(Interview by Karo Kratochwil) Statiqbloom is one of those projects I instinctively follow with every new release – whether it’s Fade Kainer’s own work or collaborations, like the excellent record with Blush Response. On the eve of the new Statiqbloom album The Casket Nest, we connected once again, and Fade agreed to answer a few questions about weight, restraint, and staying honest in a world that keeps burning.

Statiqbloom interview

Karo: The new Statiqbloom album The Casket Nest feels like a very concentrated statement : seven tracks, with a heavy focus on weight, repetition, and tension rather than constant forward drive. In the context of Threat and your work with Blush Response, what did you want to strip away this time, and what did you want to sharpen?

Fade: With The Casket Nest, I wanted to strip away any sense of comfort or predictability. Threat had a confrontational energy, the collaboration with Blush Response thrived on exchange and movement, but this record is more oppressive – sometimes slower, heavier, almost claustrophobic. I wanted to sharpen the sense of gravity, to let repetition, tension, and density carry more weight.

There’s also a darkness drawn from the world outside – the album is in dialogue with ongoing suffering, conflict, and human fragility that we witness daily. Harsh, grinding textures coexist with quiet, suspended atmospheres, creating a kind of reflective pressure, moments to feel both the weight of reality and the traces of memory within it.

Karo: In our previous conversations, you described each Statiqbloom release as a chapter tied to a specific headspace:  insomnia, relocation, survival. What personal or psychological landscape does The Casket Nestdocument for you, and where do you see it in the longer Statiqbloom narrative?

Fade: If previous releases explored personal survival or adaptation, The Casket Nest documents a more external and existential pressure – the imprint of suffering, war, and the collapse of certainty. Internally, it’s a reflection on what it means to bear witness to pain that is not yours, but still impossible to ignore. Psychologically, it’s about containment – the tension between chaos outside and the quiet interior moments where thought and memory persist. Sonically, the record mirrors this duality: harsh, oppressive noise and moments of stark density contrasted against quieter, more esoteric textures. In the larger STATIQBLOOM narrative, it’s a chapter of reflection, of holding weight and observing what remains after shock or confrontation.

Karo: The album text talks about “sound as substance: heavy, pressurized, deliberately restrained.” On a practical level, how did that idea shape your studio process? Were there specific production or mixing decisions where you consciously chose restraint over impact, or tension over release?

Fade: This record demanded that every sound feel like it had mass, almost physical presence. Harsh textures were treated as objects pressing into the space, while quieter passages became counterpoints – fragile atmospheres that create tension through their vulnerability. I deliberately resisted adding relief or ease, letting the pressure remain constant, letting discomfort coexist with reflection. In mixing and production, restraint became a tool: allowing a low drone to dominate a passage, letting distortion linger, and leaving space for subtle textures to emerge quietly between heavier elements. The result is a dynamic tension with moments of intensity punctuated by air that feels lingering, as if filled with smoke.

Karo: Tracks like “Salt the Flower” and its instrumental version seem to open a more ritualistic, atmospheric space inside the record, while still feeling dangerous. What role do those pieces play in the overall architecture of the album, and how do you decide when a track needs vocals versus when it should remain purely textural?

Fade: “Salt the Flower” acts as a breathing room within an otherwise oppressive sonic landscape. It’s quiet, esoteric, and atmospheric, yet carries danger in its fragility – like a memory under threat, or a moment of stillness in a world falling apart. Vocals anchor a track, provide focus, and create narrative weight, but sometimes ambiguity is more powerful. Instrumental versions or textural passages allow the listener to inhabit the tension, to feel the contrast between what is harsh and what is ethereal. The interplay between these extremes is central to the album’s architecture – it mirrors the push and pull of chaos and reflection, violence and fragility.

Karo: You’ve always balanced brutal, mechanical elements with unstable, almost ghost-like melodies. On The Casket Nest, did you find yourself pushing either side of that spectrum further – and did you ever catch yourself going too far into abstraction or too far into straight rhythm and needing to pull it back?

