Lamori has just released a brand new music video for their song “My Desire”, taken from their album “Neon Blood Fire”. The album will be out this Friday, May 24th and will hold 11 songs, including all the previously released singles such as “Insomnia”, “Dark Messiah” and “Ave Valkyria”.

“Neon Blood Fire” will be available digitally, on digipack CD, and as a limited edition blood red 180g Vinyl with gatefold cover and poster.

About the new song and video, the band says: “Imagine if Vecna, the nefarious antagonist from Stranger Things, had an even more sinister twin. He’d likely be the embodiment of ‘My Desire’, the band chuckles as they humorously discuss their latest song.”

Regarding the accompanying music video the band says this: “It’s not for the faint of heart. We wanted to create something truly frightening and scary and we believe we captured that diabolical and hysterical atmosphere in the video. But despite our terrifying appearance, we’re all really just soft and sweet mummy boys who go to church every Sunday.”

To celebrate the May 24th release of “Neon Blood Fire”, the band will be embarking on a new European tour this summer. Starting off in their home town Mariehamn on the Aland Islands on June 29, the band will then continue the tour in Hungary, Romania, and Bulgaria. Check the band’s social media for further updates.

About Lamori

Founded in 2009 on the Aland Islands of Finland, Lamori blends gothic rock, metal, and electronic elements to create a dark, atmospheric sound with strong melodic foundations. Their discography includes albums such as “To Die Once Again” (2013), “Neo Noir” (2016), and re-releases in 2020.

The current lineup features Matias Juselius on vocals, Marcus Kuusniemi on guitar, Mikael Grönroos on bass, Daniel Forsblom on keyboard, and Emil Westrin on drums.

Bernard - Side-Line Staff

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

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(Photos by Tori Lind) Out since last month and now available on Bandcamp and all other platforms including Spotify is the full length debut album by the electronica wave / ambient act Lights A.M, the brainchild of Norwegian musician Erlend Eilertsen we know from the electro rock act Essence Of Mind. The conceptual full length album “Stories Without Words” comes after the release of 3 EPs back in 2019 and 2020: “Shine Our Lights” (2019, and re-released with bonus tracks in 2020), “Surrender & Evolve” (2020) and “Agnes” (2020).

The instrumental 10-track offers a mix of meditative soundscapes, heartwarming hymns and melancholic melodic layers, something which we actually also could hear in the electronic layers Eilertsen added in his Essence Of Mind work.

The Norwegian artist is going very deep here, digging into his emotions and intimate moments as our interview will show. Timeless electronic music from the Nordics.

We hailed Norway, and caught Erlend in his studio. You can check out the album below whilst reading the rest.

SL: How are things in Sandvika?

EE: Here in Sandvika (20 kilometer outside Oslo), it is all good, apart from the ongoing pandemic which does put it’s mark here as well. That said, it hasn’t had that much impact on my daily life apart from not being able to play live and attend some concerts. I do miss those and other opportunities, like being more social and traveling. But in the end I really can’t complain, cause the impact it has on a lot other people’s life is far more severe.

I can’t wait for it all to be over though, it’s really sad to see how many people are struggling in many different ways, and that we can’t remove all the current restrictions.

SL: Lights A.M seems a really good way to pass a good time in confinement, it’s very tranquilizing, I guess it had the same effect on you?

EE: Funny you should mention that (laughs). It does, but all the tracks I have released so far have been written before the outbreak last year actually, so just wait to see what comes next! Joke aside, it does fit the current situation in a way, but it’s more a reflection of me personally, and how I evolve as a person, and music is my therapy. I really enjoy making soundscapes, it’s almost meditative in its own way. I tend to think that the scares and frustrations I needed to scream out before is done. Now it’s time to heal the wounds, and for me the best way is to slow down.

SL: Is this a project that has been boiling in your head for while? What was the click to start recording it?

EE: Yes it is, you are correct. Back in late 2016 I found myself doing some more cinematic and slower instrumental tracks all of a sudden, and I really enjoyed doing things differently than before. So I got really creative, more than I had been in a long time. So it just happened more or less.

It did take some time to figure out what do with the new tracks though, as I felt it could not be interpreted into Essence Of Mind without doing a radical change in style. I also wanted to do something new again, back to start in way, so I started this new chapter in my life, with total creative freedom.

Another thing I quickly realized is that writing instrumental tracks is very deliberating in the way that the music tells the story itself. I often find words limiting, and to have another way of telling a story is something I really appreciate.

