Sopor Aeternus – SIDE-LINE https://www.side-line.com Industrial, electro, EBM, post-punk, darkwave news Sun, 20 Sep 2026 13:46:34 +0000 en-US hourly 1 https://wordpress.org/?v=7.1.4 https://www.side-line.com/wp-content/uploads/2021/10/cropped-side-line-logo-png-32x32.png Sopor Aeternus – SIDE-LINE https://www.side-line.com 32 32 Sopor Aeternus issues two limited vinyl soundtracks: ‘The Dead Have Come’ and ‘Dea Mutàrion’ https://www.side-line.com/sopor-aeternus-the-dead-have-come-dea-mutarion/ Sat, 01 Nov 2025 17:39:08 +0000 https://www.side-line.com/?p=81201 Frankfurt darkwave project Sopor Aeternus & The Ensemble of Shadows has released the full-length “The...]]>

Frankfurt darkwave project Sopor Aeternus & The Ensemble of Shadows has released the full-length “The Dead Have Come” and the companion EP “Dea Mutàrion” via Apocalyptic Vision. Both are limited, hand-numbered black vinyl editions of 500 with a gatefold sleeve and a 32-page large-format booklet.

All of the music was written/produced by Anna-Varney Cantodea with the following guests: Nikos Mavridis (violin), Tim Ströble (cello), Jonas Schira (trumpet), Michael Fütterer (trombone), Patrick Damiani (bass), Marcel Millot (drums). The whole was recorded and engineered by Patrick Damiani at Tidalwave Studio (Karlsdorf, March 2025), mixed by Patrick Damiani with Anna-Varney (April/May 2025), and finally mastered by Robin Schmidt at 24-96 Mastering (Karlsruhe).

About the films ‘The Dead Have Come’ and ‘Dea Mutàrion’

“The Dead Have Come” (Italian: ‘Gli Occhi Morti Di Satana’, also released as ‘The TV Dead’ in the USA and ‘The Rotting’ in Canada) is a 1979 Italian-German zombie/horror movie, directed by Swedish auteur Anus Varnus, with the plot centering on a mysterious TV signal that turns viewers into flesh-eating cadavers.

The sequel, “Dea Mutàrion” (1982), is presented as an Italian/German co-production continuing the storyline.

About Sopor Aeternus & The Ensemble of Shadows

Sopor Aeternus & The Ensemble of Shadows is the long-running darkwave project of Anna-Varney Cantodea, founded in Frankfurt, Germany, in 1989. Early on 3 self-distributed demo cassettes appeared (“Es reiten die Toten so schnell…” in 1989; “Rufus” and “Till Time and Times Are Done” in 1992) circulating in the European goth scene. The project signed later on with Apocalyptic Vision for its official releases.

The official album debut, “…Ich töte mich jedesmal aufs Neue, doch ich bin unsterblich, und ich erstehe wieder auf … in einer Vision des Untergangs…” (1994), established Sopor’s unique blend of neoclassical darkwave, chamber instrumentation and theatrical vocals. It was followed by “Todeswunsch (Sous le soleil de Saturne)” (1995) and “The Inexperienced Spiral Traveller (Aus dem Schoß der Hölle Ward Geboren die Totensonne)” (1997), expanding orchestral arrangements and dark-folk elements. “Songs from the Inverted Womb” (2000/2001) offered more modern-classical textures.

The 2000s combined archival collections (e.g., “Like a Corpse Standing in Desperation” box) with studio albums and reissues. In 2019, Sopor released “Death and Flamingos”, offering a rawer deathrock-tinged sound.

The cycle around “Island of the Dead” (2020) and short form releases like “The Dead” (2020) preceded “The Rules” (2023) and “Fab Dead Cult Veil” (2024). In 2025, Sopor issued the new soundtrack pair “The Dead Have Come” and “Dea Mutàrion.”

]]> Murmur Of Monks – Artista Non Grata (Album – Murmur Of Monks) https://www.side-line.com/murmur-of-monks-artista-non-grata-album-murmur-of-monks/ Thu, 21 Mar 2024 08:00:00 +0000 https://www.side-line.com/?p=48777 Genre/Influences: Gothic, Dark-Cabaret, Cinematic. Format: Digital. Background/Info: Belgian solo-project Murmur Of Monks released by the...]]>

Genre/Influences: Gothic, Dark-Cabaret, Cinematic.

Format: Digital.

Background/Info: Belgian solo-project Murmur Of Monks released by the end of 2023 its third full length album. “Artista Non Grata” features eleven songs written by ‘Humwawa’.

Content: The least I can say is that this work sounds rather different from previous releases. There’s a more explicit Gothic touch emerging which even reminds me of legendary formations like Sopor Aeternus and Das Ich. The songs are characterized by symphonic sounds and arrangements while Humwawa’s deep, timbre of voice accentuates the obscure and desperate atmosphere hanging over the work. The work also features several instrumental songs which have a more Cinematic appeal.

+ + + : This work took me by surprise for its delicacy. The songs have been meticulously built up with poignant, intimate atmospheres and the magic of symphonic arrangements -which reminds me of Sopor Aeternus. There also is a kind of dark poetry running through the lyrical part. This work sounds desperate and yet it also has a strong intimate exposure. Some of the songs have a strong visual appeal getting the listener to face the darker corners of his inner self. Last but not least I also want to say a word about the front cover featuring an obscure and enigmatic painting by Léon Spilliaert. The painting in a way fits the dark, misty, atmosphere of the album.

– – – : If this album could have been played with real instruments it would simply become a true masterpiece.

Conclusion: “Artista Non Grata” is an interesting and challenging title for an album that has the potential to reach a wider Gothic-minded audience.

Best songs: “Wolf Amongst The Kettle”, “The Fragile Existence Of Courtesan Lovers”, “Rebel And The Goat”, “Slavedrums And Sunset”, “Coffin Break”.

Rate: 8.

Artist: www.facebook.com/murmurofmonks

Listen to “Artista Non Grata”:

About Murmur Of Monks

Murmur Of Monks is the solo project of Belgian artist Humwawa, recorded, programmed and produced at his own studio, Torture Tomb, in Torhout, Belgium. Its catalog spans the “Laibachesque” EP, a tribute to Laibach, alongside “Ballades Bij Avondgloed”, “Sol Oriens”, “La Mort” and “Goreography Act I – Biblical Beheadings”. “Artista Non Grata”, the project’s third full album, followed on December 8, 2023.

]]> Sopor Aeternus & The Ensemble Of Shadows – Alone At Sam’s – An Evening With… (Album – Apocalyptic Vision) https://www.side-line.com/sopor-aeternus-the-ensemble-of-shadows-alone-at-sams-an-evening-with-album-apocalyptic-vision/ Tue, 09 Jan 2024 08:00:00 +0000 https://www.side-line.com/?p=47716 Genre/Influences: Neo-Classic, Cinematic, Gothic. Format: Digital, CD, Vinyl, Cassette. Background/Info: The new album by Sopor...]]>

Genre/Influences: Neo-Classic, Cinematic, Gothic.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: The new album by Sopor Aeternus & The Ensemble Of Shadows has been released the same day as the EP “The Colours”. This opus has been released in different formats and features eighteen songs.

Content: The introduction song directly evokes the typical, melancholic, atmosphere created by Anna-Varney Cantodea. Together with the 7 musicians of The Ensemble Of Shadows the work excels in Neo-Classic arrangements, Gothic moods and emotional, theatrical, vocals. The work reveals different instrumental tracks accentuating the growing Cinematic approach of the German project.

+ + + : Sopor Aeternus remains ‘the’ most artistic project from the underground scene I know. It’s a ‘total’ concept wherein music, lyrics and artwork have been accomplished to the most minute detail. The music is mixing different influences together but remains touched by this unique and graceful sound DNA Anna-Varney Cantodea has used to familiarize us. It totally matches with the emotional singing; you can feel sadness and pain while music and ‘creation’ might remain the best cure to move on… Everything sounds dark but still subtle which is an aspect that also comes back in the lyrics. The title song reflects this delicacy and leaves the listener/reader with his own imagination. The album features multiple outstanding cuts featuring orchestral sound arrangements but still this Sopor Aeternus ‘trademark’ created by the power and emotion of real instruments like violin, cello, trombone, trumpet ao. The album also has a strong visual appeal because of its Cinematic approach. 

