The Fall &#8211; SIDE-LINE

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!

Red Lorry Yellow Lorry share ‘Driving Black (Ding’s Remix)’ – their first new single in 33 years

Bernard - Side-Line Staff — Mon, 07 Oct 2024 06:05:00 +0000

The Leeds-based post-punk act Red Lorry Yellow Lorry have just released “Driving Black (Ding’s Remix)” – their first new single since “Talking Back” which was released in 1991.

“Driving Black (Ding’s Remix)” is an exclusive mix by the band’s bassist and producer, Simon ‘Ding’ Archer (The Fall, Pixies, PJ Harvey, 1919, etc.). The new track is out now and comes hand in hand with the presales for Red Lorry Yellow Lorry’s forthcoming EP, “Driving Black”.

Driving Black by Red Lorry Yellow Lorry

About this single the band says: “We never wrote songs with singles in mind. To us they are just songs that we thought good enough to release. Some songs seem better suited as singles. I think when everything is ready you pick what seems suitable. For a single, you want the maximum impact in a short space of time, and to get people curious about the other stuff.”

The Driving Black EP will be out 6 December via COP International, in 12” vinyl and digital download formats. The EP also announces the band’s new album, “Strange Kind of Paradise”, due out February 2025.

The six-track “Driving Black” EP offers three exclusive, non-album tracks (“Safe as Houses”, “Living with Spiders”, and “Piece of My Mind”) alongside three mixes of songs from the forthcoming album. The lead single “Driving Black” receives two exclusive mixes for the EP: one from Ding, and the other from producer John Fryer (Depeche Mode, Nine Inch Nails, and Cocteau Twins). “Chickenfeed” gets the remix treatment from German dark indie rock outfit The Halo Trees.

Featuring a cover painting by Wolfie, the “Driving Black” EP has been pressed as a limited-edition coloured vinyl 12” EP – only 1,000 copies available worldwide.

Driving Black by Red Lorry Yellow Lorry

About Red Lorry Yellow Lorry

Red Lorry Yellow Lorry formed in 1981 and soon got known for their dark, minimalist sound, mixing punk, post-punk, and industrial influences. The band is led by founding member and vocalist Chris Reed and longtime guitarist and cowriter Dave ‘Wolfie’ Wolfenden.

The band released such albums like “Talk About the Weather” (1985), “Paint Your Wagon” (1986), “Nothing Wrong” (1988), and “Blow” (1989), before calling it a day with fifth album, “Blasting Off” (1992).

The Neuro Farm releases new album, ‘Voices’ – Out now

Bernard - Side-Line Staff — Tue, 17 Sep 2024 18:00:01 +0000

Today, Washington DC-based Darkwave band The Neuro Farm released its new album entitled “Voices”. “Voices” can be heard today through all digital and streaming platforms and is available on vinyl, CD and cassette.

The Neuro Farm is a darkwave and gothic rock band based in Washington, D.C., drawing inspiration from bands like Joy Division, Nine Inch Nails, Siouxsie and the Banshees, and Sigur Ros. The band consists of four members: Brian Wolff (guitar, vocals), Rebekah Feng (violin, vocals), DreamrD (drums), and Tim Phillips (synth).

They have released three full-length albums:

Ghosts (2014)
The Descent (2019)
Vampyre (2021)

You can check out the full release below.

Voices by The Neuro Farm

The Neuro Farm will be on the road this fall with their ‘Voices Tour ’24’ in support of the new album.

The Neuro Farm ‘Voices Tour ’24’

Aug 30 – BROOKLYN, NY – A Murder of Crows
Sep 21 – BLOOMINGTON, IN – Gallowdance
Sep 22 – CHICAGO, IL – The Fallen Log
Sep 26 – SOUTH BEND, IN – Cauldron
Sep 28 – LOUISVILLE, KY – Dark Castle Fest
Oct 11 – ROANOKE, VA – Beyond the Crypt
Oct 19 – WASHINGTON, DC – 94.3FM Studio Live
Oct 26 – LYNCHBURG, VA – Lynchburg Gothic League
Nov 22 – SALEM, MA – DARQ Salem (with NØIR)
Nov 23 – KINGSTON, NY – Hororteria Presents (with NØIR)

Deep Red releases all German single, ‘Atom Rot’, feat. Hoffa of the band Faustan – Out now

Bernard - Side-Line Staff — Mon, 16 Sep 2024 13:49:33 +0000

Deep Red releases a brand new single, “Atom Rot”. The track is the first song the band releases with lyrics in German. This track is their first all German track with guest vocals from Hoffa of the band Faustan. The single acts as a sneak peak of what’s to come when their new EP comes out. The new EP will be thematically centered around a world of double-crossing agents during the cold war.

The spy thriller-themed track draws inspiration from the film “Atomic Blonde”, whose plot centers around a sensual yet savage spy on the verge of the fall of the Berlin Wall.

Faustan is a new electro pop act based out of Miami and formed by Harry V. previously of Universal Latino signed act Formula Redux and Hoffa from underground Berlin band Flying 55.

Atom Rot – mit Hoffa (Faustan) by Deep Red

“Atom Rot” is available on Spotify and all major digital platforms including Bandcamp.

About Deep Red

Deep Red was formed in 1996 by Martha A. Hoffmann also of Distorted Reality and DC Astro of Element 104. Shortly after, their song “Holy You” would be included in Cleopatra Records’ “The Goth Box”. That paved the way to appearances in a slew of other compilations in the US and abroad and eventually, being signed to Project Pitchfork’s label Candyland and a European tour with them.

The band released three albums and now after a long hiatus they are back to reclaim their place in the Darkwave musical realm.

The Cassandra Complex announce USA leg of their World Tour 2024 – Tickets available now

Bernard - Side-Line Staff — Wed, 04 Sep 2024 13:00:27 +0000

(Photo by Roger op den Camp) COP International Records and Strict Tempo announce the USA leg of the CX40 World Tour by the legendary Anglo-Irish post-punk group The Cassandra Complex. The band has been celebrating their 40 year anniversary in 2024 with an extensive world tour spanning Europe and the Americas.

As part of the tour they will be making a rare visit to play in the USA in September – October, starting with an appearance at the Cold Waves festival in Chicago, and continuing through the West Coast of the USA. The last time The Cassandra Complex played in America was almost 20 years ago, so this will be a unique chance to see their live show. The second leg of the tour will commence with shows in the USA and Latin America in the Fall, followed by more shows in the UK and EU later in the year.