Fade: Yes. The brutal, mechanical textures are still present alongside slow movements, while melodic, ethereal elements have been distilled to fleeting, ghost-like traces. The tension arises in their juxtaposition – allowing suffocation by the density, then being suspended in the quieter, fragile passages. There were moments when either side threatened to dominate: the oppressive textures risking monotony, the melodic elements too fragile to hold weight. Constantly, I had to pull them back into place, ensuring that harshness and subtlety coexist, creating a dynamic tension that mirrors both internal pressure and the weight of witnessing external suffering.

Karo: The physical edition,  steel-grey vinyl, numbered, very limited,  and the Bandcamp community around Statiqbloom suggest a very intentional relationship with objects and with supporters. How do you think about merch and physical formats now: as simple carriers of sound, as relics, as part of world-building… or something else?

Fade: Physical objects become anchors, reminders that sound is something material, something to inhabit rather than simply stream. Steel-grey vinyl, limited numbering, and tactile design make each copy an artifact – something special, a vessel for the weight and tension of the record. These editions create a relationship with listeners. They allow the music to exist as both object and experience – something to be held, reflected on, and shared, a tangible counterpoint to the chaos and impermanence of the world outside.

Karo: Looking at the upcoming year, how do you imagine translating The Casket Nest to the stage? Are there specific pieces of hardware, visuals, or staging ideas you want to explore to make this material feel different live compared to previous tours?

Fade: Live, the record becomes immersive and more physical. Harsh textures press into the space, drones create weight and presence, and quiet passages allow listeners to sink into reflection. It’s about inhabiting the tension rather than observing it. Visuals will be minimal and shadowy, reinforcing the contrast between pressure and stillness.

Karo: You’ve often spoken about integrity in the age of algorithms and about Statiqbloom as “immersion, sound as a mirror.” With a new album, festival appearances, and collaborations ahead, what does that philosophy mean in practice for the next 12 months – in terms of where you play, who you work with, and how close you stay to your core community?

Fade: For me, it’s about presence and care. The project has always been about creating something where listeners can engage fully in spaces of reflection, tension, and immersion. The next year is about maintaining that integrity – choosing collaborators, venues, and contexts that respect the depth and weight of the work. STATIQBLOOM reflects both the outer and inner worlds of violence, fragility, and beauty. It’s about cultivating environments where attention, perception, and shared experience matter, even in the middle of a world of chaos and conflict.

About Statiqbloom

Statiqbloom is the post-industrial and industrial techno project of Fade Kainer. Kainer set up the project in 2013 after Batillus ended. Kainer later ran Statiqbloom as a duo with Denman C. Anderson from 2016 to 2020. The project is now based in Berlin and continues as Kainer’s solo outlet.

Statiqbloom debited with the self-released “Mask Visions Poison” in 2013, followed by “Blue Moon Blood” on April 28, 2017 and the EP “Infinite Spectre” on July 27, 2018.

Statiqbloom then signed with Metropolis for “Asphyxia”, released on June 7, 2019, and followed it with “Beneath The Whelm” on July 10, 2020. Kainer moved on with Sonic Groove for “Threat” on March 26, 2022 and “Kain” on March 8, 2024, then teamed with Blush Response for the Hands EP “Folding In” on April 25, 2025. Out now is “The Casket Nest”, released via Hands on March 6, 2026.

Karo Kratochwil

Based in Wrocław, I work as a music journalist and photographer covering electro, industrial, EBM, gothic, and darkwave. My work includes features and live coverage, as well as concert, portrait, promo, and theater photography. What interests me most is the connection between artistic intention, what the work communicates, and what unfolds live on stage, all in pursuit of the bigger picture behind the music.

Genre/Influences: Industrial-Techno.

Format: Digital, CD, Vinyl.

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

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

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

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

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

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

Rate: 8.