– – – : From a very personal point of view I don’t consider this album as the ‘best’ one ever composed by the artist. It sounds maybe too explicit in the Cinematic approach although there’s nothing wrong with that… just a personal impression.

Conclusion: The numerous fans of Sopor Aeternus & The Ensemble Of Shadows will discover a new masterpiece in addition to the impressive discography of their favorite band; dark, melancholic, graceful and artistic.

Best songs: “Come And Play With Us”, “Nobody Home”, “Counter Spell”, “Alone At Sam’s”, “The Colours”, “The House Of Poe”.

Rate: 9.

Artist: www.soporaeternus.de / www.facebook.com/sopor.aeternus.offiziell

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

About Sopor Aeternus & The Ensemble Of Shadows

Sopor Aeternus & The Ensemble Of Shadows is a neoclassical dark wave project from Frankfurt, Germany, founded in 1989 by Anna-Varney Cantodea. The project’s catalogue includes the albums “Ich töte mich…” (1994), “Todeswunsch” (1995), “Dead Lovers’ Sarabande” (1999), “Songs from the Inverted Womb” (2000), “Les Fleurs du Mal” (2007), “Poetica” (2013), “Mitternacht” (2014), “The Spiral Sacrifice” (2018), “Death & Flamingos” (2019), and “Island of the Dead” (2020), released on the Apocalyptic Vision label.

“Alone At Sam’s – An Evening With…”, an eighteen-track album performed with the seven musicians of The Ensemble Of Shadows, was released alongside the companion EP “The Colours” on the same day.

]]> Sopor Aeternus & The Ensemble Of Shadows – The Colours (EP – Apocalyptic Vision Records) https://www.side-line.com/sopor-aeternus-the-ensemble-of-shadows-the-colours-ep-apocalyptic-vision-records/ Mon, 08 Jan 2024 08:00:00 +0000 https://www.side-line.com/?p=47704 Genre/Influences: Gothic, Cinematic, Neo-Classic. Format: Digital, CD, Vinyl, Cassette. Background/Info: Anna-Varney Cantodea and the lovely...]]>

Genre/Influences: Gothic, Cinematic, Neo-Classic.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: Anna-Varney Cantodea and the lovely Ensemble Of Shadows strike back with four new songs which each cover a colour.

Content: This work sounds very Cinematic-like and there’s only one single cut featuring vocals. The listener embarks on a dark and melancholic voyage created by an artistic ensemble playing acoustic instruments like violin, cello, trombone, trumpet, bass guitar and drums. The work is moving from dark, dreamy, passages into pure sadness. 

+ + + : No doubt about it Sopor Aeternus & The Ensemble Of Shadows would be the perfect project to compose a great Soundtrack. This work sounds a tiny atypical although revealing the familiar sound and influences of the project. “Orange” is a more ‘classical’ cut featuring Anna-Varney Cantodea’s bewitching timbre of voice. Speaking for myself I especially like the violin play at this work which empowers the melancholic sensation.

– – – : Sopor Aeternus & The Ensemble Of Shadows with less vocals sounds different and I miss this unique sensation of Cantodea singing.

Conclusion: This work is a cool addendum to the new album “Alone At Sam’s – An Evening With​.​.​.”

Best songs: “Orange”, “White”, “Purple”.

Rate: 8.

Artist: www.soporaeternus.de / www.facebook.com/sopor.aeternus.offiziell

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

About Sopor Aeternus & The Ensemble Of Shadows

Sopor Aeternus & The Ensemble Of Shadows is a neoclassical dark wave project from Frankfurt, Germany, founded in 1989 by Anna-Varney Cantodea. The project’s catalogue includes the albums “Ich töte mich…” (1994), “Todeswunsch” (1995), “Dead Lovers’ Sarabande” (1999), “Songs from the Inverted Womb” (2000), “Les Fleurs du Mal” (2007), “Poetica” (2013), “Mitternacht” (2014), “The Spiral Sacrifice” (2018), “Death & Flamingos” (2019), and “Island of the Dead” (2020), released on the Apocalyptic Vision label.

The four-track EP “The Colours” was released on the same day as the album “Alone At Sam’s – An Evening With…”, and features the seven musicians of The Ensemble Of Shadows on largely instrumental arrangements.

]]> Top 25 industrial / darkwave albums of the year 2023 https://www.side-line.com/top-25-albums-of-the-year-2023/ Thu, 04 Jan 2024 11:58:15 +0000 https://www.side-line.com/?p=47725 Referring to the events that unfolded globally, 2023 has again been a bloody, terrible year....]]>

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
]]> Audioglobe statistics on the darkwave music sales in 2023 out now https://www.side-line.com/audioglobe-statistics-on-the-darkwave-music-sales-in-2023-out-now/ Sat, 23 Dec 2023 11:54:57 +0000 https://www.side-line.com/?p=47596 Celebrating its 30th year, Audioglobe, the most important distributor in the darkwave scene, just shared...]]>

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

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

So here are some export facts.

Top 10 Bestselling Labels of 2023 (export)

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

Best Export Territories of 2023

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

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

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

Here is the top 10 list of export territories:

  1. Germany
  2. Greece
  3. Netherlands
  4. Portugal
  5. USA
  6. United Kingdom
  7. Australia
  8. Spain
  9. Russia
  10. Poland

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

]]> Sopor Aeternus presents new album ‘The Rules’ in 2 editions https://www.side-line.com/sopor-aeternus-presents-new-album-the-rules-in-2-editions/ Thu, 30 Nov 2023 10:40:02 +0000 https://www.side-line.com/?p=47111 Out via Apocalyptic Vision on December 21st is the all new Sopor Aeternus album “The...]]>

Out via Apocalyptic Vision on December 21st is the all new Sopor Aeternus album “The Rules”.

The full-length album is part 3 of the current Sopor Aeternus trilogy, which is based on an actual boardgame. Like part 1 (“Alone At Sam’s – An Evening with…”) and part 2 (“The Colours”), “The Rules” was also recorded and produced at TidalWave Studios and is part of a larger total work of art.

“The Rules” will be available in two editions, a double LP one and on CD.

The 2LP comes in a limited 2×12″ screen printed vinyl edition combined with screenprint. The screenprint on side D comes with the special colour ‘Halloween orange’. The vinyls will be 180 gram, super-audiophile high quality discs with black inner sleeve with antistatic lining and a gatefold sleeve. The copies are hand-numbered by Anna-Varney Cantodea. The 2LP version is limited to 500 copies worldwide.

The transparent jewelcase CD edition comes with a 16-page lyric booklet and holds the same tracks as on the limited vinyl edition.

Check out the video that was released just now.

]]> Crooniek – Trail Of Time (Album – Wool-E-Discs) https://www.side-line.com/crooniek-trail-of-time-album-wool-e-discs/ Thu, 23 Jun 2022 07:00:00 +0000 https://www.side-line.com/?p=37397 Genre/Influences: Folk, Chanson, Fanfare, Neo-Classic, Cinematic. Format: Digital, CD. Background/Info: Crooniek is a Belgian project...]]>

Genre/Influences: Folk, Chanson, Fanfare, Neo-Classic, Cinematic.

Format: Digital, CD.

Background/Info: Crooniek is a Belgian project set up in 2005 by accident. We can call it a wind ensemble which did many live performances and is now releasing its official debut album. Notice by the way the ensemble -or some members, already contributed to other productions like Winterstille’s album “Puinhoop”.

Content: Crooniek brings a surprising work which is mainly centered around different wind instruments although completed by guitar and bass ao. It mainly injects a totally weird but fascinating Fanfare-style which has been mixed with multiple influences. Most of the tracks are instrumentals but there are a few noticeable cuts with singers.

+ + + : Crooniek deserves a special mention for its unusual and original approach. Different wind instruments inject a true soul to the work which especially seduces me when joined with vocals. The song “Would You Wake Me In Time?” ,is a brilliant exposure of the album. I especially like the distant Sopor Aeternus-touch running through the song. Other noticeable songs are the Dutch sung “Nieuwe Dromen” and “G&K” -which was originally released for the album “Demonen & Dromen” by Olivier & Crooniek. The instrumental version of “Would You Wake Me In Time?” is another attention grabber creating a more Cinematic & Neo-Classic approach.

