It took several years, but the wait for Sophia’s new opus was well worth it. Peter Bjärgö, along with his wife Cecilia, and collaborators Stefan Eriksson and Per Åhlund, took their time to craft this latest work. The style remains a blend of various influences, guiding the listener on an imaginative journey through Dark Ambient, Cinematic, Ethereal, and a touch of Occult elements, all of which eventually bring us safely back to shore. The production is intricate, enriched with bombastic, epic arrangements. Peter and Cecilia add a layer of emotion with their voices, creating what I consider a little masterpiece. (Rate:8½).

Listen to “Mouth Of Mammon”:

About Sophia

Sophia is the project of Swedish musician Peter Bjärgö, also known for his earlier band Arcana, working with vocalist Cecilia alongside Stefan Eriksson and Per Åhlund. Formed in 2000, Sophia builds on martial rhythms, orchestral arrangements and dark ambient textures. The project has released a series of albums through Cyclic Law, including “Unclean” and “Deconstruction Of The World”, with “The Age Of Narcissist” marking its latest full-length 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

Eight years after their first collaboration that resulted in the album “Proslambanomenos”, Empusae and Peter Bjärgö (Arcana, Sophia, Karjalan sissit ao) released a new work entitled “Onus”. The four songs are worked out and compelling. It sounds dark and somewhere between Dark-Ambient and pure Cinematic music featuring carrying, slow, rhythms. Peter’s voice brings a magical touch to the melancholic sound composed mainly by Nicolas. It’s a subtle album that culminates in a tormented conclusion. (Rate: 7½).

Listen to “Overwhelming Cruelty”:

About Empusae

Empusae is the Belgian solo project of Nicolas Van Meirhaeghe, also known as Sal-Ocin, running for more than two decades and known for albums such as “Lueur” and “Iter In Tenebris” on Consouling Sounds. “Onus” is the project’s second collaboration with Peter Bjärgö, following “Proslambanomenos” eight years earlier.

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

Out via Amour Records is solo project by Marsheaux member Sophia Sarigiannidou. Now active as Aspra her debut single “Velvet/Anoint” now comes re-released as a limited edition 7 inch single (300 copies) on white vinyl. The set also holds a (folded) A2-sized colour poster, the whole comes inside an outer plastic bag.

“Velvet” is a rework of the shoegaze track by Big Pink and was released already last year. “Anoint”‘,” is originally by The Field Mice.

Both tracks were written and recorded during the lockdown at Sarigiannidou’s studio in Athens, Greece. This is the first ever new material by (one half of) Marsheaux, after their split. The Greek electro girl duo released their fifth (and last) studio album “Ath.Lon” in June 2016.

Aspra recently also collaborated with the veteran electronic composer Lena Platonos, resulting in the releases of “Markos” and “Kymata”.

In related news, Sarigiannidou also curated the release “Play for Tomorrow Vol. 1” holding a collection of rare and obscure post-punk and minimal synth pop tracks from the period 1977-1985.

Tracklist “Play for Tomorrow Vol. 1”

1. The Gadgets – U.F.O. Report N°1 (1980)
2. Michael Rother – Karussell (1977)
3. Amin Peck – Love Disgrace
4. Car Crash Set – Fall From Grace (1983)
5. Alan Burnham – Music To Save The World By (1981)
6. Blaine L. Reininger – Mystery and Confusion (1984)
7. Orchestral Manoeuvres In The Dark – Of all the Things we’ve made (1981)
8. Ruth – Polaroid/Roman/Photo (1985)
9. Chrisma – Black Silk stocking (1977)
10. Buggles – On TV (1981)
11. Electronic Circus – Direct Lines (1981)
12. I Start Counting – Still Smilling (1985)
13. Chris & Cosey – October Love Song (1983)
14. Ultravox – Just for a Moment (1978)

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

Darkwave duo Black Nail Cabaret, consisting of Emèse Árvai-Illes and Krisztián Árvai, has released a lyric video for “Sister Sister,” the first single from their upcoming experimental album “Woodlands Memoirs,” which will be available through Dependent Records. Collaborating with three fellow musicians (Tamás Számvéber, Márton Barják, Péter Laskay) under the moniker Black Nail Cabaret And Friends, the Hungarian pair has crafted a unique, one-time project that diverges from their typical avant-garde synth-pop style by transforming their own songs into cover versions.

The lyric video for “Sister Sister” can be viewed below.

Regarding the single, vocalist Emèse Árvai-Illes commented that “Sister Sister” has long been a favorite from their “Dichromat” album. The original track, with its cold wave vibe, has been transformed into a sound reminiscent of a “Twin Peaks” score, representing the band’s goal of covering their own songs.

In total Black Nail Cabaret selected eleven tracks from their previous releases and reimagined them by incorporating guitars, drums, and saxophone through a semi-live recording process that allowed for improvisation. To emphasize the organic nature of their own ‘cover versions,’ the band included footage shot in the pine woods of the Agostyán Arboretum in Hungary.

About Black Nail Cabaret

Black Nail Cabaret is a darkwave and electronic duo hailing from Hungary. Formed in 2008, the group consists of Emese “Emke” Arvai-Illes as the vocalist and Krisztian “Sophia” Arvai as the keyboardist and composer. Their music is characterized by a fusion of dark electronic soundscapes, haunting vocals, and a strong emphasis on storytelling through lyrics, with influences ranging from Depeche Mode to David Bowie.

The band began gaining traction with their debut EP, “Emerald City,” released in 2012. It showcased their ability to craft atmospheric, synth-driven tracks with a dark edge. The duo continued to build their sound with the release of their first full-length album, “Dichromat,” in 2013. This album featured a more polished and cohesive sound, highlighting their growth as musicians.

Black Nail Cabaret’s subsequent releases, including “Harry Me, Marry Me, Bury Me, Bite Me” (2015) and “Dioskouroi” (2017), further established their reputation as a force within the darkwave and electronic scene. Read the review of ‘Woodland Memoirs’.