Take the track «Agnes» for example; a track I wrote as a tribute to our beloved Griffon dog which had been a big part of our lives for almost 16 years at that time. I really don’t think I could have made a track about her with words to express my feelings for her. I feel that the track itself channel the love and gratitude I feel for her in a way not possible with written words.

I also believe that the listener experience the tracks in a more personal way as well, as everything is more open to each own interpretation, so the listener is a part of making the story. Making an album called “Stories Without Words” really made sense to me.

SL: It has the melodic twist we also find back in Essence Of Mind but with synth layers that remind us a lot of Vangelis. I guess he was one of the main inspirations musically speaking?

EE: One of many, but a big inspiration of course. The 70’s and 80’s have a lot of amazing instrumental electronic music. Another thing I quickly realized is that writing instrumental tracks is very deliberating in the way that the music tells the story itself. I often find words limiting, and to have another way of telling a story is something I really appreciate.

SL: The music instantly also reminds of that stellar Netflix series “Stranger Things”, I guess you are a fan as well? I actually find that several pieces would well have fitted that series.

EE: I am, just love it, and thank you very much! The atmosphere, characters and the story are just awesome, and together with the soundtrack, it really makes something special! If you have not already, I really recommend that you check out the band Survive, which is the band behind the music in the series, they are totally awesome and a big inspiration for me as well.

I would love to make soundtracks my self one day, that magic when picture and sounds blend together perfectly is truly amazing! So it’s a dream I have.

SL: The release has a very own musical synth palet, it’s very easy to recognize it as Lights A.M, I guess that was the purpose?

EE: Thank you, I’m happy to hear that! I actually have not thought that much about it to be honest, but I do want to do things my way, and I guess giving myself total freedom to not have to fit something really helped to develop my own style and sound. I do listen to a lot of different music, and have influences from all over the place, from krautrock, old soundtracks, to ambient and melancholic pop and rock, it really does not matter. So what you hear is just me picking the parts I like and make something out of it.

SL: You aren’t too keen on the term synthwave, why is that?

EE: I have nothing against it, just feel it does not fit Lights A.M, I also feel that the genre has been a little saturated, and lot of the music sounds too generic and artificial to my taste. Maybe that’s what happening when something get’s a hype and a lot of people all of a sudden want to make something sound a specific way?

Then there are bands like Gunship, who are brilliant and who I really enjoy, and even Cliff Martinez (behind the amazing Drive soundtrack) has been put into that term, so it’s not about the genre, it’s about the music presented. I do like that the music and visuals have some kind of organic approach – even if it’s purely electronic just like my own stuff – and that it has strong emotions and a story behind it.

I want to feel something when listening, and it does not matter if it’s a 20 min drone track or a 3 min pop track, and it certainly does not matter which genre you put it in.

SL: Are there plans to bring the project live once this whole pandemic is over?

EE: I hope so! I have a quite clear vision of how it should be, but it has to be done the right way. Very different to how I have done things before, but that is a challenge I want to take on. It will be a lot more visual to what I’m used to do, so the whole production needs to be on another level than before. I will not perform alone on stage either, so a lot of puzzles have to fit, but I do have some ideas and have been in talk with a close friend and awesome musician already.

Lights A.M videos

Bernard - Side-Line Staff

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

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Oakland’s Parentz, the electropop/synthpop duo consisting of Jeremy Sullivan and Jonathan Hall, have just dropped “Dead Mall”, a song about the nostalgia of bumming around the mall as a teenager with nothing else to do.

The track was partially inspired by “Stranger Things” as you can hear. It’s out now on TextMe Records. You can listen to “Dead Mall” right below.

Parentz has been releasing music since 2011 when they released their debut album “Big”.

Bernard - Side-Line Staff

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

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The 80s aficionados have already been binging the 2nd season of the “Stranger Things”, and if you haven’t, try it, it will bring some great memories, at least if you were born in the seventies that is. But you won’t be limited to just 2 seasons as it’s been announced that a 3rd season is already in the making.

Netflix hasn’t officially announced the new season yet, but it has been confirmed by The Duffer Brothers in various interviews and in all likelihood there will be a season 4 as well. And if producer Shawn Levy gets what he wants, there will be a fifth one too.

By then, the original band of adorable preteens will be ready for college and working with kid actors does require that you work fast to deliver new seasons as they all age rapidly. So if a new season is needed, it needs to be shot very fast even if there are time jumps.

You can expect “Stranger Things Season 3” to hit Netflix by the end of 2018 or in the beginning of 2019.

What can you expect in Season 3 ?

In an interview with Vulture, Ross Duffer said that “They’re going to have to get the fuck out of this town”. Not really surprising, In the “The Lost Sister” from Season 2, Kane ‘Eleven’ already left the town to meet up with Kali ‘Eight’.