The band will be supported on USA shows by DJ Vox Sinistra and on European shows by the Swedish post-punk duo Sjöblom. Tickets can be order now.

29 Sep 24 Chicago IL, Cold Waves Festival
30 Sep 24 Portland OR, Dante’s
02 Oct 24 Seattle WA, Central Saloon
04 Oct 24 San Diego CA, Corazón del Barrio *
05 Oct 24 Long Beach CA, Que Sera *
06 Oct 24 Albany CA, The Ivy Room (SF Bay Area) *
12 Oct 24 Ciudad de México, Foro 28
15 Oc t24 San José Costa Rica, Amon Solar
18 Oct 24 Santiago Chile, RBX
19 Oct 24 Sao Paulo Brazil, Madame
23 Nov 24 Leeds UK, The Old Woolen
24 Nov 24 London UK, The Black Heart
26 Nov 24 Reading UK, The Facebar
28 Nov 24 Bochum Germany, Matrix **
29 Nov 24 Bielefeld Germany, Movie **
30 Nov 24 Cologne Germany, Blue Shell **
04 Dec 24 Berlin Germany, Urban Spree **
05 Dec 24 Copenhagen Denmark, Lygten Station **

* with Vox Sinistra
** with Sjöblom

About The Cassandra Complex

The Cassandra Complex was formed in 1984 by Rodney Orpheus (vocals, synths, drums machine), Paul Dillon (electronics), and Andy Booth (guitar, keyboards). Musically they bring a synthesis of post-punk, goth, EBM, and industrial music, coupled with Rodney Orpheus’ voice.

After a long hiatus, The Cassandra Complex recently returned with the album “The Plague”, recorded during the COVID lockdown. In March 2024 they released “Death & Sex”. Both albums are available from COP International Records on CD and on all streaming services.

Rodney Orpheus has also worked as a producer, remixer, and music technologist, working with artists such as The Sisters of Mercy, Kraftwerk, Beborn Beton, The Future Sound of London, Girls Under Glass, Faith & the Muse, Within Temptation, and many more.

The Cassandra Complex announce second leg of their World Tour 2024

Bernard - Side-Line Staff — Wed, 31 Jul 2024 09:33:46 +0000

(Photo by Roger op den Camp) COP International Records, International Booking Department, and Resistencia Booking have announce the second leg of the CX40 tour of the Anglo-Irish post-punk group The Cassandra Complex. This second leg will take the band, which celebrates its 40 year anniversary, to Germany, Belgium, USA, Mexico, Costa Rica, Chile, Brazil, UK, the Netherlands, and Denmark.

The second leg will commence this summer with festivals in Germany and Belgium, followed by dates in the USA and Latin America in the Fall. The tour continues then with more shows in the UK and EU later in the year. The band will also be supported on select European shows by special guests and labelmates Sjöblom.

You can order your tickets here.

11/08/24 Hildesheim Germany, Mera Luna Festival
24/08/24 Ostend Belgium, W-Festival
25/08/24 Sint-Niklaas Belgium, De Rembrandt Festival
29/09/24 Chicago USA, Cold Waves Festival
12/10/24 Ciudad de México, Foro 28
15/10/24 San José Costa Rica, Amon Solar
18/10/24 Santiago Chile, RBX
19/10/24 Sao Paulo Brazil, Madame
23/11/24 Leeds UK, The Old Woolen
24/11/24 London UK, The Black Heart
26/11/24 Reading UK, The Facebar
29/11/24 Bielefeld Germany, Movie
30/11/24 Cologne Germany, Blue Shell
01/12/24 Bochum Germany, Rockpalast
04/12/24 Berlin Germany, Urban Spree
05/11/24 Copenhagen Denmark, Lygten Station
(More dates to be confirmed)

About The Cassandra Complex

The Cassandra Complex

In the Nursery delivers score for Basil Copper’s ‘The Fall of the House of Usher’

Bernard - Side-Line Staff — Tue, 16 Jul 2024 09:44:51 +0000

Fresh news from In The Nursery as they have delivered a score for Basil Copper’s 1950s film adaptation of “The Fall of the House of Usher” (from the story by Edgar Allan Poe).

Basil Copper was a prolific writer, best known for his horror and detective fiction. His film adaptation of “The Fall of the House of Usher” was created in the 1950s and was a passion project. But it remained a personal project, unseen by the public until its discovery in a film can in Basil’s study following his death in 2013.

This version has now been professionally transferred to digital format and features a music score by In the Nursery (ITN), as originally intended by Copper. The edited version on this DVD runs for around twenty-six minutes.

ITN adapted their score for Copper’s alternative film version of the classic story noting the similarities in pace and style between Copper’s film and Jean Epstein’s 1928 adaptation, attributing this to the influence of Edgar Allan Poe’s storytelling.

The DVD, featuring ITN’s adapted score, will be included in a slipcased hardcover collection limited to 100 numbered and signed copies. ITN will also have a limited number of DVDs for sale upon release in August.

As for the hardcover book itself, after Basil Copper’s death in 2013, additional papers and manuscripts were discovered. This newly found material has been incorporated into the revised edition. The book now includes the most comprehensive working bibliography of Copper’s work, rare articles on subjects ranging from Arkham House creator August Derleth to a brief history of Count Dracula, numerous short story fragments and ideas, and a complete television script based on M.R. James’ classic horror story “Count Magnus”.

16volt launches new album on Metropolis Records: ‘NegativeOnArrivals’

Bernard - Side-Line Staff — Fri, 03 May 2024 18:56:10 +0000

Metropolis Records welcomes the legendary 16volt on its roster. The new release “NegativeOnArrivals” features a selection of tracks from the band’s two self-released albums, “The Negative Space” and “Dead on Arrivals”, that have been selected by the band themselves.

In addition 16volt’s founder, songwriter, lead vocalist, programmer, and rhythm guitarist Eric Powell, is working on a new album that is slated for release later this year, to be released under the title “More of Less”. “NegativeOnArrivals” is available today via Metropolis Records on CD and through all digital and streaming platforms.

NegativeOnArrivals by 16volt

About 16volt

Eric Powell signed his first record deal in 1991 at a very young age and subsequently delivered three albums: “Wisdom” (1993), “Skin” (1994), and “LetDownCrush” (1996). On those albums he worked with several co-producers including David Ogilvie (Nine Inch Nails, Skinny Puppy), Keith “Fluffy” Auerbach (Ministry), Jeff “Critter” Newell (Ministry, Angels & Airwaves, Blink-182), and special guests William Tucker (Ministry), Marc LaCorte (Schecter Guitars), and Bryan Black (Black Asteroid).