– – – : Realizing the best cuts are featuring vocals I regret there are no more tracks with vocals featured.

Conclusion: Crooniek is a single experience in sound deserving respect for its global approach and originality. Live this band must be a true sensation!

Best songs: “Would You Wake Me In Time?”, “Nieuwe Dromen”, “G&K”, “Would You Wake Me In Time? – Instrumental Version”, “Und Sie Tanzten – Instrumental Version”.

Rate: 7½.

Artist: www.crooniek.be

Label: www.wool-e-discs.be / www.facebook.com/woolediscs

About Crooniek

Crooniek is a Belgian wind ensemble formed in 2005. The group states on its Bandcamp page that the ensemble was put together by accident for a single occasion and had played more than 80 gigs by 2022. It usually performs as a fixed seven-piece and has also worked with singers, choirs and other ensembles including Mandolinman and Illumine. The band is connected to Kampenhout, and its releases are handled from Ghent by Wool-E Discs.

The ensemble released the album “Demonen & Dromen” in 2018 as Olivier & Crooniek. A 2020 album followed under the Winterstille name, carrying the song “Puin van Dromen”. The review above refers to that Winterstille record as “Puinhoop”; the Bandcamp listing names the song “Puin van Dromen”.

“Trail Of Time” was released by Wool-E Discs on 6 May 2022 and holds twelve tracks running about 52 minutes. It combines new songs with new versions of older material. Kevin Imbrechts features on tracks 1, 3, 4, 6 and 10, tracks 5 and 8 are performed by Olivier & Crooniek, and tracks 9 and 11 were originally performed by Winterstille.

]]> Brand new Sopor Aeternus CD single ‘Todesschlaf’ and double 7 inch https://www.side-line.com/brand-new-sopor-aeternus-cd-single-todesschlaf-and-double-7-inch/ Tue, 05 Apr 2022 16:36:04 +0000 https://www.side-line.com/?p=36230 Out via Apocalyptic Vision on April 29th is the new Sopor Aeternus album “Todesschlaf” which...]]>

Out via Apocalyptic Vision on April 29th is the new Sopor Aeternus album “Todesschlaf” which comes as a limited CD album. The CD comes in Jewel-Case with 20 pages booklet, and is hand-numbered by Anna-Varney Cantodea to strictly 1000 copies holding just 3 tracks: “Todesschlaf #1”, “Todesschlaf #2” and “Todesschlaf #3”.

Also out is a double 7 inch consisting of a black 7″ vinyl and a 7” flexi disc single (playable at your own risk only). The 36-page accompanying booklet comes in a special size (21×21 cm) and the whole is packaged in a folding box printed on both sides, hand-packed and hand-numbered by Anna-Varney Cantodea. The set is strictly limited to 500 copies worldwide.

]]> Ghosting – No Dreams (EP – Alice In… / Dark Dimensions) https://www.side-line.com/ghosting-no-dreams-ep-alice-in-dark-dimensions/ Tue, 22 Feb 2022 08:00:00 +0000 https://www.side-line.com/?p=35442 Genre/Influences: Gothic. Format: Digital. Background/Info: Set up in 1989, Ghosting became a successful formation of...]]>

Genre/Influences: Gothic.

Format: Digital.

Background/Info: Set up in 1989, Ghosting became a successful formation of the German Goth scene in the 90s. After a long hibernation, the band resurrected and started to compose new music since 2020.This EP features four new songs, which were released by the end of 2021. 

Content: Ghosting brings us back to the essence of Gothic music; dark atmospheres accentuated by melodic organ sounds and captivating vocals. The songs feel like little, dark stories. It sounds pretty Ghosting-like with some extra sensibility, which sometimes reminds me to Sopor Aeternus.

+ + + : You don’t really get the feeling Ghosting took a break. This EP features a mature composition filled with delicacy and great sound treatments. The organ sounds reinforce the Gothic exposure. I also have to say a word about the great vocals’ production. Both debut songs are sonic pearls.

– – – : Both last songs sound more like the B-side of the work.

Conclusion: Ghosting is back and this EP is more than just a resurrection, but reveals a band with a creative spirit.

Best songs: “Pastures”, “There Are No Dreams – Epic Mix”.

Rate: 8.

Listen to “No Dreams E.P.”:

Artist: www.facebook.com/Ghosting.Office

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

About Ghosting

Ghosting was formed in 1989 in Koblenz, Germany by Sascha Tayefeh and Andreas Rudel, both fifteen at the time. Diana Rappauer, Björn Dingedein and Stefan Buchhofer are also listed among the members. The band paused between 1996 and 1999 and dissolved in 2003 while recording a follow-up to “Disguised In Black”. Tayefeh resumed releasing older and new material in 2020.

The early catalogue runs from the self-released cassette “Brave New World” (1990) through the 7” “Paranoia” (Glasnost Records, 1992), the limited cassette “Pure Romantic” (Ghosting Office, 1992) and the 12” mini-album “Paint It White” (Ghosting Office, 1994) to the album “L’État C’Est Moi” (Synthetic Symphony, 1996) and “Disguised In Black” (Alice In…, 2002).

After the return, Alice In… issued “The Flanders E.P.” in 2020 and the albums “Black Romantic III” and “Black Romantic IV” in 2021. The four-track “No Dreams E.P.” followed on 3 December 2021 with “There Are No Dreams (Epic Mix)”, “Pastures”, “Getting Used” and “The Little Prince”. The remastered compilation “Black Pearls” and the “Der Tod Reit’t E.P.” both appeared in 2022, the latter through Dark Dimensions. Side-Line published the ‘Click Interview’ with Ghosting in June 2022.

]]> L’Âme Immortelle – In Tiefem Fall (Album – Trisol) https://www.side-line.com/lame-immortelle-in-tiefem-fall-album-trisol/ Mon, 21 Feb 2022 08:00:00 +0000 https://www.side-line.com/?p=35436 Genre/Influences: Dark-Wave, Neo-Classic, Cinematic. Format: Digital, 3CD. Background/Info: “In Tiefem Fall” is the first new...]]>

Genre/Influences: Dark-Wave, Neo-Classic, Cinematic.

Format: Digital, 3CD.

Background/Info: “In Tiefem Fall” is the first new album in four years by the Austrian duo Thomas Rainer – Sonja Kraushofer aka L’âme Immortelle. The new work has been produced by Jan-Krischan Wesenberg (Rotersand). The work is also available as a hardcover book 3CD edition featuring two additional full-length discs.  

Content: L’Âme Immortelle remains faithful to their familiar sound formula; a melodic composition with a melancholic mood on top mixed with the heavenly and passionate vocals of Sonja Kraushofer at one side and the harsher singing of Thomas Rainer at the other side. I also noticed a surprising Dance-driven song (cf. “Catch My Fall”).

The ‘Book Edition’ presents the band’s entire visual and musical world in relation to their album. It has been adapted into sound by a Soundtrack (cf. “Portrait Of A Shattered Mind”) released on the second disc and written by Clemens Wijers (Carach Angren) and Patrick Damiani (Sopor Aeternus). The third disc features the audiobook “Das Königreich Der Schwarzen Farbe”, which is written and read by Lukas Materzok-Lavishly.

+ + + : The fans of L’Âme Immortelle will not be disappointed, their favorites having released a new work in the sound tradition of the band. The Austrian formation remains inspired by melancholia, which Rainer masterly adapted into melodic passages. The passionate, heavenly vocals of Sonja Kraushofer create an elevating effect during the choruses while Thomas Rainer injects a darker touch to his vocals. “Everything Just Falls Apart” is my favorite track for its deeply melancholic mood, but it still is an elaborated piece of music.

If you like Cinematic music I recommend listening to the second disc “Portrait Of A Shattered Mind”. It’s surprising and has less in common with the ‘familiar’ sound of the band, but it’s a poignant and achieved composition for Cinematic lovers. The songs are instrumental edits, which are created by violin sounds. I like the few epic arrangements running through some of the songs. It’s a great and refined composition inspired by movies.