Next is the presence of the Mind Flayer. The kids have shut the door on the Mind Flayer, but the demon is still there in the Upside Down, and is very much aware of the kids (it appeared in the Upside Down party hall for instance). It also has encountered Eleven and her powers in the final episode.

Will we hear more from some of the actors ?

Yes you will, and pretty soon. The talented English actress Millie Bobby Brown, who plays Eleven, has been confirmed to star in “Godzilla: King of Monsters” while Charlie Heaton (the shy Jonathan) will be starring alongside Game of Thrones‘ Maisie Williams in the 2018 film “The New Mutants”.

Time jump ?

The Duffers have confirmed that, as with season two, there will be a time jump of one year between seasons 2 and 3. The reason is simple, although there are shooting very fast, the kids are ageing.

For those out of the loop, here’s what the series is about

“Stranger Things” is an American science fiction-horror web television series created, written, directed and co-executive produced by the Duffer Brothers, as well as co-executive produced by Shawn Levy and Dan Cohen. Set in the fictional town of Hawkins, Indiana in the 1980s, the first season focuses on the investigation into the disappearance of a young boy amid supernatural events occurring around the town including the appearance of a girl with psychokinetic abilities who helps the missing boy’s friends in their own search.

The second season, titled “Stranger Things 2”, is set a year after the first, and deals with attempts of the characters to return to normal and consequences from that season.

Bernard - Side-Line Staff

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

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Vancouver, British Columbia based Industrial / Dark Synthwave artist 20SIX Hundred and California-based record label Sofa King Vinyl have successfully reached the necessary pre-order goal to release “The Cold Rise From Sleep” on vinyl LP format for the first time.

This marks the first LP vinyl release for the artist and label. The release is still available to pre-order for a limited time via SofaKingVinyl.com. The records will be pressed on black vinyl and audio mastered specifically for the medium from the original 24-bit master mixes. Each order also include a free download of the digital release.

20SIX Hundred (Darren Jones) is a Canadian based Dark Synthwave artist and has developed quite the underground following. Inspired by the darker side of cinema, the music is ideal for those who are fans of the Stranger Things OST or artists like Perturbator and John Carpenter. 20SIX Hundred’s album “The Cold Rise From Sleep” was featured on the list of Top-Ten albums of the year in 2015, by Synthetix.fm.

Sofa King Vinyl was born out of label owner Max Wallis’ passion for vinyl records and this will be the label’s first release, should the project reach its goal. Wallis is also a graduate of the Music Business Program at Musicians Institute in Hollywood, California and has worked in various facets of the music industry, both on and off the stage.

For more information or to pre-order The Cold Rise From Sleep, visit SofaKingVinyl.com.

You can listen to the album below:

Here’s the promo video for the release:

Bernard - Side-Line Staff

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

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Vancouver, British Columbia based Industrial / Dark Synthwave artist 20SIX Hundred and California-based record label Sofa King Vinyl have teamed up to release “The Cold Rise From Sleep” (the band’s 3rd album – released in 2015) on vinyl LP format for the first time. The release is currently available for fan-funded pre-orders via SofaKingVinyl.com and – good to know – at least 100 copies need to be pre-sold in order for the records to get pressed.

The album is planned to be released on black vinyl and will be mastered specifically for the medium from the original 24-bit master mixes. The first 100 orders will include a free download code.

20SIX Hundred (aka Darren Jones) is a Canadian based Dark Synthwave artist and has developed quite the underground following. Inspired by the darker side of cinema, the music is ideal for those who are fans of the “Stranger Things OST” or artists like Perturbator and John Carpenter. 20SIX Hundred’s album “The Cold Rise From Sleep” was featured on the list of Top-Ten albums of the year in 2015, by Synthetix.fm

Sofa King Vinyl was born out of label owner Max Wallis’ passion for vinyl records and this will be the label’s first release, should the project reach its goal. Wallis is also a graduate of the Music Business Program at Musicians Institute in Hollywood, California and has worked in various facets of the music industry, both on and off the stage.

For more information or to pre-order “The Cold Rise From Sleep”, visit SofaKingVinyl.com.

Here’s a teaser for the upcoming release:

And this is the full album as it can be streamed from Bandcamp.

Bernard - Side-Line Staff

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

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The “Stranger Things” original soundtrack, composed by Michael Stein and Kyle Dixon of the electronic band Survive, is a direct homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi. Not surprisingly it has gotten a perfect reception from the electronic music fanbase.