16volt then brought on producer Bill Kennedy (Nine Inch Nails, Megadeth, Sepultura, Mötley Crüe) to make the album “SuperCoolNothing” (1998, Mercury/PolyGram) featuring film composer and musician Joseph Bishara (Insidious, The Conjuring, Marylin Manson, Danzig), Chris Vrenna (Nine Inch Nails), Mike Peoples (Skrew), and Kraig Tyler (Crazytown). With Polygram being acquired by Seagrams shortly before the album release, 16volt found themselves in the middle of a legal battle while Mercury lost all funding and moved the album to Island Records as a catalog item.

In the end the band bought the rights to the album in 2000 and signed an agreement with Sony Entertainment to feature the album within the Playstation game “Primal” as well as being a double release in Europe with the game on one disc and the album on another. The band was also skinned into the game as characters and included in interviews as in-game bonus material.

In 2007 16volt signed a multi-album deal with Metropolis Records and released “FullBlackHabit” (2007), “American Porn Songs” (2009), and “Beating Dead Horses” (2012) with guests such as Paul Raven (Ministry, Killing Joke, Prong); Steve White (KMFDM); Bildeaux (Lance Herbstrong) and mix engineer Shaun Thingvold (Strapping Young Lad, Lamb of God).

In early 2016 16volt entered the recording studio in Portland, Oregon to begin writing and recording a new album with producer Marc Jordan (Velvet Revolver, The Cult, Stitched Up Heart, The Mowglis, Hyro Da Hero, Bleached, Die Antwoord). The new album titled “The Negative Space” was released independently on September 14, 2016. In early 2017, 16volt entered the studio to begin work on their 10th album effort “Dead On Arrivals” which was self-produced and released in October of 2017.

During the summer of 2021, Eric began working on material again in his private studio. In the Fall of 2022, 16volt announced resigning with Metropolis Records and began work on a new album titled “More of Less” slated for a 2024 release. In addition, Metropolis now re-issues a combined version with select tracks of the albums “The Negative Space” and “Dead On Arrivals” titled “NegativeOnArrivals”.

To Avoid joins Alfa Matrix and releases dark electro ‘1989’ EP (+ exclusive limited edition MCD)

Bernard - Side-Line Staff — Fri, 03 May 2024 10:55:12 +0000

The German dark electro combo To Avoid has joined forces with the Belgian electro label Alfa Matrix for the release of their new studio album, “All Gods Are Gone”. Before that the label first releases “1989” which is a first taste of what is to come.

The track itself is a reflection on the enduring legacy of the fall of the Berlin Wall 35 years later. Through the lyrics they delve into the complexities of a society still grappling with the divisions between East and West, challenging the lofty ideals of German reunification.

The 9-track EP features the title track “1989” and a 2011 demo version of “Aerial Warfare”, plus 7 remixes of the title track by Erk Aircrag (Hocico, Rabia Sorda), Fektion Fekler, Ntrsn, Proleturan, Sluk Motoren, Synaptic Defekt, and Töt. You can order the download version now on Bandcamp with other platforms to follow.

For the die-hard fans and CD collectors out there, Alfa Matrix also offers a MCD version which is limited to 200 copies and which is normally only available at concerts by To Avoid.

1989 EP by TO AVOID

A video was launched as well for the track “1989”.

About To Avoid

To Avoid was formed just outside Berlin in 1998 by GrandT and Marc. Musically the band fuses late 80s EBM industrial with 90s melodic dark electro. The aim was to create music that corresponded to the band’s own view of electro and to counteract the increasing wave of future pop.

Later on the duo was joined by producer Cheffe (DJ Starve) and Jean, who from then on also took over the design/graphics tasks in the band.

A first single was launched in 2000, “Aggressive Conglomerations”, and by 2002 their debut album “Resurrection” followed. Two more studio albums followed with the last one beging “Passion And Pain” in 2009 (followed by the mini live album “Live @ Luckenwalde” in 2010). In 2022 they resurrected with two singles, “Driver” and “Trust”.

Now they prepare a brand new album, their first in over 15 years.

Frontal Boundary returns with 2nd single ‘Shutting Down’ from forthcoming LP – Out now

Bernard - Side-Line Staff — Mon, 29 Apr 2024 13:52:16 +0000

Out now is the brand new Frontal Boundary single “Shutting Down”. The EBM / dark electro single’s lead track is backed by two remixes by unitcode:machine and Panic Lift.

Frontal Boundary is a Los Angeles-based dark electro trio and with “Shutting Down” they release their second single and title track from their forthcoming album, the follow-up to their 2021 full length “The Fall”.

According to the band, this new single “explores the universal struggles we all face – the internal battles of balancing our emotions and those of the people around us. It’s a reflection of the constant effort to move forward, even when it feels like we’re never quite enough.”

The single is out now on all platforms via Re:Mission Entertainment.

Shutting Down (single) by Frontal Boundary

Brendin Ross started Frontal Boundary back in 2008. A first album, “Lost and Recovered”, was never released on any platform, and consisted of mostly instrumental b-sides that Ross had written between 2005-2008. There are a few tracks floating around the internet from that. After moving to Los Angeles, in 2014, he started focusing more on the other bands he was in such as Dawn of Ashes, INVA//ID and Bornless Fire. First out were two mini-albums, “Electronic Warfare” and “Electronic Warfare V2”, which were both centered around his time in the US Army and his divorce that were both happening at the same time. Note that for “The Fall” album Krz Souls would take over the vocal duties in the band.

Projekt Ich returns with 3rd single, ‘Der westliche Mann’

Bernard - Side-Line Staff — Thu, 14 Mar 2024 14:29:55 +0000

Out via Echozone on March 22nd is the new single from Projekt Ich: “Der Westliche Mann”. This is the third single release from the band’s forthcoming third studio album following the singles “Paméla Amen feat. Lisa Pung” and “Dad feat. Madil Hardis”. The full album will be out in the Fall / Winter of 2024 or Spring of 2025. The new album will be the follow-up to “Freedom For All” (2022).