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

Neoclassical / darkwave vetetrans Autumn Tears share a new video, “And There Rises From Somewhere… (What Unnamed Breath Shall Bring)”, ahead of their “Guardian Of The Pale” album release later this month which will be the follow-up to 2021’s “The Glow of Desperation”.

Here’s the video.

The “Guardian Of The Pale” album holds a 70+ musician and vocalist lineup which includes composer / pianist / lyricist Ted Tringo, classical / opera duet & composers Caroline Joy Clarke and Darren Clarke (Trovatori), composer, arranger, producer and sound designer Soroush Abedi, vocalist and songwriter Ffion Elisa Williams, singer / songwriter Tamar Singer (Zeresh, Cruel Wonders, Necromishka), vocalist and songwriter Dawn Desireé Smith (ex-Rain Fell Within) and violin/viola/cello duo Severndeo, together with a massive ensemble of musicians and vocalists. Special guests include Francesca Nicoli from Italian neoclassical band Ataraxia, Agnete Mangnes Kirkevaag from Norwegian progressive metal act Madder Mortem and opera singer Ann-Mari Edvardsen Alexis (ex-The 3rd and the Mortal). Cover artwork by award winning artist Marcela Bolívar. Mastered by Peter Bjärgö (Arcana, Sophia).

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

Cyclic Law celebrates its 20th anniversary with a label sampler, “Cyclic Law’s 20th Anniversary Label Sampler”, featuring exclusive material from 22 artists on 20 tracks.

On the release you’ll find material from Ajna, Ascending Divers, Ashtoreth, Beckahesten, Curse All Kings, Desiderii Marginis, Funerary Call, Kammarheit, Leila Abdul-Rauf, Neraterræ & Dødsmaskin, New Risen Throne & Corona Barathri, Nordvargr, Øjerum, Shedir, Shrine, Sophia, Sutek Hexen, Taphephobia, Visions and Vortex.

The release will be out on December 21st as a double CD Edition of 500 copies in gatefold digisleeve with a 180x120mm poster.

You can pre-order the release right here.

Since its inception in 2002, Cyclic Law has been active in the fields of ambient, experimental and industrial soundscapes. Next to the label there is also Cyclic Press, a publishing house releasing high quality art books by international visual artists and on top it’s distributing various occult and esoterica publishing houses. The third panel of Cyclic Law is Cyclic Law Mastering which offers audio mastering services open to any style of music, but with a wider knowledge of all styles of electronic music, from ambient to techno.

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

Out now is a brand new video from Autumn Tears featuring Francesca Nicoli of Ataraxia fame on vocals. “The Pulse In The Sky” is a new song off the band’s upcoming album “Guardian of the Pale”, which will be released by The Circle Music on March 24th 2023 and features a fully orchestrated, rich classical ensemble and full choir with 70+ musicians.

Here’s the video.

The band’s 70+ musician and vocalist lineup includes composer, pianist, lyricist Ted Tringo; classical opera duet and composers Caroline Joy Clarke and Darren Clarke (Trovatori); composer, arranger, producer and sound designer Soroush Abedi; vocalist and songwriter Ffion Elisa Williams, singer, songwriter Tamar Singer (Zeresh, Cruel Wonders, Necromishka); vocalist and songwriter Dawn Desireé Smith (ex-Rain Fell Within) and violin/viola/cello duo Severndeo, together with a massive ensemble of musicians and vocalists.

Special guests include Francesca Nicoli from Italian neoclassical band Ataraxia (who also recently released a new album via The Circle Music), Agnete Mangnes Kirkevaag from Norwegian progressive metal act Madder Mortem and opera singer Ann-Mari Edvardsen Alexis (ex-The 3rd and the Mortal).

“Guardian of the Pale” is Autumn Tears’ ninth studio album, and will be available as a digital download, 2CD jewel case package and a Limited 2CD digipak, both with a CD exclusive bonus track as well as a limited double vinyl gatefold package with a 16-page illustrated lyric book and vinyl exclusive bonus track. Pre-orders are available now via The Circle Music.

The album cover artwork was completed by award-winning artist Marcela Bolívar. The album was mastered by Peter Bjärgö (Arcana, Sophia).

There will be 4 versions available:

• Double Jewel Case CD with 20-page booklet
  
• Double Digi CD (Limited to 500 copies) with 20-page booklet
  
• Double LP (Gold vinyl & Green Vinyl) with 16 pages booklet (Limited to 500 copies)
  
• Luxurious Forest Green Box embossed in Gold including: Double LP (Gold vinyl & Green Vinyl) with 16 pages booklet + Double Digipack CD + Forest Green Zip Hoodie (Limited to 100 copies)

The band has also previously released a music video to the track “As If We Were Never There”.

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

The Belgian technopop act Metroland has been active for over a decade now. The duo have now started working on a new concept for a new album. The theme that they started off with the previous EP (and limited vinyl) “4” this year will only be fully revealed when the upcoming album is released.

Unlike the other single, in this second wave of singles, called “3” and split up between “3​.​0” (available right here on Bandcamp) and “3​.​1” (available right here on Bandcamp) , the title track has an actual name: “Modularity”.

Good to know, during the studio sessions for this album’s singles, both members (Passenger A and Passenger S) have each separately recreated each single into a vision of their own and edited it for each digital release. On top of that in the remix section we have for you a version by none other than ASPRA, also known as Sophia from Marsheaux, turning the song into a dreamy synthpop tune. Also find on remix duties is the techno act Q’PNZ.

The two 4-track singles each hold exclusive edits and remixes by both members, ASTRA and Q’PNZ. Soundwise the new tracks combine the typical Metroland darker bass sounds with their trademark bleeps and analogue sequences.

Side-Line also covered Metroland’s ‘2​.​0’.