Artist: www.facebook.com/statiqbloom

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

About Statiqbloom

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

Inferno Sound Diaries

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

www.side-line.com

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

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

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

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

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

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

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

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

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

Top 25 albums 2022

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial-Techno.

Format: Digital, CD, Vinyl.

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

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

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

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

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

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

Rate: 9.

Artist: www.facebook.com/statiqbloom

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cinematographic, Electro-Ambient, EBM.

Format: Digital.

Background/Info: Behind this project is hiding Chase Dobson who you may know from his C.DB.SN-project. That was back in time when this artist was dealing with Experimental- and IDM releasing an album on Tympanik Audio. Cellar Graves is another sonic trip. The album “Omen” was already released back in 2018.

Content: “Omen” clearly sounds like an Electro-Ambient exploration, most of the tracks having this astral-like dimension. But the work isn’t entirely into ambient and still deals with early EBM influences, which sometimes remind me of Frontline Assembly. Other songs are featuring Industrial sound treatments, which are still mixed with space-like influences.

The album features 5 songs plus 2 remixes by Blackcell and Statiqbloom.

+ + + : There’s an interesting duality running throughout this work; it has something bombastic at one side and refined with subtle arrangements at the other side. The mix between overwhelming space-driven atmospheres and EBM influences comes mainly through on “Tormented”. This is for sure the best song, which also inspired Statiqbloom to make a cool remix.

– – – : I regret some songs aren’t featuring real vocal lines, Cellar Graves preferring to use the good-old spoken samplings formula.

Conclusion: “Omen” is a promising debut album by Cellar Graves and I’m sure there even is more potential hidden inside. 

Best songs: “Tormented”, “The Dig”, “Tormented – Statiqbloom Remix”.

Rate: (7).

Artist: www.facebook.com/cellargraves

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial, Dark-Electro.

Format: Digital, CD, Vinyl.

Background/Info: One year after the astonishing “Asphyxia”-album the Brooklyn, NY (USA) based Statiqbloom strikes back with their fifth opus to date. It’s the second one released on Metropolis.

Content: The band claims to compose Post-Industrial music and that’s a definition, which totally matches with the global sound approach of this work. Several songs remind me of the obscure and tormented style of early Skinny Puppy, which has been transposed into a very own sonic mould. The atmosphere hanging over the tracks remains the main characteristic of the band, appearing a kind of trademark! But you’ll also notice harder, danceable cuts while other passages reveal some minimalism. The spooky production of the vocals creates a symbiosis with the sound. Notice by the way that the song “The second Coming” is featuring Metal singer Attila Csihar.

+ + + : “Beneath The Whelm” moves on there where “Asphyxia” stopped. It remains an album supported by dense and overwhelming Ambient atmospheres, but they this time moved a step further creating a sonic bridge with early Dark-Electro/Industrial music reminding the Skinny Puppy years from the late 80s. There’s an intelligent and sophisticated song writing resulting in multiple attention grabbers.  The song together with Attila Csihar is a magic piece of Dark-Electro/Industrial music.

– – – : I’m just missing a few more club-orientated tracks at this album.

Conclusion: Statiqbloom is a very particular project; clearly related to other bands and specific genres although featuring a very personal sound.

Best songs: “The Second Coming”, “Restless”, “Ghost Deep”, “Black Lava”, “Alcestis”.

Rate: (8).

Artist: www.facebook.com/statiqbloom

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords

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

Industrial/EBM artist 6th Circle will be releasing his new album “The Third Estate” on Sentient Ruin Laboratories on October 4th. But for now, you can already enjoy the premiere of the brand new video “Taking Us Down” on Side-Line! 6th Circle’s sound harkens back to 90’s era of Front Line Assembly and Skinny Puppy but also has the modern touch similar to artists like HIDE or Statiqbloom.

The song itself “is about hope for people who never had hope and that hope can empower and unify to do something great.”