For the new songs Ulf Müller continues to collaborate with singers from around the world. For “Der Westliche Mann” Ulf enlisted Pierre Goudesone from the Belgian band Goudi as vocalist. Pierre contributed to the song lyrics as well. The saxophone parts were performed by the Italian musician Manuel Trabucco.

In addition to the original track, the single includes two diverse remixes by Restriction 9 from Sweden and Cyborgdrive from Spain. It also features the B-side track “Du hast das Licht gesehen” sung by Ulf himself, as well as instrumental versions of the original track.

Videos for the two main tracks will be released in the near future.

Sun’s Spectrum – The Silence After The Fall (Album – Cold Transmission Music)

Inferno Sound Diaries — Fri, 19 Jan 2024 08:00:00 +0000

#post_seo_title

Genre/Influences: Dark-Wave, Cold-Wave, Wave-Pop.

Format: Digital, CD.

Background/Info: I discovered this Italian duo from their previous album “Don’t Chase The Light” released in 2020 on Final Muzik. Livio Caenazzo (guitars, vocals, programming) and Daniele Iannacone (keyboards, background vocals, programming) now joined hands with the German established label Dark Transmission to unleash this new opus featuring ten songs.

Content: The album sounds as a serious wink to the 80s Dark-Wave and Electro-Wave music. There’s a true Dark-Wave element created by guitar playing while the songs are evolving into an unexpected Electro style. Both elements are matched together and are even carried by big, danceable, kicks. The album progressively becomes more and more Pop-like and one of the tracks are even reminding me of Mesh.

+ + + : I know less bands able to achieve such a perfect balance between heavy Dark-Wave and catchy Electro-Wave. In the end I would say the work sounds more Electro driven but the guitar play however is an essential aspect of this album. The second half -which is more Electro driven, also hides alluring songs like “The Loop”, “The Fall”, “Split feat. A Copy For Collapse” and “All I Want”. But right at the beginning the dark-Wave orientated “God Is A Machine” and “Not A Saint” both are still little sonic pearls.

– – – : I regret some of the songs are a little bit too short -and that’s because all songs are great -by the exception of an instrumental intermezzo.

Conclusion: This band confirms its strong potential and has accomplished a true masterpiece.

Best songs: “The Loop”, “God Is A Machine”, “The Fall”, “Not A Saint”, “All I Want – Bonus Track”, “Split feat. A Copy For Collapse”, “Pain Is Just A Noise”.

Rate: 9.

Artist: www.facebook.com/SunsSpectrum

Label: www.coldtransmission.com / www.facebook.com/coldtransmissionmusic

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.

Top 25 industrial / darkwave albums of the year 2023

Inferno Sound Diaries — Thu, 04 Jan 2024 11:58:15 +0000

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

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

‘Click Interview’ with The Seven Whores Of The Apocalypse: ‘The Name Is A Nod To All The Faux Religious Trappings Of 80s Goth Bands’

Inferno Sound Diaries — Sat, 23 Sep 2023 17:00:00 +0000

The Seven Whores Of The Apocalypse is an American music band operating from the Twin Cities, Minnesota. Chris (samples, sounds, cover art, video art), Tom (vocals, sounds, songwriting), and Jason (vocals, sounds, songwriting, production) last year signed to European label Scanner / Dark Dimensions. After the promising EP “Wicked Hands” released in 2022 they this year unleashed the official debut album “All Through The Waste”. It’s a powerful piece of EBM; a bit atypical and characterized by accomplished, dynamic, and elaborated songs. This is a surprising production for demanding EBM lovers. I asked a few questions to Jason and Tom.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you guys have been all involved -and still are, with other projects before setting up The Seven Whores Of The Apocalypse. What brought you together to set up an EBM-driven band and where does the band name -which doesn’t sound that Electronic, come from?

Jason: We found each other on Bandcamp in 2019. We all have a background in Experimental Noise and Dark-Ambient, and right away we decided to work together on a project in that vein. We released an album in early 2020 under the name Thrill Behind Barks (with another to follow in 2024). We each have our own individual projects as well. Chris has The Creeping Man (Dark-Ambient), Tom has The Angler King (Experimental Ambient-Noise), and I record under the names Timewitch (Experimental Occult-Synth) and Perfect Female Type (Synth-Wave Pop).

The Seven Whores Of The Apocalypse was born of our shared love of 80s Electro-Industrial music, particularly bands like Clock DVA and Skinny Puppy, but also certainly more mainstream artists like Depeche Mode and New Order. I laid down a quick idea for a song that paid homage to the songs of that era and asked the guys if they’d be interested in doing something a little more structured. Tom offered to do the vocals and our first single “Parasite” was born. We were all like, oh damn, this could be a thing!

The name is a nod to all the faux religious trappings of 80s Goth bands like Sisters Of Mercy and Depeche Mode. Plus it sounds badass and it’s hard to forget once you hear it!

Tom: Jason came up with the name. I remember him telling me where exactly it came from, but that story escapes me. I do however have a very solid memory of me reciting my interpretation of its origins, and the meaning that it has to us. I got very complex with all of these biblical and religious allusions, and how they relate to the name ultimately making fun of misogynists, and it’s connection to feminist lyrics in some of our songs.

I got done telling Jason and Chris my moderately pretentious analysis, only to have Jason say something along the lines of ‘Wow, that’s a really interesting take. I just thought it was a cool name though.’

I got a pretty hefty laugh out of that. Sometimes things are the way they are just because they sound cool. I tend to write lyrics like a James Joyce-wannabe experimenting with refrigerator poetry, so it was nice to be brought back down to earth with a jolt that “not everything is drowning in symbolism”.

Q: Do you have specific sources of inspiration and/or references when it comes to composition?

Jason: I think the biggest inspiration for us when we started the project was a 1989 album called “Buried Dreams” by Clock DVA. Something about it just captured our imagination, and we wanted to do something super dark and hushed and almost Coil-like at the beginning. As we moved through a number of singles it became clear that we were moving in a more aggressive direction. Our songs got more and more up-front and assertive while still maintaining elements of hushed experimental electronica.

A big source of inspiration for us now is the kind of music we hear at local Industrial clubs. It’s a mix of Dark-Techno, Industrial, and EBM. There’s so many artists out there, and we try to learn as much as we can from these other acts. Recent influences include Black Nail Cabaret, Gesaffelstein, and Ultra Sunn. There’s a list of artists we love —both in and out of the music world — on our website sevenwhoresoftheapocalypse.com.