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

Beckahesten is a Swedish trio set up by Peo Bengtsson, Per Åhlund (previously involved with SOPHIA and also still active with Skare, Diskrepant and live member of Karjalan Sissit) and vocalist Viktoria Rolandsdotter. The band name is inspired by a creature from the Nordic folklore. It is a insidious predator that tricks women and children into riding on its back and then pulls them down into the water. Its back grows longer and longer the more people sitting on it. It has its equivalent in Scottish folklore, the water kelpie. Beckahesten already released two albums; “Vattenhålens Dräpare” (2020) and “Tydor” (2021), plus the single “Midvinter” (2021). Their works have been released by Cyclic Law. The sound of Beckahesten is a bit atypical although revealing familiar influences like Ritual- and Dark-Ambient music with great female vocals on top. I consider this band as one of the most promising new-comers. This interactive interview will give you a better idea about this formation.

(Courtesy by Inferno Sound Diaries)

Q: How and where did you guys meet and what makes the chemistry and/or complementarity between all of you?

Per: Me and Peo had been moving in circles around each other at concerts and festivals for years and had many common acquaintances. It was Johannes Ahlberg, our friend that mastered the first two albums and “Midvinter” who said ‘…there’s this guy you should meet’. He thought we had a lot of things in common. Johannes said that me and Peo should meet a few times and then Peo sent me the first version of Beckahesten which I really liked. But Peo didn’t agree that the material was ready for release. He felt a bit stuck and didn’t think his vision came through properly. So he asked if I could listen to some tracks and come with some advice. He then sent me over twenty, yes twenty, long tracks. I said that he could just take six of the tracks for one album, five for another album and ditch the rest of the tracks. But Peo wasn’t really pleased with that idea either. So he asked me if I could come to the studio and work on the material, so I did. That was the point we realized we work very well together and “Vattenhålens Dräpare” and “Tydor” took form quite quickly. Wanting to try lyrical elements and vocals in the music Peo brought Viktoria into the picture who gave another dimension to the material with her voice and her lyrics and then and there we created what now is the form of Beckahesten.

Peo: Yes, and Viktoria and I met when we were recording one of my dead end projects some years ago. After that we started to talk a lot about folklore and occult stories from southern Sweden where we both come from. I felt like Viktoria could contribute a lot to Beckahesten so I brought her to the studio.

Q: You introduce Beckahesten as the offspring between different music genres: Industrial, Ambient and Folk. I guess it reveals something about your potential sources of inspiration, but do you have explicit references when composing your music? And how do you transpose all the aforementioned influences into your own music?

Peo: No we don’t have any specific inspiration in mind when we work, thankfully not. I do listen to a lot of different music. I also got a fascination for obscure musical stuff that would never fit in to the sonic world of Beckahesten. The references for the music of Beckahesten I would say comes more from different stories and places. I do find the most inspiration in the forests and landscapes.

Per: All three of us like many different genres and I would say that all music that we listen to inspire us in some way. But at the same time, like Peo said, we have a rather clear vision where to go with the material and what feelings and imagery it should awaken for the listener. So we stay in the realm of that vision even when bringing in new elements or ideas from different genres. We can make a Punk or a Folk song, a Ballad or a Fugue, but it will still sound like Beckahesten in the end.

Q: I however noticed a strong and explicit Ritual touch recovering the production, which is accentuated by the vocals. Do you recognize this Ritual –and even somewhat Mystic touch on top of the production, and tell us a bit more about production of the vocals, which are essential to your work?

Per: The music is very ritualistic for sure.

Peo: Absolutely. When I create the music I have to be in a certain mood and all by my own. Usually it all starts from an image, or inner vision. I work a lot to transfer the image or vision into sounds. After a while the sounds become a scenery and I play parts of it in loops to get myself into an evocative state. If I reach that state I know it’s going to be something worth to work with. The sounds, music and ideas start weaving a composition, like if the sounds come alive.  So, yes. I would definitely call it a ritual when I’m creating the fundamental elements of the songs.

Viktoria: We always seem to understand each other when it comes to the ritual part of the process- and on my behalf, the ritual expression is both conscious and unconscious -depending on what the song is about. When working on the vocals sometimes we talk about ideas and thoughts beforehand, but often we don’t.
When I’m listening to new songs, I immediately get inspired. It’s like music and sounds made to feelings, stories and pictures in my mind that was already there. I often just improvise the melody as a start, from what I can only call a spiritual place inside of my own creative darkness. Then I extend it with lyrics. It’s very therapeutic and helps me to be authentic and genuine when approaching the different subjects we are working with.

Q: It all looks like there’s a close encounter between your music and nature; your work being recorded at different places. Tell us a bit more about this fusion between nature elements and music? How did the compositions happen?

Peo: Yes, as I mentioned. The inspiration comes from the nature and old stories of our folklore. It’s those feelings you get when your mind is without stress and it is only you and nature. I guess Per has more to say about field recordings.

Per: In Beckahesten the connection with nature for me is obvious. Even material made by Peo all based on Electronic sounds has that feel to it. It’s hard to explain, it’s just there. So it was an obvious thing to do, to add organic sounds and elements and sounds from nature in general.

I’ve always been recording sounds that I find interesting. Field recordings was my main sound source for many years, making several albums based only on such material. I had plenty of field recordings and sound collages with the right feel to them gathered for an unknown project when Peo asked me to work with him. I combined his soundscapes with my recordings and it just worked perfectly.

Q: Talking about the composition, can you tell us a bit more about the different stages you’d to go through to achieve your work? What’s the input of each of you and the different guest musicians?

Peo: Most often it all starts with me creating a soundscape, harmonics and a sketch-up for a song. I prefer to do this on my own. Inspiration tends to hit me in the middle of the night. Then we meet in the studio and Per starts to re-arrange the material, and do a rough mix. Followed by recording all kinds of acoustic sounds, throat singing or adding field recordings. In the meantime Viktoria starts to write the lyrics and we record the vocals. After that some more re-arranging and then Per does the final mix. By that time I’ve already started working on two new songs.

Per: I’ve been lucky enough to spend time with people that I’ve felt are the right persons to contribute with material for Beckahesten. I made recordings when out with those friends in nature, in caves, at gatherings and at peoples houses. Sometimes I know what I’m after and ask for that typical thing, but most of the times I don’t. I usually record the material when I feel that there’s the right atmosphere not knowing where or when to use it. If the material has the right feel it always will find a place.