– – – : I can’t get away from the feeling that L’Âme Immortelle is a bit stagnating in their own sound formula. There’s nothing wrong with that, but using this formula I’ve already better work from this band. The more commercially driven “Catch My Fall” might become a true successful piece, but it sounds a bit ‘cheap’ to me. The audiobook featured on the last disc is mainly suited for the die-hard fans of the band, but without a true interest for non-German speaking people.

Conclusion: I have some mixed feelings with this new work of L’Âme Immortelle; they hold on to their initial spirit, but the accomplishment left me more unmoved.

Best songs: “Everything Just Falls Apart”, “Der Fluch”, “Still” + “La Folie Des Grandeur”, “Locked In”.

Rate: 7.

Artist: www.facebook.com/LAI.official

Label: www.trisol.de / www.facebook.com/pages/Trisol-Music-Group/104166526285471 Read the news on ‘In Tiefem Fall’.

About L’Âme Immortelle

L’Âme Immortelle is an Austrian darkwave duo formed in 1996 around Thomas Rainer and Sonja Kraushofer. The songs alternate harsh male and melodic female vocals, with lyrics in German and English.

The studio albums run from “Lieder Die Wie Wunden Bluten” (1997), “…In Einer Zukunft Aus Tränen Und Stahl” (1998) and “Wenn Der Letzte Schatten Fällt” (1999) to “Dann Habe Ich Umsonst Gelebt” (2001) and “Als Die Liebe Starb” (2003). The duo moved to Supersonic Records in 2004 for “Gezeiten” (2004), “Auf Deinen Schwingen” (2006), “Namenlos” (January 2008) and “Durch Fremde Hand” (August 2008), then returned to Trisol.

“Momente” (January 2012), “Fragmente” (April 2012), “Drahtseilakt” (November 2014) and “Hinter Dem Horizont” (January 2018) followed, alongside the compilations “Seelensturm” (2003), “10 Jahre – Best Of” (June 2007), “Best Of Indie Years” (May 2008), “Unsterblich – 20 Jahre L’Âme Immortelle” (February 2016) and “Letztes Licht” (January 2019).

“In Tiefem Fall” arrived in January 2022 and reached number 33 on the German album chart. The next studio album, “Ungelebte Leben”, followed in January 2024.

]]> Sopor Aeternus & The Ensemble Of Shadows – Averno / Inferno (Single – Apocalyptic Vision Records) https://www.side-line.com/sopor-aeternus-the-ensemble-of-shadows-averno-inferno-single-apocalyptic-vision-records/ Sun, 09 Jan 2022 08:00:00 +0000 https://www.side-line.com/?p=34742 Genre/Influences: Dark-Ambient. Format: Digital, CD, Vinyl, Cassette. Background/Info: Sopor Aeternus & The Ensemble Of Shadows...]]>

Genre/Influences: Dark-Ambient.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: Sopor Aeternus & The Ensemble Of Shadows strike back with a very special work. The new single features two title songs, which are original demo recordings of “Dark Delight” and “Penance & Pain” (2002). This is a Dark-Ambient composition. 

Content: It’s not an easy thing to recognize both songs, which are totally different and transposed into a pure Dark-Ambient and Cinematographic style. Both instrumental cuts have been accentuated in darkness, becoming both obscure compositions. “Averno” is driven by deep, vibrating sound waves while “Inferno” moves a step further and has been accomplished by orchestral arrangements.

+ + + : This record clearly sounds different from what you’re used to hearing from Sopor Aeternus. It’s a different style, like an artist leaving his comfort zone to show another side. It’s not a ‘classical’ Dark-Ambient format as it also has a true Cinematographic approach, but the result is similar to Master releases from the Dark-ambient genre. Especially “Inferno” is an impressive piece of music, which evolves into a crescendo until reaching its climax through the orchestral arrangements. This is an obscure production with a strong visual strength.

– – – : “Averno” sounds cool, but rather as a warm-up to the more accomplished and efficient “Inferno”.

Conclusion: If Caravaggio transposed the vision of hell into paintings, Sopor Aeternus & The Ensemble Of Shadows put it into sound.

Best songs: “Inferno”.

Rate: 8.

Side-Line reported on the release in November 2021.

Artist: www.soporaeternus.de / www.facebook.com/sopor.aeternus.offiziell

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

About Sopor Aeternus & The Ensemble Of Shadows

Sopor Aeternus & The Ensemble of Shadows is the long-running darkwave project of Anna-Varney Cantodea, founded in Frankfurt, Germany, in 1989. Early on 3 self-distributed demo cassettes appeared (“Es reiten die Toten so schnell…” in 1989; “Rufus” and “Till Time and Times Are Done” in 1992) circulating in the European goth scene. The project signed later on with Apocalyptic Vision for its official releases.

The official album debut, “…Ich töte mich jedesmal aufs Neue, doch ich bin unsterblich, und ich erstehe wieder auf … in einer Vision des Untergangs…” (1994), established the project’s blend of neoclassical darkwave, chamber instrumentation and theatrical vocals. It was followed by “Todeswunsch (Sous le soleil de Saturne)” (1995) and “The Inexperienced Spiral Traveller (Aus dem Schoß der Hölle Ward Geboren die Totensonne)” (1997). “Songs from the Inverted Womb” (2000/2001) offered more modern-classical textures.

The 2000s combined archival collections, such as the “Like a Corpse Standing in Desperation” box, with studio albums and reissues. In 2019, Sopor released “Death and Flamingos”, offering a rawer deathrock-tinged sound.

The cycle around “Island of the Dead” (2020) and short-form releases such as “The Dead” (2020) preceded the single “Averno / Inferno”, issued in 2021 on Trisol, and the later albums “The Rules” (2023) and “Fab Dead Cult Veil” (2024).

]]> Sopor Aeternus back with all new ‘ambient’ album: ‘Averno / Inferno’ https://www.side-line.com/sopor-aeternus-back-with-all-new-ambient-album-averno-inferno/ Tue, 16 Nov 2021 15:06:00 +0000 https://www.side-line.com/?p=33773 (Photo via Trisol) Out on December 21st is the Sopor Aeternus album “Averno / Inferno”...]]>

(Photo via Trisol) Out on December 21st is the Sopor Aeternus album “Averno / Inferno” consisting of the two title tracks. The two tracks are actually the original demo-recordings of “Dark Delight” and “Penance & Pain” which have been turned into dark ambient tracks for this special album release.

The CD version comes in a limited edition of 1000 handnumbered copies while a special vinyl edition comes limited and hand-numbered to 500 copies.

In further news, you can also expect “The Dead” seven inch to be released in smoke green vinyl. It holds the atmospheric ambient track of the “Island of the Dead” video teaser. The vinyl is limited to 500 copies worldwide.

]]> L’âme Immortelle to return with all new album ‘In tiefem Fall’ on January 2022 https://www.side-line.com/lame-immortelle-to-return-with-all-new-album-in-tiefem-fall-on-january-2022/ Wed, 29 Sep 2021 15:46:55 +0000 https://www.side-line.com/?p=32853 Out via Trisol on January 7th 2022 is the all new album by Thomas Rainer...]]>

Out via Trisol on January 7th 2022 is the all new album by Thomas Rainer and Sonja Kraushofer aka L’âme Immortelle. Produced by Jan-Krischan Wesenberg of Rotersand fame, the new album also gets some visual support by Oliver Schlemmer and Torsten Geyer.

The new album will also be released in a hardcover book 3CD edition featuring two additional full length discs presenting the duo’s visual and musical world in relation to their album “In tiefem Fall”.

Here’s what this 3CD set holds:

  • Opulent illustrated book containing 3 CDs
  • 27 tracks – over 2 hours’ playing time
  • CD #1: regular album, produced by Jan-Eric Wesenberg (Rotersand)
  • CD #2: soundtrack ‘Portrait of a Shattered Mind’, composed by Clemens Wijers (Carach Angren and others) and Patrick Damiani (Sopor Aeternus and others)
  • CD #3: audiobook ‘Das Königreich der schwarzen Farbe’ (‘The Kingdom of the Colour Black’), written and read (in German) by the young, up-and-coming author Lukas Materzok
  • The book holds paintings by Oliver Schlemmer (Janus and others) and holds 36 pages including all album lyrics

And here’s an idea how the band sounds nowadays. Read the review of ‘In Tiefem Fall’.