Tom: Clock DVA was the big one that we were inspired by with at first. We heard “Buried Dreams” and it was like turning on a light switch. However, we all have some pretty big influences in Experimental, Industrial, Dance music, and Rock, so it was only a matter of time before it changed into something like our other influences. Our more recent tracks have been more along the lines of Skinny Puppy, Thrill Kill, Nitzer Ebb, Lords Of Acid, Alien Sex Fiend, and similar groups.

Q: Tell us a bit more about the content and concept of the debut album “All through The Waste”? How did the album saw the daylight and what did you experience as the main challenges, difficulties and points of satisfaction?

Jason: The songs are presented pretty much in the order that we recorded them. We wanted to maintain similar themes as before but also broaden our perspective to include more cosmic themes of the afterlife and alien civilizations. We started recording in the summer of 2022. The first track, “The Gods Are Angry”, took almost two months to produce, which is way too long! The second track, “Slow Riot”, was kicked out in just a few days. The rest of the songs were recorded into the fall and early winter, and actually moved fairly quickly once we got past that first nightmare song.

One of my favorite things about “All Through The Waste” is how collaborative it was. Each of us contributed foundational sounds and textures to the album which I think gives it a cohesive, holistic sound. For me the biggest feeling of satisfaction came when we finished the last track! I’m incredibly happy to be working with such talented bandmates.

Tom: The content has a pretty hefty range. I like to think of the album as a string of connected concepts concerning our worldview at the time, as opposed to being a solid concept album with a primary jumping off point or narrative. Just on my part, the lyrics I contributed had to do with mental illness, physical isolation, surreal nightmares, mysticism, and other topics.

Q: What’s the input of each member in the writing/production process and what makes the chemistry of the band?

Jason: Tom and I both do vocals, although Tom does the lion’s share of the lyrical and vocal work. All three of us contribute various sounds and samples from our own respective studios. Chris handles the cover art and music videos and I do the composition and production.

The chemistry has been an interesting evolution because we all met right before the Covid lockdowns started, so all of our early collaborations had to be virtual. Now we hang out a few times a year to have a meal and catch up, but almost all of our collaborative work is done online. We send files back and forth and chat and send funny pictures around. So there’s a bit of distance there, but somehow it all works.

Tom: I don’t think that it’s ever been the same on a single track. The amount of contribution changes gradually with each release. However, the primary roles that have stayed consistent is usually Chris handling samples, production, and videos, Jason handling primary production duties as well as vocals and lyrics, and me almost exclusively doing vocals and lyrics.

Q: I noticed an impressive evolution in production and power from your self-released (debut) singles towards the songs featured at “All Through The Waste”. How do you perceive the evolution of the band? What has changed? What’s new? And what do want to achieve on further songs?

Jason: Oh thanks, that’s really nice to hear! I think the biggest contributor to the evolution of our sound and production quality is practice and experience. There’s really no better teacher. In 2020 I returned to DAW-based music after a long break, so I had to re-learn everything over from scratch. No matter the medium, all three of us are prolific artists in our own right, and that experience makes us stronger.

I’m very happy with and excited about the evolution of our band. I think the biggest change we’ve experienced is moving from moody, Ambient Electronica to a more aggressive Techno-Industrial stance. I think that stems from the influences we expose ourselves to as well as just being a little more aggressively experimental in the studio.

Having said all that, I think there’s a very good chance we could return to that hushed, dark sound of late-80s Clock DVA in a future release.

Tom: I honestly wish that I had an answer for you, but I’m not really sure. Whatever the progression has been, it feels organic, like we’re just working out the kinks and moving closer to a more solid image of what we want to do, like any group continually honing their process in whatever medium they choose. I don’t really know what’s next, and what’s after that, but I do know that I’m excited for the journey.

Q: Do you’ve new things -like live shows, tours, remixes, clips etc.. in the pipeline?

Jason: Yes, in fact we’re featured on a new remix-EP called “Pretty In Pink (Isn’t He)” by PROBE 7. One of the DJs at a local Industrial club turned us on to their work and mentioned they were looking for artists to remix their re-imagining of the classic Psychedelic Furs-song. Plus we won a remix competition last year for the Feardemic horror gaming platform, which was a huge boost.

We’d love to start doing live shows at some point, but there’s nothing on the calendar yet. Otherwise we’re back in the studio working on new material, and excited to collaborate with other artists whenever we can!

Speaking of which, I’d like to give a quick shout out to a band that caught our attention recently, one we’d love to work with soon, a band is called Thy Seven Synth. I came across their new single “A Ring To Behold” while scrolling through Reddit, and I literally had to stop what I was doing. I listen to a lot of new music this way, usually on Reddit and various Facebook groups, and most of the songs are very amateurish and unrefined. Not these guys. I can’t remember the last time I was this excited about an up-and-coming band. I reached and they were very sweet and engaged, so hopefully there’s some future collaborations there. Our names even match!

Tom: Live shows have been the most recent thing that’s coming up more often in conversations. There’s a pretty decent Industrial/EBM scene near us, so I think it would be feasible to book a show of some type.

Whether we’re playing to four waiters and a guy passed out at the bar, or opening for NIN, that remains to be seen. I think that we’ll be much closer to the former, but who cares? I’m here to have fun with my friends, and if people happen to enjoy the music along the way, then I’m ecstatic. I can only hope that we do this well into our 90s. This is by far the most fun creative project I’ve ever been involved with, and I don’t see that changing anytime soon.

Inca Babies present ‘Walk Among The Spectres’ single ahead of new album – Out now

Bernard - Side-Line Staff — Tue, 01 Aug 2023 09:21:39 +0000

(Photo by Harry Stafford and Allie Butcher) Inca Babies are an English deathrock / post-punk band from Manchester, England. Initially active between 1982 and 1988, the band reformed in 2007 featuring founder member and original songwriter Harry Stafford (guitars, vocals).

But now Harry Stafford has collaborated with US-based but Brazil-born trash blues guitarist Marco Butcher to release the single “Walk Among The Spectres”, taken from the duo’s forthcoming album “We are the perilous men” coming this Fall (September 8) via Black Lagoon Records. The material should please Nick Cave fans for sure.

In the video for the single you see Stafford who travels across town to put an electric piano-keyboard on his grave “discovering his own fragile mortality along the way” as the duo explains. The video was directed by Harry Stafford with cinematography by J.P. Conway and filmed in the expansive Southern Cemetery in Didsbury South Manchester, which dates back to 1700 and was used throughout the Victorian era. Stafford: “Now a public park, people are invited to wander among the tombstones… to literally Walk among the Spectres.”