Q: Two albums and one single have been released in a rather short lapse of time. Where does this creativity comes from and what are you actually working on? What about live performances and how do you see Beckahesten evolving?

Per: Peo writes so much music that there’s always material and ideas to work on and develop. When together we usually work really fast and with several songs simultaneously. Where that creativity comes from is hard to say. It’s the combination of us three I guess. We just open up the flood gates.

There’s one EP and another full album that is now in the process of being mastered and we’re working on album four and EP two. We’re also working on a single that will be featured on a compilation released by Cloister Records.

Peo: Yes it’s crazy and without revealing to much; there is more to come for sure. I feel that we have a really special relation to each other and respect for our individual work. When we meet in Beckahesten everything just fits together in a really creative way.

Live performances will come. When the restrictions of the pandemic finally will loosen up and the venues are opening up again. I really look forward for performing live with Beckahesten.

Per: As long as we keep working with Beckahesten it will evolve for sure. In what way is really hard to know. We just sit stern on the back of the horse and will see to what places it will bring us.

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

Peter Bjärgö is a well-known name from the Swedish underground scene related with music genres like Dark-Ambient, Ethereal, Neo-Folk ao. He gained recognition as member of bands like Arcana, Sophia, Karjalan Sissit… But he also released productions under his own name. The newest album entitled “The Translucency Of Mind’s Decay” has been again released on Cyclic Law and reveals a true sonic fusion between  Ethereal-, Cinematographic and Dark-Ambient music. The album is a fascinating opus reflecting delicacy, mystery, darkness and haunting. I’d a chat with Peter.

(Courtesy by Inferno Sound Diaries)

Q: Your new album “The Translucency Of Mind’s Decay” has been written during the quarantine of the ongoing pandemic. In which way did this particular circumstance have an impact on your writing and the person & musician you are?

Peter: The main effect of the quarantine was that I wasn’t able to work with people in the studio. I had plans of bringing musicians to my studio and record more live instruments. But as the quarantine/restrictions still existed I had to continue my work alone. Also, all my plans of playing live were erased. For me, it hasn’t been all horrible with the quarantine. I enjoy being on my own in the studio.

Q:  “The Translucency Of Mind’s Decay” doesn’t sound as a happy title, dealing with the impact of time, which is going by. Tell us a bit more about the theme and thoughts you got inspired by?

Peter: The title refers to different things. We’re getting to an age where we experience the decline of our elders etc. And this means that memories are erased, leaving you alone, with blurred out memories as only proof of your past. 

Also, it’s about your own, and others, experience of change. It’s easy to fall into boredom/routine and stop progressing, leaving your mind in a downward spiral. This gets even worse if you’re stuck in destructive behaviors/patterns, like feeling sad/nostalgic about your ‘good old days’.

I think it’s important to make progress and stay curious about the mysteries around you.

Q: The album has been introduced as something new, getting back to some of your former projects -I especially recognize elements of Arcana. I think it somewhere fits with the concept of the album, but can you give us more details about the ideas, writing and production?

Peter: I have been forcing myself not to write music that sounds like my other projects, Arcana being a perfect example. But I’ve come to terms and accepted that the sound and feeling I had with Arcana is something that’s just there in my palette of musical taste. So I will not hesitate to include a song on an album that sounds a bit like Arcana, I even feel that I’ll accept if it sounds a little bit like Sophia at times. So, I’ll just keep an open-minded flow of music going, and see where it will lead me.

Q:  Time is going by and the older we are, the faster it goes, right? But how did you see yourself evolving as musician/artist? What do you still recognize today in your music  from the ‘younger’ Peter Pettersson/Bjärgö?

Peter:  Yeah, time is moving incredibly fast. I just continue my musical journey without looking back too much. When it comes to evolving as a musician, I’m not scared of change, I gladly embrace change, and I do not feel that I need to stay ‘true’ to a sound that is connected to my work so far.

Sometimes I just stop writing music during a period of time and spend time with other creative outlets, like painting etc.

But I guess that one important part of continuing to write music is that you’re continuing to make progress and get better on instruments, production etc. So in my world, there’s always a better song/album around the corner.

Q: The pandemic is still going on, but artists are finally getting back on stage again. I can imagine it must have been a particular feeling to play your music again in front of an audience? What do you think by the way about all these ‘streaming live shows’, artists did during the pandemic?

Peter: I’ve always felt a bit awkward on stage in front of an audience, and being away from it for two years don’t help. But at the same time I got to think about the nice things I missed being in quarantine. Like meeting a lot of nice people, seeing new cities.

I really look forward to the gigs that will happen now after the restrictions have been lifted.

I think live-streamed performances are here to stay. It’s really nice  to see all these incredible musicians streaming live from their living room or studio.

Q: Music clearly is a very important item in your life –as musician/artist and music teacher, but what’s the deeper significance and importance of music? Why is it that essential and important where ever the country or the culture we’re living in?  

Peter: Music is what makes me keep going. It’s the last thing I think about before I go to sleep, and the first thing I think about when I wake up. When I write music, I lose track of time and all my worries just fades away. It’s quite difficult for me to explain why I have this deep relationship to music, but it’s there and it’s powerful, to me.

There’s a lot of scientific proof that music have quite an impact on most people, so there’s something to it that makes it an important part of most peoples’ lives. And the same goes for most cultures. In many cultures music is so much more than just a commodity, it’s a ritual of life, love and death. It’s a metaphysical handshake with something so much bigger than we can even grasp.

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: Ethereal, Dark-Ambient, Cinematographic.

Format: Digital, CD, Vinyl.

Background/Info: Peter Bjärgö is back on track, unleashing this year the fifth official album of his solo-work. The songs have been composed during the quarantine, which has been an inspiring period for the artist –known for his involvement with Arcana, Sophia, Karjalan Sissit ao… The result has been introduced as something new…

Content: I would say the album isn’t something ‘new’ in the career of Bjärgö rather than getting back to some influences and sound he elaborated with Arcana. There’s still the Cinematographic and Dark-Ambient approach, but the work also features explicit Ethereal inspiration reminding me of Arcana. The work is switching from haunting atmospheres towards dark reverie while enlightened by mystic parts composed by Eastern instruments. Peter Bjärgö’s deep, haunting timbre of voice injects an extra dark touch to the work.