]]> Labels Interviews: File 5: Alex Storm / Trisol: ‘I’m Interested In Artists Who Want To Create Something New’ https://www.side-line.com/labels-interviews-file-5-alex-storm-trisol-im-interested-in-artists-who-want-to-create-something-new/ Fri, 21 May 2021 13:19:16 +0000 https://www.side-line.com/?p=30661 German label Trisol has been set up in 1997 by Alex Storm. He’s also running...]]>

German label Trisol has been set up in 1997 by Alex Storm. He’s also running Apocalyptic Vision, which was his first label. Trisol is characterized by a true eclectic taste of music; from EBM to Dark-Electro to Industrial to Dark-Wave, Neo-Folk and related genres. Trisol is the home of artists such as Rome, Project Pitchfork, Die Form, Clan Of Xymox, Nachtmahr, Asp, L’âme Immortelle, Samsas Traum, Mantus, Scheuber, Persephone ao. Apocalyptic Vision is still active today releasing the work of Sopor Aeternus.

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Alex: To answer this question properly, I need to go back in time a little and begin before I founded Trisol. The first label I founded was Apocalyptic Vision, which I (unofficially) started in 1992, so five years before starting Trisol. In the early 90s, when lots of vinyl albums were being released on CD for the first time, I was waiting in vain for CD reissues of many of my favorite albums –albums by Clair Obscur, Esplendor Geométrico, Memorandum and others. And even back then, I was also a big Sopor Aeternus fan. So I contacted quite a number of labels to suggest they reissue various albums on CD, or that they sign Sopor Aeternus –but not a single label was interested. Completely unfathomable!

After months of investing my time and money into these activities, I thought: ‘Just do it yourself!’ In other words, Apocalyptic Vision was intended as being purely a label for reissuing some of my favorite albums by my favorite bands, as well as for Sopor Aeternus. That was of course naive, but luckily, I was able to pull it off.

It seemed I developed a good reputation with this label, and as a result I received more and more interesting enquiries from bands that I treasured, both personally and artistically (such as DIE FORM). Bands that unfortunately didn’t fit into the Apocalyptic Vision re-release concept. I therefore decided to set up a second label, which enabled me to sign precisely these types of bands.

Apart from those specific re-release intentions for Apocalyptic Vision, the philosophy behind both labels is to work with artists who pursue the ‘total work of art’ approach, and who literally live their art. Good music alone was never enough for me, even just as a fan of bands. What excites me is when artists strive for a synthesis of the arts, in order to then transcend art’s boundaries. This idea of striving for a total work of art still applies today. So nothing in my basic philosophy has changed over the last nearly 30 years.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Alex: As explained above, the important thing for me is the ‘total work of art’ approach. I therefore look for artists in whom I see this potential. What’s more, I’m not interested in copies of copies. Back in 1992, when I founded the label, there were countless Sisters Of Mercy clones about. Some of these were really good, but of course, some of them were really terrible. But even the very best of the clones didn’t interest me. I’m interested in artists who want to create something new, and who have this irrepressible drive; this special ‘spark’. And last but not least, the chemistry must also be right. I’m proud to run an independent label, and for me that means first and foremost that the human element must first be established before a contract is concluded, because goals and visions can only be achieved by working together.

Two examples of this ‘total work of art – individuality – partnership’ trinity are Asp Spreng (ASP) and Alexander Kaschte (Samsas Traum). At the time, I was ripped to pieces for these signings. Lots of colleagues, and above all the press, shook their heads. Today, these are two of my most successful artists, and without them ever having had to compromise their principles in any way. As well as their musical projects, both of them are meanwhile active as authors, owners of their own publishing imprints, A&R people and consultants. In short: they’re indefatigable all-rounders.

But because of digitalization, I also have bands on my roster for whom I only release a digital single here and there. In these cases, I don’t apply the above-mentioned selection criteria quite so strictly. Because of the nature of purely digital releases, this is OK, and things work on this premise.

When all’s said and done, working together should be enjoyable. But even though it’s not really the primary consideration for me: I also need to see a certain amount of commercial success. It may not fit in with romanticised conceptions, but even independent labels and their artists need to earn money. As a result of the major –or more precisely, dramatic –developments of recent years, labels need to unfortunately keep a closer eye on this aspect. If you don’t, you’re out of the picture more quickly than you think. There’s a fitting German saying that says you can’t just live on fresh air. Unfortunately, this is true!

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Alex: Digitalization was and is the most radical upheaval of all. People even speak of it as being a new industrial revolution. The positive aspect of digitalization is the accompanying democratization of the music industry.

Today, we can no longer imagine how difficult –rather, hopeless –it was as a newly founded label back then to get a distribution deal. Especially with a distributor who was actually capable of being able to get CDs into the shops. The difficulties we faced back then, just to get an album reviewed in a music magazine, are barely imaginable! In those days, music magazines were the only medium in, which indies could make their releases known. And if that wasn’t enough: all these problems described here didn’t just apply to Germany, but to every country in the world. As a German label without the internet, and armed only with a telephone connection, how could you find out whether there were relevant magazines –and what they were called –in for example France? I can still vividly recall how, for my very first release, “In Out” (cat no AV 001 CD) by the French band Clair Obscur, how difficult it was to send the CDs over the border into this neighbor country (!) and to market it there. It was as easy as it would presumably be today to export Trisol albums to North Korea, hahahaaa!

Today, the entire world is only a mouse click away. Being able to distribute and market music no longer depends on the benevolence of just a few quasi-monopolists.

And as for the negative aspects –everybody knows what they are, so I don’t know if I still need to list them? Today it’s all about Individual songs and playlists. Whoever succeeds in getting onto popular playlists is guaranteed substantial listener figures. For example, most playlists are orientated towards the course of the day, spanning ‘Good morning!’ to ‘Beating afternoon fatigue’ and up to ‘Gently fall asleep’. The artist is no longer important. Everything is based on users’ habits instead. So it’s no longer surprising that the people listening to music are no longer called ‘fans’, but rather really are called ‘users’. But music is also a haptic experience. Apart from the cover artwork and booklet, this also includes the signs of wear that a record or CD in a fan’s possession for a long time displays. Streaming and downloads are soulless! This soulless consumption also has some quite different ramifications. In the past, you could offer a contract to ten bands that you believed in. Nine of these bands would however never make it, but there was always one band who would make a breakthrough. Earnings from this one band could then subsidize the others, which was vitally important for promoting newcomers and keeping the market dynamic. Today, this is no longer possible. Or on a related topic: protest culture and protest songs. Has anyone ever encountered Fridays for Future protest songs?

Of course, strategies need to be adapted. To explain all that, I’d need to write a reference book. I’ll try to illustrate this by means of an example: When I started, it was all about releasing albums on CD, because vinyl was dead. Furthermore, when realizing album projects, we had to take into consideration that the playing time was way over 60 minutes, because the capacity of a CD is greater than that of a vinyl record. And then, when I occasionally did release a vinyl edition, I usually received the pressing, including test pressings, within three weeks, because the vinyl presses were otherwise at a standstill. Today, when releasing albums, you predominantly have to think about the vinyl edition, and therefore a playing time of 45 minutes maximum. Ideally, this must also be easy to split across two sides of a record. But nowadays, a vinyl pressing means having to plan ahead for nearly six months. In short, virtually everything is diametrically opposed to how things were when I started.

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Alex: The pandemic’s effects on the work of the label can be split into two groups: bands that play live lots or tour, and bands who only occasionally play live, or not at all. For more popular bands, it’s vitally important that album releases are accompanied by a tour. This means that, without a tour, the releases planned for these bands also have to be postponed. But for bands whose releases aren’t supported by tours, the pandemic doesn’t affect release strategies in any way at all. However, some of my colleagues see this aspect differently.