The new album is the follow-up to their debut album from 2021, “Bone Architecture”.

“I have discovered that I spend a lot of my time knowing what I don’t want to sound like. My musical education began with punk and then, when I came to University in Manchester in the early 80s, I found myself submerged into the strange beat infused darkness of the Big city post punk music scene (Joy Division, ACR, The Fall) and I had to form the Inca Babies to make sense of it all,” says Harry Stafford. “Now 40 years later, while I have never forgotten that seismic guidance, my interests, and influence stretch so far, I need someone like Marco to constantly surprise me.”

Interview with Skeletal Family: ‘If All The Technology We Currently Use Ceased To Exist We Could Still Make Great Music’

Inferno Sound Diaries — Sat, 17 Jun 2023 17:00:00 +0000

Skeletal Family is a band ‘older’ readers and fans of Dark-Wave / Post-Punk are familiar with. Set up in the early 80s this British formation gained instant success with both debut albums “Burning Oil” (1984) and “Futile Combat” (1985). The band went through different line-up changes and splits but always came back. They this year released their newest opus “Light From The Dark” by Chapter 22. The songs are still driven by good-old Dark-Wave influences but still featuring a darker Rock approach. The band is still featuring core members Roger ‘Trotwood’ Nowell (bass guitar), Stan Greenwood (guitar) and Ian ‘Karl Heinz’ Taylor (keyboard & saxophone) plus later member Adrian Osadzenko (drums) and new singer Anneka Latta. I talked about the past and the present with Trotwood, Stan, Karl Heinz and Anneka.

(Courtesy by Inferno Sound Diaries)

Q: Skeletal Family saw the daylight more than forty years ago now. Can you briefly draw up the balance sheet of this incredible career and story?

Trotwood: The history of the band is well documented, in brief 6 albums; “Burning Oil” topped the Indie charts, “Futile Combat” was top 5. 6 Radio One session countless tours around the world

Stan: A difficult question; it’s being a most enjoyable journey for me personally. I could rant on for hours regarding the hurdles and obstacles we encountered getting here but it is easily found out by a quick Google search:-

Q: It however was a tumultuous career featuring numerous line-up changes while the band disbanded several times. How do you look back at these facts which I guess must have impacted the creativity and global career of Skeletal Family?

Trotwood: Line-up changes come from various reasons, people don’t want be in the band because of work, disagreements or they think leaving to do something else will be a short cut to more success. In the early days Stan, Karl, myself were the main writers. When Katrina joined, she did more of the lyrics and contributed musically as well.

Stan: I think the fact that three of the musicians who formed Skeletal Family (and the embryonic precursor to them, The Elements in 1979) ie Roger, Karl Heinz and myself have been playing together and writing both the music and the majority of the lyrics (until recently) for over forty years has been the most stabilising factor in the bands continued success.

Karl Heinz: I think everyone who has been in the band has had an influence on the band. I think a stable line-up would have led to a more static musical output with less development and possibly creative stagnation.

Q: The 80s have been for sure the most successful period of Skeletal Family. I think we might affirm the 80s were very special years when it comes to music but also to historical events like cold war, Falklands war, the fall of Berliner wall etc… What did you keep in mind from this decade and what has been the impact on your music and lyrics?

Trotwood: We were young in the 80’s the days of tomorrow never comes. We didn’t have families or responsibilities. We wrote about our life, loves etc. Didn’t really write much politically. Maybe “Burning Oil”. They were exciting times, we were learning our trade so to speak.

Stan: We lived in that era and one can only assume we absorbed the vibe and feel of the times. Obviously the feel of our music and lyrics reflected that. Was pretty bleak in the early 80’s but there was also a lot of optimism out there if you wanted it and searched for it..

Karl Heinz: To be honest the spirit of the 70s is more important musically to me a mix of Prog/Glam and Punk is what really influenced me along with my classical music education.

Q: Skeletal Family reformed during the past few years but here again different singers -featuring original singer Anne Marie Hurst, joined in and left again till Anneka Latta became the new singer. How did you get in touch and what have been her input to the new album?

Trotwood: We have had 5 singers in our time. All with different qualities. Anne Marie visually, Anneka both visual and musical. After Anne Marie left in 2018 we auditioned 3 or 4 singers without success. We then got Hannah Small, who was exciting, good to work with, we probably did more in the year with Hannah than the previous 10. Karl had re-joined on keys too. We wrote around 10 new songs and did a handful of dates. We had half an album. Then Hannah left. She moved out of the area. We knew Anneka, she had been in a band that had opened for us a few years ago. So I called and asked if she fancied helping us to finish the album. Then take things from there. We wrote around 10 more songs with Anneka, we also gave Anneka the instrumental versions of the songs already done. So she came up with her take on the songs. All done at Black Barn.

Stan: Anneka had actually supported Skeletal Family on a mini-tour we undertook around 2013 / 14 when she was fronting the rock band Exoterik. When we were looking for a vocalist to sing on our new songs and demos in 2020, she was one of the first people who came to mind. She did a great job on the demos so we decided to ask her to join the band!!

Q: Tell us a bit more about “Light From The Dark”. What kind of album did you’ve in mind and how did it see the daylight?

Anneka: With “Light From The Dark” being the first Skeletal Family-album in over a decade and of course, with myself as a new singer, it was clear to us all that this album was going to be something a little different. We still wanted to keep the iconic Skeletal Family sound but we also wanted it to sound new and exciting. Hence why we decided upon the name “Light From The Dark”.

Stan: We started writing songs with an intention to releasing them as a complete album around mid 2019. There were plenty of ideas floating around and we just started putting them all together. By around 2020 we had ten songs complete with vocalist Hannah who we were working with at the time but the COVID epidemic screwed everything up.

Hannah moved away from our vicinity which made it difficult to complete the album both due to traveling logistics and the COVID isolation rules. Thankfully we approached Anneka who lived locally (the band she was fronting, Exoterik had actually supported Skeletal Family on a tour we had undertaken in 2013) who seemed really interested in doing something with them.

We basically stripped the original vocals off the tracks and Anneka came up with brand new lyrics and melodies which we then embellished with more overdubs.

In addition to this we also recorded another ten or so totally new songs which we all wrote as a team, ultimately picking our favourite ten out of them all for the finished album..