+ + + : I’ve been always fascinated by the mystic sound universe created by Arcana so seeing this musician getting back to some of his ‘early’ influences is pretty enjoyable. But this is not Arcana, but simply Peter Bjärgö mixing different influences from his career as a musician. The work has something of ‘apocalyptic ballads’, but other parts are evoking ‘Eastern mysticism and reverie’. Some songs have a true transcendental effect. I like the production of the vocals, which rather sounds as an extra effect injecting a ghost-like sensation. Because of all these elements the work has a strong visual appeal. 

– – – : The album has something versatile, mixing different styles, but in the end it appears to be Bjärgö’s best solo-album.

Conclusion: Delicate and mystic, dark and haunting, the new Peter Bjärgö work sounds like a great vintage.

Best songs: “Immaculate Judgement”, “Séraphita”, “Dreams Coloring My Awakedness”.

Rate: 8.

Artist: www.facebook.com/PeterBjargo

Label: www.cycliclaw.com / www.facebook.com/cycliclaw Read the news on ‘The Translucency Of Mind’s Decay’.

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

Out on November 5 via Synth Religion is Fragrance.’s newest, 2nd, LP “Salt Water”. The album holds 10 dark techno / synthpop songs and was co-produced with Sophia Hamadi, half of duo Opale. We discovered a slightly darker sound compared to the project’s previous work.

Fragrance. is the solo project of Paris-based Matthieu Roche. In the past he collaborated with artists such as Maya Postepski, Hante and techno producer Julian Muller, and also made remixes for Prayers and Julia Bondar. He debuted with the album “Now That I’m Real” in 2019.

Below is the album’s first single released a while back, “Covered in Gold”.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Dark-Ambient, Ritual.

Format: Digitalk, CD, Vinyl.

Background/Info: This debut album by the Swedish Beckahesten trio got released during the darkest days of late 2020. Driven by Peo Bengtsson, Per Åhlund (previously involved with Sophia, but also still active with Skare, Diskrepant and live member of Karjalan Sissit) and vocalist Viktoria Rolandsdotter, this album has been inspired by different elements of their culture.

Content: Beckahesten is hard to put in a specific music genre or label. They bring a mix of Dark-Ambient atmospheres and Ritual passages accentuated by the whispering, spoken words of Viktoria Rolandsdotter. The tracks have been accomplished by a wide sonic canvas of metallic sounds and different kinds of noises. The songs are progressively built up accentuating the somewhat inhibited impression of the work.

+ + + : Beckahesten wants to mix different ideas together, which clearly comes through in their composition. This work is a true osmosis between different dark influences. I like the intimate atmosphere, creating a kind of secret rite accentuated by the spooky vocals of their singer. It’s meant as poetry, but comes through as pure magic! The least I can say is that this project doesn’t sound like any other, which at the same time enlarges the sonic horizon of their label. I like this atypical approach, which proves it’s still possible to be creative and even innovative. I also like the tracklist, which is going crescendo hiding the best pieces right at the end.

– – – : I just have one single regret about this work; the album only features 5 tracks for 36 minutes of music.

Conclusion: Beckahesten is more than simply a promising newcomer, their album reveals a true genius composition.

Best songs: “Dödsfälen”, “Hotet”, “Skugan”.

Rate: (8½).

Artist: www.beckahesten.se / www.facebook.com/beckahesten

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

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: Epic, experimental, neo-classic, neo-folk, industrial.

Background/Info: Catalonian artist Sathorys Elenorth formed Der Blaue Reiter in 2005. Two albums were released by Caustic Records, one by Ars Musica Diffundere and two albums by Neuropa Records. Three years have passed since the last work. Sathorys Elenorth joined hands again with Swedish artist Cecilia Bjärgö (Sophia, Arcana). Notice by the way the album has been mastered by Peter Bjärgö and that it’s the first album from the band released by Dark Vinyl. 

Content: The least I can say is that Der Blaue Reiter is an ‘engaged’ formation or simply a band with a meaning. “United, Yet Divided” sounds as one of the most ‘political’ albums of this Catalonian project. It rapidly creates a link with neo-folk music, but the influences are more diversified while the result is hard to define. From epic- to neo-classical arrangements, from melancholia to overwhelming passages, this work also reveals a kind of dark-wafting sensation. The songs have been sung by both members while sometimes performed as a real duo.

+ + + : There’s an exciting duality between the epic parts and refined, neo-classic driven arrangements. A few guest artists added an extra touch, reflecting the authenticity of the work. Der Blaue Reiter is coming closer to the selected area featuring artists such as Rome and Ordo Rosarius Equilibrio. It’s much more than simply neo-folk, but a truly chemistry between different styles. It sometimes becomes a bit ‘chanson’-like, but I like it. The themes and lyrical content might be interpreted as a bit controversial, but here again this duo first of all is an engaged formation.

– – – : I can’t say there are avoidable track featured here. I personally consider this work as the best album in the list!

Conclusion: On “United Yet, Divided” Der Blaue Reiter has reached a high artistic degree, which makes me easily say it’s the best album from this project thus far.

Best songs: “The Hungarian Revolution”, “United, Yet Divided”, “East And West”, “Prologue.

Rate: (8).

Artist: www.facebook.com/derblauereiterband

Label: www.darkvinyl.de / www.facebook.com/darkvinylrecords

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

Hailing from The Netherlands Schwarzblut has released its fourth full length album “Idisi” on Alfa Matrix. The main sources of inspiration remain a dark-electronic composition mixed with ethereal elements. On previous releases the songs were constantly switching from one style to the other while “Idisi” reveals a perfect fusion between both influences. I consider “Idisi” as their absolute masterpiece, which naturally brought me to get in touch with the band’s front man ‘ZEON’.