But the effects on physical sales are downright epochal. Because bricks and mortar shops were closed –and to an extent still are –the pandemic’s effect on the decline of traditional offline shopping has been like that of an accelerant on a forest fire. Records and CDs are hardly ever bought in local shops, but rather sold via mail order.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Alex: Ah, the good old days of print media… those days are long gone. Personally, I miss those times enormously, because back then I virtually devoured all the magazines: Glasnost, Zillo, Elegy, D-Side, Side-Line, New Life, Ritual, Black, Ghastly Magazine, Propaganda Magazine and Music From The Empty Quarter. The latter in particular made a lasting impression on my musical taste. In those days, if you read a good review by Zillo journalists Joe Asmodo or Dirk Hoffmann, you knew that you could buy the album in question. And you weren’t disappointed. Those were still the days of quality journalism.

Today, a lot of it is just meaningless crap. After you’ve read the reviews, you often still don’t even know what sort of music they’re writing about, and how the album might sound. The press hasn’t done itself any favors there. To an extent, they have themselves to blame for this irrelevance. Luckily, there are exceptions, and I’m glad that in Germany, we still have Orkus! as a print magazine.

So of course, I’m pleased to cooperate with journalists who turn out really great work, and I can still see a clear relevance, irrespective of whether in print or online media.

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Alex: My biggest achievement is that, after nearly 30 years, I’m still running my two labels. My greatest dream is that I’ll be able to pursue this path for many more years to come. Ideally, literally until the end of my life. There are no special preparations in place for this –only my passion for music and a willingness to always be open to new developments, even if I may not always personally approve of them.

My greatest regret is probably the virtually archetypal A&R error: that artists sometimes slip through the net, and that you then regret this for the rest of your life.

]]> Sopor Aeternus & The Ensemble Of Shadows – Island Of The Dead (Album – Apocalyptic Vision) https://www.side-line.com/sopor-aeternus-the-ensemble-of-shadows-island-of-the-dead-album-apocalyptic-vision/ Tue, 11 Aug 2020 18:30:00 +0000 https://www.side-line.com/?p=26388 Genre/Influences: Neo-classic, gothic, cinematographic. Format: Digital, CD, Vinyl, Cassette. Background/Info: Anna-Varney Cantodea set up Sopor...]]>

Genre/Influences: Neo-classic, gothic, cinematographic.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: Anna-Varney Cantodea set up Sopor Aeternus in 1989. The project rapidly became a  phenomenon and the growing recognition never stopped. Thirty one years later Sopor Aeternus & The Ensemble Of Shadows unleash their newest work featuring eleven songs. Anna-Varney Cantodea remains the heart & soul of the project while the Ensemble Of Shadows features seven musicians (playing drums, violin, cello, trumpet, bass, banjo and trombone). This new work comes one year after the surprising death-rock release “Death And Flamingos”.

Content: Sopor Aeternus moves back to its familiar neo-classic/gothic driven style, which remains characterized by the play of authentic instruments. The sound of the cello, violin or trombone for example reinforce the sad mood covering the songs. Anna-Varney Cantodea accentuates this sadness by adding delicate sound treatments and then bombastic arrangements. Some typical ingredients like the sound of a carrion are resonating in the background while the trumpet play injects this very particular solemn touch. The work is empowered by guitar sounds while carried by dark, heavenly melodies. On top of it all the charisma and emotive production of Anna-Varney’s vocals are achieving this work with an extra sensitive touch. 

+ + + : I was touched by the title of this album, which also is the title of one of my favorite paintings by symbolist painter Arnold Böcklin. I don’t think this album refers to this painting although I imagine Anna-Varney Cantodea sitting in the boat featured on Böcklin’s canvas, which is slowly sailing towards a mysterious place… a place of eternal sleep! Well, this album makes me think of a painting or a book with its different chapters. The music reflects this unique, artistic sadness this musician has used to familiarize us. It also reflects the lyrical theme(s) about an impossible- or should I say inaccessible love. It’s not just sadness as the work deals with existential themes and Sopor Aeternus has been always a meticulous artisan to express it by music. And what I’ve always experienced in the work of Anna-Varney Cantodea is not only its authenticity, but also sincerity! No, Sopor Aeternus is not simply gothic music, it’s art! Some of the melody lines remind me of soundtracks written by another master, Ennio Morricone, while the global mood has something of classical works like the “Stabat Mater” from Pergolesi or the one from Vivaldi. The work resulted from a true passion for music and I guess perfectionism for any little detail. Sadness has been transformed into artistic beauty while darkness became grace! It’s hard to say which is my favorite Sopor Aeternus album, but right now I should say without hesitation “Island Of The Dead”… an obscure title for a sonic experience that still gets me in its grip.

– – – : I can’t really imagine any minus points about this work, but let’s say that some of the last songs aren’t my favorite ones while the opening cuts are just brilliant!

Conclusion: There albums we can simply be grateful to they exist and if they exist it’s thanks to the genius of their composer. I don’t believe in perfectionism, but if it has to be invented, Sopor Aeternus would be its sculptor.

Best songs: “Minotaur”, “Black Magic Spell”, “Poison”, “Saturn Rising”, “Burial Ground”, “Cold”.

Rate: (9½).

Artist: www.soporaeternus.de / www.facebook.com/pg/sopor.aeternus.offiziell

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

About Sopor Aeternus & The Ensemble Of Shadows

Sopor Aeternus & The Ensemble Of Shadows is a neoclassical dark wave project from Frankfurt, Germany, founded in 1989 by Anna-Varney Cantodea. The project’s catalogue includes the albums “Ich töte mich…” (1994), “Todeswunsch” (1995), “Dead Lovers’ Sarabande” (1999), “Songs from the Inverted Womb” (2000), “Les Fleurs du Mal” (2007), “Poetica” (2013), “Mitternacht” (2014), “The Spiral Sacrifice” (2018), “Death & Flamingos” (2019), and “Island of the Dead” (2020), released on the Apocalyptic Vision label. The project later followed with the ambient album “Averno / Inferno” in 2021 and “The Rules” in 2023, and the “Alone At Sam’s – An Evening With…” album alongside the companion EP “The Colours” in 2024.

]]> Kraftwerk wins sampling case in EU top court: permission needs to be obtained to sample another musician’s song https://www.side-line.com/kraftwerk-wins-sampling-case-in-eu-top-court-a-permission-needed-to-be-obtained-to-sample-another-musicians-song/ Tue, 30 Jul 2019 13:29:25 +0000 https://www.side-line.com/?p=20966 A verdict in the EU top court – which lasted for 22 years (!) –...]]>

A verdict in the EU top court – which lasted for 22 years (!) – is defining the rules of musicsampling. The legal battle involved the German band Kraftwerk versus rap artist Moses Pelham who sampled 2 seconds of Kraftwerk’s “Metall auf Metall” single from 1977. Pelham looped the sample into the hip-hop track “Nur mir” produced for vocalist Sabrina Setlur in 1997.

The European Court of Justice (ECJ) in Luxembourg ruled in favor of Kraftwerk, stating that a permission needed to be obtained to sample another musician’s song. Even if the clip used is very short, in this case 2 seconds. However, if the sample is modified in “a form unrecognizable to the ear” the music producer’s rights would not be violated.

Moses Pelham’s actions remain peanuts compared to the German rapper Bushido who really hit the jackpot as far as stealing music. He had to pay over €60,000 to the French gothic band Dark Sanctuary for having lifted – and this is not a joke – 16 of their tracks without consent and calling them his own. Bushido also ‘stole’ music from Sopor Aeternus & the Ensemble of Shadows, Dimmu Borgir, Nox Arcana, etc..

]]> Sopor Aeternus to release limited 1-track 7 inch ‘The Boy must die’ https://www.side-line.com/sopor-aeternus-to-release-limited-1-track-7-inch-the-boy-must-die/ Mon, 17 Jun 2019 17:14:40 +0000 https://www.side-line.com/?p=20398 Out in August is a strictly limited 7″ vinyl edition from the album “Death &...]]>

Out in August is a strictly limited 7″ vinyl edition from the album “Death & Flamingos”. The hand-numbered release by Anna-Varney Cantodea holds just one track, “The Boy must die”.

The track is taken from the 2019 album “Death and Flamingos”.