Karl Heinz: Personally I didn’t feel we had a plan, we just set out to make songs we liked and were proud of.

Q: What inspired you in the title- and lyrical themes of the album? And is there still a connection with the early, lyrical, themes of the band?

Anneka: Many of the classic Skeletal Family song lyrics were penned by Trotwood but when I joined the band in 2021, they allowed me free reign over the lyrics. Looking back at the lyrical content and knowing it was written during the global pandemic, the themes touch upon the rollercoaster of emotions that I’m sure everyone will feel all too familiar with but throughout it all, as the title of the album suggests, we created light from the dark.

Stan: We discussed quite a few different album titles before deciding on the current one. It seemed a pretty apt title considering the depressing nature of the COVID lockdown and the optimism we all felt when all that was lifted and the album was ready to release.

We had already commissioned quite a few photo sessions for the band and the album title was already agreed upon. We gave Matt, who designed the cover, the working title and photos and left it up to him to complete. Apart from a few minor tweaks he presented us with the sleeve for the commercial release which we were all well pleased with.

Trotwood: Lyrics for this album are all by Anneka, so I doubt if there is any connection with the past. We like to keep moving forward. I tend to find links to the past frustrating because I feel we have so much more to offer. In the last 10 years we were held back in the writing process for different reasons.

Q: “Light From The Dark” has been recorded and mixed in Paul Weller’s studio. What’s the connection with Paul Weller and how did the recording happened?

Trotwood: I’m Paul’s guitar technician, have been with him for 22 years. So I have a good relationship with him. He is good at helping bands in general.

Q: Studio equipment and recordings techniques became that different from the 80s. How do you perceive these evolutions and modern technology versus internet, social media, streaming platforms etc?

Anneka: I think it’s important to always keep in mind where you’ve come from and to appreciate the hard work, skill and challenges that we all face as musicians throughout the years but it’s also important to embrace technology. A lot has changed since the band first started recording in the early 80’s, from the limitations with studio technology right through to the use of internet and the ease of having music at our fingertips. It’s a great time to be alive, making music.

Trotwood: Things are very different today from the 80’s. On a whole a lot better and easier. Social media is a necessary evil. The internet and computers have made things a lot easier, playback PA systems amps guitar pedals all things that are evolving.

Stan: There have been massive changes in both, how a band records and the way they can access press and social media to promote themselves. I’ve never being a retro kind of person and totally embrace the means and technology available.

Karl Heinz: It makes life easier. Data can be transferred digitally you can record parts at home and add them to the master tracks. You don’t have to remember settings for each song when playing live as you can program everything in advance. I’ve used computers to create music since the mid 80s. One thing is certain if all the technology we currently use ceased to exist we could still make great music .

Internet and social media are great for getting information and contacting people but can be addictive. You can get obsessed with the number of ‘likes ‘ you get.

Q: I think there was a real kind of 80s spirit but how is it today? Do you still see similitudes?

Trotwood: There’s a lot of people who want to keep the spirit of the 80’s going. Personally I like to keep moving forward.

Karl Heinz: 80 is a number I just want to make music like I did then. The year of decade is unimportant..

Q: Are you interested in contemporary music industry and underground scene? Do you sometimes recognize yourself in the global approach and spirit of ‘younger’ bands?

Trotwood: Yes interested in all kinds of music, good to hear good young bands. We have seen one or two younger bands covering our songs which is good.

Stan: I am still hugely interested in the current ‘scene’. There are some great new bands out there which I am getting into. I find it really humbling that we get younger bands coming up on the scene mentioning that we are / were one of their favourite bands and our music was a great influence on them!

Q: Live shows remain an important and essential side of the band. How do you see Skeletal Family as a live band and how did you see the band evolving throughout the years and new line-ups?

Trotwood: Skeletal Family are very much a live band who will get better and better. This is probably the best line up we have had.

Stan:Maybe I sound a bit harsh, but realistically band members do come and go over the years but I feel we have always kept the nucleus of the three founder members to keep the ship sailing on the right course so to speak, hence the guitar, keyboards/saxaphone and bass retain the classic Skeletal Family ‘sound’.

We always actively encouraged new members to be proactive in doing their own thing whilst playing in the band, that way it never gets stale and is always exciting and interesting to reinterpret the a live scenario!!

Karl Heinz: I hope people will still find us exciting live. I know I do. My old bones still have a bit of a pogo on stage.

Q: What are the further plans of the band right now?

Anneka: We’re looking forward to taking the new album out on the road and sharing the experience with those who come to see us. It’s great to feel connected with our audience so meeting people at gigs and playing our music live is a lot of fun for us all. We also have lots of ideas for new music too so we hope to start writing and recording these as soon as we can.

Trotwood: I’d like to see more albums and tours. Could be shows in the US later in the year. Though I think next year will be busier on the live side of things.

Stan: We are already having a great year. The new album is already receiving great reviews and feedback. Gig wise we are booked to play a few high profile festivals in UK and hopefully more on Europe, plus a week long North American tour is currently being scheduled for October/ November 2023.

We are already writing new material for the next album. The future is looking bright!

Karl Heinz: More songs, more shows. Not a complex mission statement but it works for me.

IAMX releases new song and video ‘The X ID’ ahead of ‘Fault Lines1’ and announces tour dates

Bernard - Side-Line Staff — Tue, 25 Apr 2023 09:06:02 +0000

(Photo by Gretchen Lanham) IAMX’s new single “The X ID” is out now ahead of the new album “Fault Lines1”, due out May 12th. The song is the first new lyrical material from the project since 2018’s “Alive In New Light” and builds on the modular sounds of 2021’s “Machinate”.

The first of two albums across the next year, the “Fault Lines” project explores “the rifts and fractures of our lives, both psychologically and within the tangible world” so Chris Corner says. And he adds: “I am humbled that, here at IAMX HQ everyone is fully present, dedicated and invested in serving this art and authentically living an alternative life in mental and physical freedom. This video is a document of that freedom. The X ID is and has always been a major part of my personality. It is my brutal, provocative gender bending screaming inner demon, my magnetic swaggering hedonistic ego, the deepest darkest beautiful me which I am able to live out through this music. On stage, in videos, through my community. Over time I have learnt to embrace, inhabit and wield this X ID. Without hesitation or guilt. And I see it as my duty to encourage others to embody and express who they are.”

The video for “The X ID” plays with themes of gender, S&M and unreality. In the video you can watch how Corner guides you through a sensory overload of nature.