The soundtrack will be re-released in a few weeks in various limited vinyl editions and will hold a new album cover of ‘Boys on Bikes’, a 11 X 17 (folded down to 8.5 X 11) poster, five 4×6 character cards.

The vinyl editions are available here in 2 versions of the deluxe edition (released as 180g multi-colored double vinyl sets) and right here as a normal vinyl version.

On August 31, 2016, Netflix renewed the series for a second season of nine episodes, which is set to be released on October 31, 2017. Below is the trailer for the upcoming second season to be released on Netflix. A year after Will’s return, everything seems back to normal… but a darkness lurks just beneath the surface, threatening all of Hawkins.

Bernard - Side-Line Staff

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

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(By our Norwegian correspondent Jan Ronald Stange. Photos by Tarjei Krogh and Jan Ronald Stange)

An extensive interview with Stephan Groth of Apoptygma Berzerk, about the “Exit Popularity Contest” album release, that’s what we were after and that is what we got! We were accompanied by Per Aksel Lundgreen (ex-member of Apop, currently aiding with the marketing), at Per Aksel’s workplace, the amazingly stuffed Retro Vinyl og CD (recordstore) in Sarpsborg, Norway (September 29th 2016). Note that the album will only be available in physical formats, so get your copy of the very limited cassette, CD or vinyl right here!

SL: What is the background for issuing three 12’’ and finally an album instead of a more usual Apoptygma Berzerk studio album?

Stephan: At the time I started on “Stop feeding the beast” about three years ago, I was in a bubble listening to John Carpenter and similar music, and I wanted to make the same kind of music. I was also somewhat in limbo regarding a new Apop album. I had worked on it for many years already, but both a lack of motivation and a viable alternative from the record industry has made it hard to complete.

SL: You have been critical of Spotify and the use of new media by the music industry?

Yes and no. As an alternative to radio and mixtapes, or as a promotion tool, Spotify is ok. But when is replaces a physical release, that’s when I say “no, no, that does not work!” I find it horrific and sad that today’s kids can’t experience the joy and curiosity of physical releases; to enter a record shop, hold the release in their hands, see the artist photos, read the cover to see who has worked with the music. At the end of the 80s, there were six record shops in Fredrikstad; now there’s just one left in the next city, and that’s where we are now! That’s where we met and discussed music. The physical experience, finding and discovering new music is no longer possible.

And that was much of the idea behind “Stop feeding the beast”. The release should be just like when synth music was released on vinyl, and only available on a physical format, and in limited editions. I wanted to do something exclusive, and it worked well. It culminated with the twelve-inches “Videodrome” and “Xenogenesis”. Then everybody thought it was awesome, and wanted releases on CD, Spotify, etc. But I draw the line at Spotify. I dig vinyl the most, but am also fan of CDs, which is a fantastic format with great sound. My deliberate choice to listen to and buy vinyl again was also part of what started these EPs – to bring back that feeling of how it used to be, the ritual of dusting off the record, turn it half way through, move the needle, and all the other physical things you must do to listen to music.

I have been carried away, raiding second-hand markets, where I always make sure to get at least ONE record I haven’t heard of before. It is okay to discover new stuff on YouTube, but nothing beats the feeling of coming home and playing something you have found on a fleamarket in Sweden. My record collection has tripled in size the past years!

The thought behind limited edition vinyl records was for it to be a small piece of art, something to touch and feel, something that still has value. I too don’t believe that giving away an MP3 file in exchange for an email address is a good promo strategy. The relationship between the value of the music and the “payment” of an email address makes no sense. With a limited edition vinyl record, with extras, such as magnets, flexidiscs and more included, you are guaranteed that the value will not decrease, making it an investment for the buyer. You purchase something of value, to hang on the wall, and which can be resold without a loss. And something more “real” seems more fair to the hardcore fans than an MP3 file, which is worthless.

One thing followed the other during this process, and not until I was almost done with «Xenogenesis» did I realize that everything fit together. I had to sit down with Halvor Bodin (cover designer) to see how we could make it all work in a trilogy format.

With hindsight, I think we’ll find that releasing an album incrementally like this was smart. There was a certain crowdfunding-feel about it, without being crowdfunded. In a way, you are working with the inner core of fans, who get the music early, while the rest read about it and look forward to the CD release. And, nothing has been leaked!

SL: How has this been of inspriration to others?

I’ve had several inquiries from other bands about the equipment and instruments that I use, and how the process has been. It seems I have ignited inspiration in bands in several countries. I too have been inspired lately. I mentioned John Carpenter, and I was lucky to see him live a couple of months ago. And we had Kraftwerk visiting Den Norske Opera in August – 8 concerts in 4 days, more than they had previously played in Norway in the past 25 years.

