techno-body approach from his previous album.

Conclusion: Rhys Fulber is a meaningful project when it comes to industrial-techno and IDM. This artist has no limits when it comes to expose his skills!

Best songs: “12 Steppes”, “Consum”, “Apostel”, “Right Hand Of The Free World”, “Misery Whip”.

Rate: (8½).

Artist: www.facebook.com/rhysfulbermusic 

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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

Techno veteran and Sonic Groove’s label owner Adam X will release his first full-length album as Traversable Wormhole, 10 years after revealing that he was behind this project. Over the years Traversable Wormhole has signed releases under Hospital Productions, CLR and his own platform. The latter will be in charge of releasing “Regions of Time” this November 15th 2019, almost a year after Adam X’s “Recon Mission” LP got released under Sonic Groove.

Lying mostly dormant since 2012, with a cameo appearance on Hospital Productions back in 2016 with two tracks, Traversable Wormhole is now fully awoken with eight new songs of psychedelic, bass-heavy techno.

In further news, Adam X is preparing for the 30th anniversary of his career and the 25th anniversary of Sonic Groove Records in 2020, so you can expect some more news coming up pretty soon.

Here’s already a teaser track with “Geodesic Motion” Read the review of ‘Regions Of Time’.

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-techno.

Background/Info: Some will remember Mathis Mootz for his great work under the M² (Squaremeter) moniker, but his main project always has been Panacea. He released an impressive number of productions since 1997 (mainly EP’s) and now joined hands with the fine-tasters label Sonic Groove. This is the second 12” released on Sonic Groove.

Content: It’s really interesting to see how Panacea has evolved in sound throughout the years, but the common element always has been the element of innovation. This new EP reveals a hard and punching industrial-techno fusion mixed with ghost-like spoken samplings, but also with acid-driven sequences and trance parts.

+ + + : This EP features four different songs and there’s neither a real title cut nor B-side tracks. We get 4 hard-banging and well-crafted industrial tracks carried by beating techno kicks. This artist simply confirms the current trend to mix different music genres, which in the end have a lot of common elements. This is intelligent techno music or visionary industrial work, but it will definitely appeal for both audiences. I like the unpolished production approach of the artist.

– – – : Industrial-techno became a quite popular mix so in the end there’s no real surprise in the tracklist although this is pure magic!

Conclusion: Sonic Groove’s owner Adam Mitchell (Adam X) has a nose for intelligent and efficient techno music with a dark edge, so here’s Panacea!

Best songs: “Fibre Optix”, ”Walrus”, “Beyond All Boundaries”.

Rate: (8½).

Artist: www.facebook.com/thepanaceaofficial

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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