(Courtesy by Inferno Sound Diaries)

Q: Four years are separating the new work “Idisi” and its predecessor “Gebeyen Aller Verdammten”. Does it mean it was more difficult to achieve this new opus and find new inspiration or did you just need a longer break after your previous releases?

ZEON: We never do the same thing twice and we really wanted to take our time to make this album meet our high standards. So we did. Very early in the writing process we decided to focus on the root of the Germanic and Franconian languages. We heavily researched the earliest writings, dating back as early as the 6th Century. Most of the texts for “Idisi” took me quite some time to read and fully understand, due to the way they were written or printed. Very time consuming, but also very enchanting and a great way to slow my mind down. In our age of distraction nothing is so luxurious as paying attention. Besides great meaning, these texts also have a sound and rhythm that is very inspiring to me. They were instantly inviting us to turn them into songs. They have an abstractness to them that works great with our dark, rhythmical music.

The music on “Idisi” is predominantly based on electronic instruments, but has a very organic feel. To achieve that we also included a lot of acoustic instruments such as nyckelharpa, violin, hurdy gurdy and percussion. We have a few guest musicians on this album as well. Logistics was sometimes challenging, but it was a wonderful trip and we are very proud of the result.

Q: Sound-wise I always have experienced a ‘duality’ between the dark-electro side and the ethereal side while according to me “Idisi” is the real first album we can speak about ‘symbiosis’ between both influences. I’ve been really impressed by this sonic fusion, which has something original and refreshing. What’s your perception of this evolution in sound and the new work generally speaking?

ZEON: Thanks for the compliment! This surely was one of the things we aimed for on this album. When Herr Sturm left our line-up a few years ago, I became the solo-songwriter for the band. This allowed my preferences and ideas to really come to the forefront. I share my taste with our lead singer Angelika, so moved the new album towards a more ethereal sound. Trying new stuff kept things fresh. Also our new synth/vox/percussion guy Gijs van Ouwerkerk is a brilliant musician, who really earned a place on this album. Go check the songs “Dolorosa” and “Eiris Sazun Idisi” for some great vocal harmonies by him, Angelika and me to get an idea of what I am talking about.

Q: Another interesting aspect is featured at the limited edition of “Idisi” featuring a bonus disc, which is more into cinematographic-, mystic- and even ritual-like songs. That’s already something ‘new’, which can maybe open new horizons for further releases. What can you say about it?

ZEON: “Idisi’ is also available as a 2CD, that comes with an 8-track bonus disc. Besides 3 remixes it contains a series of ‘meditations’. This five movement cycle of original Schwarzblut works is comprised of environmental recordings, audio experiments and vocal intensity. Through this I place the listener inside the Hagia Sophia, at a western European harbor or in a morning forest. These pieces were written and produced during the same time as the album. Some of them were used in a series of theater performances in 2015 and later adapted for the album. All meditative pieces are very much related to songs on CD 1 of the album. I invite our fans to immerse themselves in the music and find the connections.

When I compose I often reach a meditative state of clear focus that makes ideas come in an ever flowing stream. Music in that sense is a way to transport myself and the listener. As one can expect from Schwarzblut, these meditative tracks have a dark and introvert character. “Meditation Auf Schnecken” is the opening track of CD 2 and indeed starts with the sound of a snail. Maybe more of this type of music will be released in the future. For now I invite everyone to immerse themselves in the music and be transported. Just like I was, when it was being created.

Q: I was rather surprised by your edit of the legendary “Palästinalied” featuring Hannah Wagner. I’ve to admit I was thinking ‘oh no, not again this song that has been already interpreted by numerous artists’. But next I realized his original composer Walther von der Vogelweide totally matches with the Schwarzblut concept so in the end you simply had to feature this song, right? How did you work on it and what did you like in its lyrical content?

ZEON: We deliberately took a risk by doing our version of this iconic 13th Century song. On the album this song connects the Western and Middle-Eastern worlds. We really made our own version by adding vocal harmonies, some spoken parts in Latin and hard hitting drums. It also features the majestic play of our German friend Georg Börner (Sangre De Muerdago) on the nyckelharpa. His medieval string instrument gives the song a mysterious and organic vibe. Having Hannah Wagner (Saeldes Sanc/Helium Vola) sing it as a duet with Angelika, gives the song an outstanding quality.

Q: Schwarzblut is one of these bands where the lyrics are as important as the music. It’s not just a simple concept, but a truly passion for literature, poetry, mythology. I can imagine it also takes a lot of time to find and write the right lyrics and next using an appropriated language to sing. Who’s taking care of this aspect and how does it really work?

ZEON: Most texts are sourced by me and come from my personal collection of old books and facsimile editions of rare and historical handwritings and prints. With additional online resources I am able to explore the content, context and pronunciation necessary to turn the text into songs. All Schwarzblut members have an interest in art, history and literature. In our rehearsal bunker we often discuss newly found texts during our coffee breaks. The new album features texts in a variety of historical European languages such as Middle-High German, Lower-Franconian, Old-Lower Saxon and Old-Dutch. For us this was a way to explore our own lingual culture and heritage, as for the first time we also included texts in old-Dutch and early versions of our own language. From there we decided to explore eastwards into new lyrical and musical territory. That’s how the album became so rich with sounds and languages from the Old-World. From the opening track “Eiris Sâzun Idisi”, with its powerful First Merseburg Incantation (Old High-German, 9th/10th century) giving the song a great rhythmical drive. All the way to the album’s closing hymn “Ghaselen Des Dschelal-Eddin Rumi”, with its mystique atmosphere set by the 1819 German translation of works by the 13th-century Persian poet Jalal ad-Din Muhammad Rumi (1207-1273).

Freedom, identity and the celebration of diversity can be seen as the common thread running through all ten songs on the album. And indeed we did not shy away from also including some brutal texts about war and prosecution.

Q: You last year released the split-EP “Wildes Herz” with Saeldes Sanc. It already was your second split-release with this band featuring Hannah Wagner. What makes this fusion between both bands and are there further plans to work together? And what are your further plans generally speaking?