There are also some old TV series that reuse old sounds, which inspire even further, such as “Stranger Things”. And “The Knick” has an 80s modular, futuristic soundscape. The recent popularity of these series could mean people are interested in the origins of this type of music, rather than that of today. And perhaps take a few steps back to the roots, and find something that has been lost along the way.

The electronic music of today has strayed too far for my taste. Much of it has no longer anything to do with my roots, and many people probably think I am too critical of this. When I have been hard pressed, and asked to clarify what electronic music is to me, I have answered that as long as it has a clear, red line back to Kraftwerk, it is music I can relate to. The further away from the Kraftwerk sound, vibes and vision, the less I understand of it. And Kraftwerk can be a lot – I also love their early prog-releases.

SL: Do fans think you have wandered too much between music genres? Has someone reacted to new directions, missing what used to be?

I have tried on quite a lot, and looking back it’s probably only parts of the future pop period that I am not completely satisfied about. There were too many elements of dance/trance mixed in, and it tainted the genre too much for my taste. The idea might have been good at the time, but now I see that some things were not all good. Some like evolution, others like being retrospective, and others again would rather have a “Welcome to Earth 2”.

“Welcome to Earth” was my “Violator” and the most important record I have released commercially, but I doubt it will ever happen again. You can’t please everyone, there will always be some complaining, but that is only natural and okay. I can feel the same way about bands I like. Even Kraftwerk have had their weak moments, but nothing I would denigrate. In summary it is the genre fans who are more likely to whine and jump ship, rather than the Apop fans. Real fans don’t complain.

SL: An instrumental album is quite different than a «regular» album. Any advantages, disadvantages? And was it to give yourself new challenges?

In a way, it is easier to make – doing only instrumental, rather that needing lyrics, which easily gets trite and mostly used as a filler. It is hardest to make music that has an influence and tells a story without words – you need to tell your story, but also make sure it doesn’t get boring. To get it to add up takes longer time, more build-up, until you get in a mood. Nothing is better when you get in a flow and can let yourself float away.

We had a very long and tiresome «Harmonizer»-tour in our future pop period, going back and forth across continents. When we returned, I realized that ‘I master this expression, and I can’t top it’. Mixed with a breakup and feeling burned out, I lost all interest and motivation, and wanted to do anything but music. I had just had it. What got me going again back then was going back to my roots. I dusted off some old synthesizers, and made the “Fairlight Children” album. Even though it is not an Apop album, it is probably the most important in my career because it gave me the desire to make music again.

That is also the same with the new album; when things become routine I have to make changes and have total freedom to do something new. If that means wearing an Ace Frehley mask and make long, droning synth songs, then that’s the reboot I need to do something exciting again and start a new phase.

SL: Leafing through the album cover reveals fragments of a background story – what is the message or the theme of the album?

♠TP, the dude that made this album, is mentioned in a report inside the cover, written by the psychologist from “Riget” by Lars von Trier. ♠TP has escaped from reality and reinvented himself somewhere else, in another reality, on the other side of the river. It is autobiographical in part, but made more cheerful and fun than my private story at times. ♠TP has moved to a new place, environmentally damaged after too much touring, and can’t wash off the makeup, so he has become his own persona for real. He has moved to a place where people accept him for who he is, and tries to get to know people through his music. By manipulating his own reality he also manages to alter the real reality, and some intelligence agencies become interested and see the potential to use this for military purposes. Then they make the report, that is also an “explanation” of what the songs are about. But not too apparent and detailed – I like that there is plenty room for interpretation and a bit mysterious, not so done served.

I often find that interpretations are both individual and important. I can get feedback that a song has had a special meaning to someone, or has helped someone in a difficult situation, where the listener’s interpretation wasn’t what I meant with that song. Now, I can’t say that is wrong and that I meant something else, but I believe this is part of the art in music; that when passing through the “filter” of the listener, the music can gain new meaning and fit in different situations for different people. Simply beautiful, really. If you google the titles and the content, you get an adventure and a study for almost every song. Many conspiracy theories and interesting topics to discover if you want to and have the time. I started to hint about this on the “Rocket Science” album, and now ♠TP has taken it to a whole new level. And to quote Aphex Twin: “…whether the theories fit or not, they are nonetheless much better entertainment than what comes out of Hollywood”.

You can also enjoy the album without diving into all these details – that’s up to the listener!

This album will only be available in physical formats, so get your copy of the very limited cassette, CD or vinyl!

… but something found its way to the net anyway – enjoy! 😉

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

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