On his upcoming album “The Third Estate” the Columbus OH-based satanist/anarchist electro-industrial artist brings a natural continuation and a marked evolution of Auxier’s two iconic previous EP tape releases (the 2018 now impossible to find “Pacified” tape EP released by US raw black metal tape forge Knife Vision, and the “Conjuring” tape EP released in early 2019 by harsh noise death dealers Phage Tapes).

You can pre-order the album below.

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

Fade Kainer (Batillus, Tombs, Jarboe) set up Statiqbloom in 2013 as a solo-project. He got joined in 2016 by NY, Denman C. Anderson. Based in Brooklyn, NY (USA) they recently released their new full length “Asphyxia”, which is their fourth full length to date, but the first one released by Metropolis Records. The album reveals a post-industrial sound which might appeal for lovers of Mentallo & The Fixer, early Revolting Cocks, but especially Yelworc for the dark and tormented atmosphere recovering the songs.

(Picture credits: Katrin Albert / Interview courtesy by Inferno Sound Diaries)

Q: How did Statiqbloom saw the daylight and what were the initial music purposes?

Fade: I initially started Statiqbloom to write music for myself after the band I was in at the time called Batillus had dissolved. Then close friends encouraged me to share the music I was writing.

Q: Considering aspects such as influences, the composition process & production skills how would you analyze the evolution from the early work till “Asphyxia”?

Fade: I’m always trying to progress and evolve and try to create what I envision in my mind, a lot of it has to do with the feeling, the atmosphere I’m trying to capture. My intention is the evolution gets more focused and more provoking.

Q: “Asphyxia” has something retro-like, but still pretty contemporary with a very dark and sometimes tormented atmosphere on top! Tell us a bit more about this opus?

Fade: I’m proud of the lyrics on “Asphyxia”, and being able to capture a bit of claustrophobia with staying more minimal that previous releases. Every day is a struggle and a challenge when trying to create.

Q: The cover of “Asphyxia” has something pretty symbolic so what’s the link with the title and the global lyrical content?

Fade: Tthe Statiqbloom logo has an ouroboros around it, so the cover of Asphyxia has the serpent in motion it’s a visual play on the album title.

Q: I noticed you already released several official videos, which I think perfectly represent the dark and disturbing atmosphere of the Statiqbloom-sound. Tell us a bit more about these experiences?

Fade: The majority of the videos I worked with Katrin Albert and Gretchen Heinel. They are photographers & film makers. A lot of the video concepts we’re their interpretation of the music. There’re videos in the works for “Asphyxia”.

Q: For your newest album you’ve joined hands together with Metropolis Records. You also played several dates here in Europe including the famous WGT in Leipzig (Germany). What do you expect from a ‘bigger’ label and how did the European concerts happened, which have been for sure an opportunity to gain a wider recognition on the old continent?

Fade: Being on a bigger label helps with reaching more people and better distribution. WGT reaches out to us to play and we were excited to do so, and I reached out to Aufnahme + Weidergabe to do the Berlin show, and then were able to do more Euro dates with Spit Mask. Overall It was a great tour and the shows were amazing. A lot of people in Europe are familiar with the older content, but I’ll keep playing Europe & The States. I am grateful to have an audience and being able to watch this grow.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial, EBM.

Background/Info: Honestly, I can’t remember to have ever heard of Statiqbloom before. They released a few albums before on Translation Loss , but “Asphyxia” will probably become the real start for Statiqbloom. 

Content: “Asphyxia” definitely deals with a post-industrial sound, getting us back to the 90s and reminding me of bands such as Mentallo & The Fixer, Revolting Cocks, but especially Yelworc for the haunting atmospheres. The songs are recovered with a dense and hostile dark layer. It all feels like danger coming really close. 