The 7 inch comes strictly limited to 500 copies worldwide. You can check the song below.

]]> Sopor Aeternus & the Ensemble of Shadows goes deathrock on new album – out tomorrow (check out this preview) https://www.side-line.com/sopor-aeternus-the-ensemble-of-shadows-ges-deathrock-on-new-album-out-tomorrow-check-out-this-preview/ Sat, 09 Feb 2019 19:32:03 +0000 http://www.side-line.com/?p=18139 Out today is the newest album by Sopor Aeternus & the Ensemble of Shadows: “Death...]]>

Out today is the newest album by Sopor Aeternus & the Ensemble of Shadows: “Death & Flamingos”. Recorded in August, 2018 in Karlsdorf, Germany at the Tidalwave Studio it brings the band in deathrock waters so to speak.

It is the 14th album by Sopor Aeternus & the Ensemble of Shadows and you can order it right here on vinyl and right here as a CD plus book. It is the first deathrock album from the project actually.

Sopor Aeternus & the Ensemble of Shadows was founded in 1989, and began as a Neue Deutsche Todeskunst musical project. Three demo tapeswere recorded between 1989 and 1992 after which the band, now reduced to just Anna-Varney Cantodea, signed with Apocalyptic Vision and released a first album, “…Ich töte mich…”. The album, like the demo tapes before it, offered darkwave music with a neo-classical bent. Later on she moved into a more dark folk, neo-medieval direction.

Here’s a preview of the album:

]]> Persephone – Perle (CD Album – Trisol) https://www.side-line.com/persephone-perle-cd-album-trisol/ Sat, 10 Mar 2018 20:30:11 +0000 http://www.side-line.com/?p=14370 Genre/Influences: Cabaret-gothic, neo-classic, experimental, jazzy. Background/Info: L’Âme Immortelle singer Sonja Kraushofer doesn’t need an introduction,...]]>

Genre/Influences: Cabaret-gothic, neo-classic, experimental, jazzy.

Background/Info: L’Âme Immortelle singer Sonja Kraushofer doesn’t need an introduction, but some of you maybe don’t remember she also got involved with a side-project called Persephone. Four albums got released in between 2002 and 2007. Persephone has now been reactivated after a hiatus of 11 years. Sonja Kraushofer got the help from ex-Janus member Martin Höfert who took care of the composition and production. “Perle” has been inspired by the novel “Die Andere Seite” from Alfred Kubin.

Content: “Perle” is an opportunity to rediscover the sound of Persephone although a few things have changed after this long silence. Sonja’s angelic timbre of voice hasn’t really changed although she reveals certain vulnerability making the charm of the work. She sometimes reminds me a bit of Kate Bush although joined by a totally different type of music. The composition fits with this fragile expression and also reveals a delicate expression accentuated by some violin passages. From cabaret towards baroque and even a jazzy passage, “Perle” covers different, but related genres.

+ + + : This album caught my attention for its inspiration of Alfred Kubin. This Austrian artist is one of my personal favorite painters from the Symbolic movement, which in countries like Belgium and Austria revealed real famous artists. I didn’t know the novel Persephone has been inspired by, but the link with Kubin touched me. Persephine strikes back with her natural grace and an elegant production covering different sources of inspiration. It’s a very personal and minimal-like composition revealing a truly chemistry between the vocals of Sonja Kraushofer and the music composed by Martin Höfert. I like the twist between guitar parts and classical intonation by harpsichord sounds and real violin play (by a guest artist). This is a great album to listen to and dream away. Last, but not least, the artwork has been accomplished by Joachim Luetke who’s a real genius in his oeuvre and you might have discovered by the artwork he did for Sopor Aeternus.

– – – : This album must bring Persephone back in the spotlight, which is not an easy thing after such a long absence. It also is an album more to listen to instead of music to dance on.

Conclusion: Persephone stands for the truest sense of artistic creation. This album simply is about the love for arts!

Best songs: “Summer Rain”, “Dreamland Of Mine”, “Dig A Little Deeper”.

Rate: (8).

Band: www.persephone–home.de / www.facebook.com/persephoneband

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

]]> Top 10 best-selling labels in the industrial music world in 2017 were… https://www.side-line.com/top-10-best-selling-labels-in-the-industrial-music-world-in-2017-were/ Tue, 13 Feb 2018 18:17:29 +0000 http://www.side-line.com/?p=14069 The biggest distributor for the industrial electro scene, Audioglobe, has announced its Top 10 in...]]>

The biggest distributor for the industrial electro scene, Audioglobe, has announced its Top 10 in best selling industrial music labels. The numbers were already out there for the labels to look at it, but here they are also for the regular fans. Note that with 2018, Audioglobe also enters it’s 25th year of existance as the distributor set up shop on 6 December 1993. We will of course have a big extended interview and more with Sebastian Koch regarding this great achievement in a very tough market.

But now the numbers many of you have been waiting for!

The Top 3

First the Top 3. The number 1 label in sales is Trisol which has bands such as Clan of Xymox, Rome, Project Pitchfork, Sopor Aeternus, Nachtmahr, Rotersand, Asp, Mantus etc. under contract. The second label in the list is the Belgian based Alfa Matrix which nurtures the talent of Front 242, Underviewer, Daniel B Prothèse, Metroland, Alien Vampires, Ayria, Leatherstrip, Psy’Aviah, Kant Kino and so many other acts. Note that this label also has a very strong e-shop presence (direct sales are not included in this Top 10 list). The 3rd label is Out Of Line with Blutengel, Combichrist, Hocico, Solar Fake, Heimataerde, Unzucht, Solitary Experiments. Also this label has an own e-shop.

The rest of the Top 10

The 4th label is Fabrika/Dead Scarlet (She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…) followed by ArtOfFact (Legend, Frontline Assembly, Haujobb, Psyche, Noise Unit, Dead When I found her, Pankow…) and Metropolis (Birthday Massacre, Aesthetic Perfection, God Module, Lords of Acid, Skinny Puppy, Delerium…). The 7th place is occupied by Rustblade (Morricone, Claudio Simonetti’s Goblin, Leaether Strip, Lydia Lunch, Legendary Pink Dots, Merzbow…). Also Dependent is still in the Top 10, namely on spot 8 with their label roster (Covenant, Mesh, Pride & Fall, Beborn Beton, Seabound, Encephalon, Frontline Assembly, Clicks..). Place 9 and 10 finally are for Manic Depression (Winter Severity Index, Ash Code, Schonwald, Box and the Twins, Sjoblom, Dear Deer…) and Undo (Marsheaux, Girl One and the Grease Guns, Mesh, Fotonovela, OMD, Nikonn, Mikro, Vienna, Liebe…).

And on spot 11 and 12…

2 labels didn’t make the Top 10, namely Hall Of Sermon (Lacrimosa, Snakeskin, Black Moon Secret, Eyes Shut Tight) and Infacted (NamNamBulu, Grendel, Torul, Reaper, Frozen Plasma, Ruined Conflict, Orange Sector, Syntec…). Both labels ended on place 11 and 12.

Here’s the complete list again. The bands next to the label are listed in order of sales results/total turnover per band in 2017 via Audioglobe.