ZEON: We did a split-single release with Hannah Wagner back in 2015. She’s a great talent and very sweet person to work with. So while we were working on “Idisi” we decided to do a mini-album with her. We released the 8-track mini-album “Wildes Herz” in 2017. It features songs from her band “Saeldes Sanc”, some “Schwarzblut” songs and a few remixes. We are currently promoting the new album, doing concert and interviews in mostly Germany and The Netherlands. The next few weeks there are 3 or 4 compilation albums coming up around the world that feature our music. We will also record a song for a yet to be disclosed tribute project. And of course there are already musical ideas emerging for a future Schwarzblut release. We have a Facebook page where we post updates several times a week. We also have a monthly newsletter and an extensive website. So you know where to go, to keep up to date with us.

Side-Line also covered Schwarzblut’s ‘Idisi’.

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

Nicolas Van Meirhaeghe aka ‘Sal-Ocin’ and instigator of the dark-ambient/ritual/cinematographic project Empusae is a Belgian artist I discovered since his early years. He also played live percussions and got involved in very diversified bands (Implant, Ah Cama-Sotz, This Morn’Omina, In Slaughter Natives, Sophia, Triarii, Tzol’kin, Ordo Rosarius Equilibrio ao.). With his newest opus (cf. “Lueur”) released on the Belgian label Consouling Sounds, Empusae took me by surprise achieving a poignant and transcendental work.

(by Inferno Sound Diaries)

Q: Nicolas, you’re an artist I’m following since your very first official releases (on Divine Comedy Records) and I’m really impressed about the evolution in the global production process between the early work and what you’re composing today. How much of early Empusae do you recognize in your latest work?

Sal-Ocin: Thank you for your kind words. Since the beginning of Empusae, it was always about creating soundtracks for the imaginary. Certain elements in sounds and compositions you might recognise through my work such as being atmospheric, dark, melancholic melodies, ritual rhythms and a mixture of unearthly sounds and sounds and scenes from our lives (I used to sample a lot from movies, which I changed now to field recordings and recordings in my studio). In all my albums you will find out there is something beautiful within the darkness. Which is exactly the theme of my last album, literary.

Q: I experienced your newest work “Lueur” as an album with a diversified and dark sonic canvas. What kind of work did you’d in mind and how did you came to work together with Chve?

Sal-Ocin: I started to write “Lueur” as a therapeutic exorcism against a recent demon I encountered 3 years ago (genetic eye disease). I had no idea of any particular style or sonic result, it was more about transcribing emotions, fear, pain and anger into music. The result is indeed very dark but you might recognise there also is some light within. When I was at a certain point of composition, I felt something was missing. Since I didn’t know what, I experimented several ways to fill it in, but without results. After a few days it hit me like thunder: It was Colin’s voice who was needed at that passage of the song.

After he said yes to try some things out, I (re-)composed the two songs with his voice in mind. He perfectly did (even more) what I had in mind and I think the end result speaks for itself; an enhancement of the emotions I needed to express with the album. He instantly grasped the concept and it all happened very fast and naturally.

Q: I especially like the balance between music and vocals, but still the progression running through both songs, which are reaching a kind of transcendental final. How did you get such an apotheosis and do you’ve references in the genre?

Sal-Ocin: To be honest I have no idea what to compare it with. I really just did what come out during the writing of it, without thinking how I would do it and especially without any particular result. It’s the first time I used my own voice and someone else’s (except Tom De Doncker’s Vox Demonii). But it felt very natural and I need also to mention the work of  Tim De Gieter (Much Luv Studios) who did an astonishing craftsmanship in mixing the whole album into a perfect result!

Q: You’ve worked with numerous guest artists while you’ve been –and still are involved in numerous other (and sometimes famous) bands. What do you like in the work and exchange with other artists and what’s the impact on your own work and evolution as musician?

Sal-Ocin: Working as percussionist (live) with Triarii definitely helped me finding the way to compose orchestral passages within ‘Sphere From The Woods’, ‘Split’ and ‘Lueur’. Those are elements which were also present in previous albums, but not as well orchestrated and integrated in the dark ambiences and electronics.

This aspect I actually put in “Vision:Libertine” from Ordo Rosarius Equilibrio. I think Tomas (Pettersson) recognised that as well and asked me to integrate that into his songs, together with the tribal rhythms.

What I do as Tzolk’in (with Gwenn from Flint Glass) is something similar as with Empusae in the sense that we create a soundtrack to the pre-Colombian civilisations.

With Onus (with Peter Bjärgö from Arcana and Sophia) it is for me the same principle: creating atmospheric music based on the burden of life.

Q: What means this artistic involvement and creation to you?

Sal-Ocin: Some people have kids, Christel and I have art. It is more than just a passion, it’s our drive of life, our therapy, our essence of life and our catharsis. It’s an obsession, an endless source of pleasure, commitment, self-development, symbiotic interactions.. In other words, hard to describe, but it means the world to me.

Q You’re right back from WGT 2017. How did it happen for you and what’s the importance of playing live plus did you see other interesting bands on stage?

Sal-Ocin: WGT was very intense this year. The Empusae gig was in a full house ‘Volkspalast Kantine’. The sound was amazing, so was the audience, they were very silent (which is not always the case and can be a huge pain in the ass during ambient parts of a concert) and attentive with a huge feedback from then at the end. It’s one of the concerts where myself as well as several people in the audience started crying.

A few hours later we performed in ‘Volkspalast Kuppelhalle’ (full house as well) with Orde Rosarius Equilibrio. One of those concerts where I had a big smile on my face at certain moment and where I had so much fun playing my percussions. Unfortunately, I didn’t visit any other band or venue, I decided to spend some feel good quality time with the band and friends.

Courtesy by Inferno Sound Diaries

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

Mortiis will present a live reinterpretation of the 1994 release “Ånden Som Gjorde Opprør” this fall at the Cold Meat Industry 30th Anniversary celebration in Stockholm. The event will take place on the 3rd & 4th of November 2017 at Klubben.

To celebrate this the “Ånden Som Gjorde Opprør” can now be downloaded for free right here.