+ + + : I’ve been deeply impressed by “Asphyxia”. The compositions aren’t innovative, but the writing is intelligent and sophisticated. There’s a great mix between 80s and especially 90s electronics at one side and a personal and more contemporary approach at the other side. The industrial sound treatments create a perfect match with hostile electro atmospheres. This reminds me to Yelworc, which I’m still considering as one of the absolute ‘masters’ when it comes to create a tormenting dark-electro/EBM sphere. Just pay attention for excelling cuts such as “Eight Hearts Eight Spikes” and “Figure Behind The Door”, but also for the more EBM driven “Painted Red”.

– – – : The album features 9 songs and that’s a pity because the final track is a rather disappointing song… Serious now, I would have preferred to get a few extra songs, but you don’t hear me complaining. 

Conclusion: Statiqbloom definitely sounds as the latest promising formation from the Metropolis stable! “Asphyxia” left me rather breathless…

Best songs: “Eight Hearts Eight Spikes”, “Figure Behind The Door”, “Painted Red”, “Possession”, “Until Oblivion”.

Rate: (8½).

Artist: www.facebook.com/statiqbloom

Label: www.metropolis–records.com / www.facebook.com/MetropolisRecords Read the news on ‘Asphyxia’.

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

(Photo by Katrin Albert) Post-Industrial band Statiqbloom will be releasing their new album entitled “Asphyxia” on Metropolis Records. The Brooklyn-based band is known for their unique brand of dark electronic beat heavy sounds. “Asphyxia” will be available digitally as well as on compact disc and as a limited edition vinyl on June 7th.

The man behind the project is Fade Kainer and was as such originally a solo endeavor started in 2013 in Brooklyn, NY. Denman C. Anderson was added to the lineup in 2016. You might also recognize the band from the remixes they did for such artists as: Hide, Corrections House (members of Neurosis & EyeHateGod, Sanford Parker), Atriarch, Secrets of The Moon, Plack Blauge, Hot Guts and more.

In further news the band has a tour coming up, for which you can find teh dates below. Read the review of ‘Asphyxia’.

• Tuesday May 28 2019 Newark, NJ QXT’s
• Saturday June 1 2019 Berlin, Germany Urban Spree
• Thursday June 6 2019 Leipzig, Germany Felsenkeller
• Tuesday June 11 2019 London, UK The Glove That Fits
• Wednesday June 12 2019 Glasgow, UK Nice N’ Sleazy
• Thursday June 13 2019 Aarhus, Denmark Tape
• Saturday July 6 2019 Sao Paulo, Brazil Hotel Cambridge

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 rhythmic-ambient, electro-cinematographic.

Background/Info: Cellar Graves is Chase Dobson, an American artist you maybe remember from C.DB.SN, which released an album on the now gone Tympanik Audio. “Omen” is Cellar Graves debut album revealing 5 songs and 2 remixes.

Content: “Omen” is a fascinating work, which of course reminds me of the legendary movie. It’s not a coincidence there’s something pretty cinematic running through the songs, but the music also moves back to some 90s instrumental electro-industrial compositions. I especially refer to Benestrophe for the dark moods, subtle treatments and fine bleeps.

Remixes have been accomplished by Blackcell and Statiqbloom.

+ + + : Cellar Graves is bringing opposite elements together; there’s something bombastic in the production, which has been mixed with refined arrangements. Bombast and delicacy are joining hands while carried by solid bass lines. “Tormented” and “Omen” both are very efficient exposures of this work while I also have to mention the remix of “Witching Hour” by Blackcell.

– – – : You’ll notice a very few spoken vocals running through the work (Blackcell remix), but I think it would have been interesting to add a few more spoken vocals and/or chants/choir passages.

Conclusion: Cellar Graves is a project to keep in mind. There’s an interesting fusion between different influences running through the work while the vintage touch reminding the 90s is quite exciting.

Best songs: “Omen”, “Tormented”, “Witching Hour”, “Witching Hour – Blackcell Remix”.

Rate: (8).

Artist: www.facebook.com/cellargraves

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