01 TRISOL (Clan of Xymox, Rome, Project Pitchfork, Sopor Aeternus, Nachtmahr, Rotersand, Asp, Mantus…)
02 ALFA MATRIX (Front 242, Underviewer, Daniel B Prothèse, Metroland, Alien Vampires, Ayria, Leatherstrip…)
03 OUT OF LINE (Blutengel, Combichrist, Hocico, Solar Fake, Heimataerde, Unzucht, Solitary Experiments …)
04 FABRIKA/DEAD SCARLET (She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…)
05 ARTOFFACT (Legend, Frontline Assembly, Haujobb, Psyche, Noise Unit, Dead When I found her, Pankow…)
06 METROPOLIS (Birthday Massacre, Aesthetic Perfection, God Module, Lords of Acid, Skinny Puppy, Delerium…)
07 RUSTBLADE (Morricone, Claudio Simonetti’s Goblin, Leaether Strip, Lydia Lunch, Legendary Pink Dots, Merzbow…)
08 DEPENDENT (Covenant, Mesh, Pride & Fall, Beborn Beton, Seabound, Encephalon, Frontline Assembly, Clicks..)
09 MANIC DEPRESSION (Winter Severity Index, Ash Code, Schonwald, Box and the Twins, Sjoblom, Dear Deer…)
10 UNDO (Marsheaux, Girl One and the Grease Guns, Mesh, Fotonovela, OMD, Nikonn, Mikro, Vienna, Liebe…)
11 HALL OF SERMON (Lacrimosa, Snakeskin, Black Moon Secret, Eyes Shut Tight)
12 INFACTED (NamNamBulu, Grendel, Torul, Reaper, Frozen Plasma, Ruined Conflict, Orange Sector, Syntec…)

]]> ‘Click Interview’ with Exponentia: ‘I Want To Create An Imaginary Music World, Populated By Phantasmagorical And Fantastic Creatures’ https://www.side-line.com/click-interview-with-exponentia-i-want-to-create-an-imaginary-music-world-populated-by-phantasmagorical-and-fantastic-creatures/ Sat, 30 Jul 2016 20:15:39 +0000 http://www.side-line.com/?p=7389 Exponentia is a French solo-project set up by Ludivic Dhenry in 2012. The music clearly...]]>

Exponentia is a French solo-project set up by Ludivic Dhenry in 2012. The music clearly refers to typical gothic music styles and the shadow of Sopor Aeternus feels like recovering the songs, which are mainly sung in German language. The album titles (cf. “Allein”, “Sadness”, “Ghost” and now “Abend”) clearly reveals the dark and melancholic themes inspiring the sound atmospheres and the lyrical content. All music has been released on Exponentia’s own label Neris Records. This is an interesting artist with a real artistic approach.

(by Inferno Sound Diaries)

Q: Tell us something about your musical background and what incited you to set up Exponentia?

Ludovic: I wanted to create a Gothic musical project with elements of classical music, in the German musical style of bands as Lacrimosa, Sopor Aeternus, Goethes Erben, Das Ich etc … I love this musical style and classical and baroque music. Exponentia allows me to incorporate that into my compositions.

I also composed more electronic music, another music style I like a lot too, with my other projects Zauber, Eleventh Fear and Résonance Magnétique. I think all of my albums together form a world, an atmosphere. I learn by myself, and to improve myself, I studied for a year harmony, music theory and the technical engineer of sound in a professional music school.

Every day, I wake up at 4:30 am to work most of the day on music. This is my life I’m passionate about it.

Q: Tell us a bit more about the ‘sound’ of Exponentia?

Ludovic: I want to create an imaginary music world, populated by phantasmagorical and fantastic creatures. The lyrics and the atmosphere of the albums evoke the angels, demons, vampires, ghosts. Each album of Exponentia has a different sound. I like working on an overall sound, unique and consistent for each disk I produce.

Currently I am working on the next album, I’ve already the sound in mind. I have ideas for the atmosphere and the sound of further albums as well. Sadness and melancholy both are main sources of inspiration to compose great music and, which are recurring themes in Exponentia.

Q: You might be consider as a ‘DIY’-artist who clearly takes care for every little aspect and detail of your work. Tell us a bit more about it and what do you think about the idea to get signed to an established label? What are the ‘pro’ and ‘contra’ of being a ‘DIY’ artist?

Ludovic: Working alone on my project allows me to create exactly what I want, without compromise. It’s important to me. I like that all the details are refined as I wish. I can also create my album covers myself, it really is a great artistic freedom.

Of course, I would like to record and mix with symphony orchestra musicians in a big recording studio, with a producer, but it is financially impossible. However, in the future, there may be musicians to record some musical instruments in my studio, such as the guitar, for example.

Yes, I would like to be signed to an established label, but for now, no label wants to sign Exponentia. I received a proposal from a German label, but unfortunately the contract was really bad for the artist. I created Neris Records to produce my albums on CD and digital format, but, of course, I study all proposals from established labels. The negatives are that without an established label, there’re no big financial means for the production, promotion and distribution. It’s very difficult.

The positives are that I have total freedom regarding the creation, the content of the album, release dates, tracklist, cover. I can compose and produce all the albums I want, including other projects in other musical styles.

Courtesy by Inferno Sound Diaries

]]> Exponentia – Abend (CD Album – Neris Records) https://www.side-line.com/exponentia-abend-cd-album-neris-records/ Sun, 24 Jul 2016 21:15:28 +0000 http://www.side-line.com/?p=7340 Genre/Influences: Gothic, neo-classic. Background/Info: Ludovic Dhenry is French artist who set up Exponentia in 2012....]]>

Genre/Influences: Gothic, neo-classic.

Background/Info: Ludovic Dhenry is French artist who set up Exponentia in 2012. “Abend” is the 4th full length released on his own label Neris Records.

Content: The previous work “Ghost” (2014) revealed an interesting progression in sound and global production while holding on to the gothic and neo-classic influences of the early beginning work. “Abend” sounds quite similar in influences and writing. Dhenry takes care of every single element of the composition.

The work reminds me once more of Sopor Aeternus, but in a less elaborated and artistic format. But the neo-classic and desperate sounding moods and the orchestral arrangements are quite comparable. Exponentia composes on his own there where Anna-Varney Cantodea got the help of an entire ensemble (cf. ‘The Ensemble Of Shadows’).

“Abend” invites the listener to join in for an endless night made of long-duration, moody cuts. The sound formula is quite simple, but globally speaking pretty efficient. The songs are carried by melodic passages and a kind of cinematographic atmosphere filled with wafting darkness. It sounds pretty sad and somewhat theatrical, which is an element accentuated by the German vocals and way of singing.

+ + + : Exponentia is mainly characterized by a dark and evasive sound filled with beautiful sadness. Magic operates between the different sound layers and the German vocals. The melodic element and neo-classic inspiration both are quite noticeable elements.

– – – : The shadow of Sopor Aeternus is hanging over this work, but it all sounds more simple and a bit under-produced –although it’s an aspect that has been seriously improved throughout the years. If Exponentia would work with some talented guest musicians inject an artistic and authentic touch and maybe a producer to find the right mix between it all, this band would really become a reference in the genre.

Conclusion: Exponentia once again reveals great artistic ideas and I really like the DIY attitude of this artist, but sometimes you maybe have to reconsider some points of view like working with other musicians to get more authenticity and real emotion into your work.

Best songs: “Neblig Und Kalt”, “Abend”, “Fliehen”.

Rate: (7).

Band: http://exponentia.music.free.fr / www.facebook.com/Exponentia

Label: www.facebook.com/NerisRecords

]]> Sopor Aeternus & the Ensemble of Shadows’ “Dead Lovers’ Sarabande” (Face One + Face Two) re-released as a VERY limited 2x 2LP vinyl set – get your copy now https://www.side-line.com/sopor-aeternus-the-ensemble-of-shadows-dead-lovers-sarabande-face-one-face-two-re-released-as-a-very-limited-2x-2lp-vinyl-set-get-your-copy-now/ Tue, 10 May 2016 16:30:29 +0000 http://www.side-line.com/?p=6427 Out in the next few days are the re-releases on vinyl of the 1999 releases...]]>

Out in the next few days are the re-releases on vinyl of the 1999 releases “Dead Lovers’ Sarabande” (Face One) and “Dead Lovers’ Sarabande” (Face Two) by Sopor Aeternus & the Ensemble of Shadows. They were respectively the 4th and 5th album by the darkwave band Sopor Aeternus & the Ensemble of Shadows and formed the first concept albums by the band. The albums detail the mourning of a lover who has recently passed.

This new edition is a stripped-down one version, holding no gatefold-covers, posters or signatures. They come with a simple cover, and on classic black vinyl in 180gram audiophile quality with printed inner sleeves. While not adding anything new, Anna-Varney Cantodea, however, had the original negatives re-scanned in high resolution and re-created the artwork. Also the audio has been re-mastered especially for these vinyl re-releases.

Note that the reissues come strictly limited to 500 copies world-wide. You can order the first part right here, the second part right here. Highly recommended!

Sopor Aeternus is reportedly working on an all new album, we’ll keep you posted.

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