“Together with CMI founder Roger Karmanik we have now gathered more acts signed to the famed Cold Meat Industry than any other festival has ever managed to and we intend to make this event the ultimate Cold Meat Industry 30 Years Anniversary!” says Mortiis, and he continues: “I don’t just want to do the record as it was back in 1994, but rather excavate it from 1994 and drag it into the new light of the current world, while retaining the atmosphere of the original sound.”

Other artists performing at the event are Arcana, Archon, Satani, Brighter Death Now, Coph Nia, Desiderii Marginis, Deutsch Nepal, In Slaughter Natives, Mothhound, MZ.412, Ordo Rosarius Equilibrio, Raison D’Etre, Sanctum, Sephiroth and Sophia.

You can order your tickets right here. Below is the posterartwork for the festival.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Cinematographic, neo-classic, neo-folk.

Background/Info: Peter Bjärgö will always and instantly linked with formations like Arcana, Sophia and Karjalan Sissit to name a few. But he also started a solo-work under his own name. “Animus Retinentia” marks the return of Peter Bjärgö after a hiatus of 6 years.

Content: “Animus Retinentia” just like the previous releases is an intimate reflection of the musician. He seems to explore or create a dreamy universe, which is mainly composed by the simple magic of guitar and piano. We’re moving throughout an imaginary universe filled with deep, melancholic emotions and other intriguing atmospheres.

The work features a few instrumental cuts accentuated the soundtrack impression, but other cuts have vocals.

+ + + : I’ve always experienced the work under his own name as more personal and definitely intimate exposure of Peter Bjärgö. This new opus excels in this approach and could be a remarkable soundtrack for a dark movie. I like the switch between pure reverie passages and darker cuts. There also is a nice progression running through this work revealing the darkest pieces at the final part. “Memories II” and “Sleep Dep.Loop2” both are little masterpieces reaching an ultimate climax. Sadness becomes a beautiful exploration of hidden visions.

– – – : The first part of the work is fully enjoyable, but can’t fully satisfy all my expectations. There’s no climax, which luckily and progressively appears during the final part.

Conclusion: “Animus Retinentia” brings different influences and emotions together. This album confirms the great writing skills of Peter Bjärgö who probably has accomplished one of his most soundtrack-wise productions so far.

Best songs: “Memories II”, “Sleep Dep.Loop2”, “Memories”, “To replace My Sadness”.

Rate: (7½).

Band: www.facebook.com/peter.bjargo.3

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

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

“Animus Retinentia” is the 3rd full length album by Peter Bjärgö (Arcana, Sophia). Throughout the 11 tracks you can expect a mix of dreamy piano parts, rhythmic percussions, Bjärgö’s trade mark acoustic guitar and solemn vocals.

The album is out via Cyclic Law on March 1st and can be ordered straight from the label’s webstore. The CD itself comes as a 6 panel digipak limited to just 500 copies.

Below is a preview of all of the tracks on this album:

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

Available now for the North American market via this mail-order is the limited vinyl edition of the Sophia album “Unclean”. The vinyl release is strictly limited to 500 copies and comes in a standard cover with printed inner sleeve.

Sophia is the industrial ambient project by Sweden’s Peter Bjärgö (Arcana). Included on this album are some of the original collaborators which were featured on earlier albums: Per Ählund, Stefan Eriksson and Ia Bjärgö.

Below is already a preview.

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

Out now is the brand new album by Sophia, “Unclean”, on CD (1000 copies), LP (500 copies) and even on cassette (100 copies, in collaboration with Total Black) all of which you can ahold of right here. You can preview the album below.

We contacted Peter Bjärgö (Arcana, Sophia) to know some more about this album and also about Sophia in general.

SL: For this new album you brought together some of the original collaborators which were featured on earlier albums, such as Per Åhlund, Stefan Eriksson and Ia Bjärgö. What exactly made you do so and what do you appreciate in each of them specifically?

Peter: I had so many songs, more than 20 songs, to work with and I felt I was starting to lose focus. So I needed some input on the songs, hence why I talked to Per, Stefan and Ia, and they all contributed in their own way. Per had these noisy-ambient pieces to help bind the songs together, Stefan and I have recorded a lot together so we had no problems writing a new song together and record his vocals on another song I wrote earlier. I wanted the album to be more diverse when it came to the vocals so Ia put vocals on two songs which came out really nice.

SL: Sophia has often been described as bringing a dark and oppressive soundscape of nihilism, bitterness and sorrow. What instigated this, what made you decide to give it that kind of feeling?

Peter: Living in a world as dark and corrupted as this gives me plenty of things to bring up. With Arcana I try to focus on more positive aspects, but Sophia is a way to ventilate the more darker topics. Also I think that the sound I have with Sophia resonates more with darker lyrics. I try not to put too much weight on the image of Sophia, these are things that come naturally, sometimes it’s just a few words or so which sound good with the music.

SL: Sophia was first started in 1998 when you recorded plenty of songs as a side project to Arcana. I presume Sophia is now a complete project without being ‘stepmothered’ by Arcana?

Peter: I tried quite early to separate the two projects, but as Sophia had a more orchestral sound on the previous albums people would compare them all the time. Now I think the situation is different, Sophia has a very different, distinctive sound that differs a lot from Arcanas. It’s almost like having two different listeners too.

SL: Sophia has been put to rest for many years until 2010. Why is that actually?

Peter: Well, I’ve been busy with a lot of things, Arcana and my solo project mainly. Also I have been writing the music for Karjalan Sissit which left me dried-out when it came to this sound, so I always felt that I needed to come up with a different sound and not the orchestral “reverby” sound Sophia and KS had/has. I have been writing a lot of songs during these years though, but I never found a sound that could work throughout a whole album.

SL: How do you look at the current martial scene? Do you see any progress?

Peter: To be completely honest I haven’t kept up to date with the scene, I’ve mainly been listening a ambient music, calmer music. But as we’re out performing again I get to hear and see a lot, which is a good thing.

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

Read the review of ‘Proslambanomenos’.

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