Tour

IAMX will bring the full band production back to the stage for a North America tour beginning next month and a European tour in the fall.

Chris Corner and longtime live collaborators Janine Gezang (vocals, keys, bass) and Jon Siren (drums), will interpret classics and favorites from throughout the expansive IAMX catalog alongside the new material of “Fault Lines1”.

In North America, IAMX will be joined by the dark electronic project I Speak Machine who recently opened for Gary Numan, and will end the tour in Los Angeles with an explosive opening act from Skinny Puppy co-founder cEvin Key. See below for a full list of live dates.

NORTH AMERICA

27 May – San Diego, CA – Brick By Brick
28 May – Phoenix, AZ – Nile Theater
30 May – El Paso, TX – Rock House
1 June – Austin, TX – Elysium
2 June – San Antonio, TX – Sam’s
3 June – Houston, TX – Numbers
6 June – Tampa, FL -Orpheum
7 June – Atlanta, GA – Aisle 5
9 June – Baltimore, MD – Metro Gallery
10 June – Philadelphia, PA – Warehouse on Watts
11 June – New York City, NY – Le Poisson Rouge
14 June – Rochester, NY – Photo City
15 June – Toronto, ON – Lee’s Palace
16 June – Detroit, MI – The Magic Bag
18 June – Madison, WI – Crucible
19 June – Kansas City, KS – Record Bar
21 June – Denver, CO – The Oriental Theater
22 June – Salt Lake City, UT – Urban Lounge
24 June – Seattle, WA – El Corazon
25 June – Portland, OR – Hawthorne Theater
27 June – Sacramento, CA – Harlows
28 June – San Francisco, CA – DNA Lounge
29 June – Los Angeles, CA – Mayan Theater*

All shows with I Speak Machine
*with cEvin Key

EUROPE

26 September – Bratislava, SK – Majestic Music Club
28 September – Prague, CZ – Lucerna
29 September – Budapest, HU – A38
30 September – Graz, A – PPC
01 October – Vienna, A – SIMM City
03 October – Sankt Gallen, CH – bruchteil grabenhalle
04 October – Munich, D – Ampere
06 October – Barcelona, E – Apollo 2
07 October – Madrid, E – Sala Mon
09 October – Brussels, B – Ancienne Belgique
10 October – Paris, F – Trabendo
11 October – Cologne, D – Live Music Hall
13 October – Leipzig, D – Täubchenthal
14 October – Hamburg, D – Markthalle
15 October – Copenhagen, DK – Amager Bio
17 October – Utrecht, NL – Tivoli De Helling
18 October – Frankfurt, D – Zoom
21 October – Berlin, D – Columbia Theater
22 October – Warsaw, PL – Progresja
24 October – Wroclaw, PL – Zaklete Rewiry
25 October – Brno, CZ – Fleda
27 October – Stockholm, S – Slaktkyrkan
28 October – Gothenburg, S – Trädgår’n
30 October – London, UK – O2 Academy Islington

Cultivated Bimbo re-release 1993 track ‘Last Damage’ as a 2-track single featuring two reworks

Bernard - Side-Line Staff — Mon, 24 Apr 2023 13:35:14 +0000

After three decades since its initial release, the track “Last Damage” by the Swedish electro cult act Cultivated Bimbo receives a complete revamp with the 2023 remake and an EBM remix via Microlab Studio. The EP will be released on May 12.

The 2-track single is in pre-order now via the band’s Bandcamp page.

Cultivated Bimbo, a musical act that began producing under various aliases in 1985, signed under their current name in 1990. After a five-year stint, they vanished from the Swedish music scene until 2019, when they began to remaster their old material from 1985 to 1990. This culminated in the 2020 release of “Prequel”, an extensive digital compilation of 222 tracks that saw the light of day on Progress Productions and Bandcamp.

Since then, the band has been busy remastering and reworking their music from 1990 to 1995 while also crafting new tunes. Last year, they dropped two new tracks – “Propaganda” and “Product 22” – and this year they have already released a remastered/remixed version of “Dead Aim And Attack” and an instrumental mix of “Wendy Takes The Fall”.

And now, the time has come for the Wallin / Ö-dahl penned track “Last Damage”, taken from the 1993 release “Your Useful Guide To Life” originally released via Energy Rekords.

Cultivated Bimbo has plans to unleash a wave of old tracks, unreleased material, and remixes spanning the years from 1990 to 1995 in the near future.

Peter Murphy’s ‘Unexpected Medical Procedure’ delays ‘Celebrating David Bowie’ tour

Bernard - Side-Line Staff — Fri, 31 Mar 2023 17:24:32 +0000

We are still getting quite a few questions regarding this, so here it is again. The “Celebrating David Bowie” tour has been postponed to the fall due to headliner Peter Murphy undergoing “an unexpected medical procedure that prevents his ability to travel as planned,” as announced by the his management. The Bauhaus frontman is recovering well and is expected to be fully fit to tour the U.S. in the fall.

The tour, which also features guitarist Adrian Belew and members of Spacehog and A Perfect Circle, was initially scheduled for April and May. The rescheduled dates now begin in October and continue through late November. The tour itinerary remains largely unchanged, albeit in a different order, and has expanded from 26 to 27 dates with the addition of a concert in Chicagoon November 21st. The planned San Antonio, Texas, stop has been moved to nearby Austin. More information can be found at celebratingdavidbowie.com.

The assembled musicians will highlight David Bowie’s greatest hits during the tour, with a strong emphasis on Ziggy Stardust, the Berlin trilogy (“Low”, “Heroes”, and “Lodger”), and his later Trent Reznor-inspired years. Murphy and Belew, who have both played with Bowie and Nine Inch Nails, will be joined on stage by guitarist Scrote, Spacehog frontman Royston Langdon, A Perfect Circle members Matt McJunkins (bass) and Jeff Friedl (drums), saxophonist Ron Dziubla, and guitarist Eric Schermerhorn, who played with Bowie’s Tin Machine.

Murphy had been touring with the reunited Bauhaus last year, but the journey fell apart when Murphy entered rehab in late August. The other members of Bauhaus have since agreed to reform as Love and Rockets.

Initial Rescheduled Appearances are:

10/10 Tacoma, WA Temple Theatre
10/11 Portland, OR Roseland Theater
10/14 San Francisco, CA The Regency Ballroom
10/16 Anaheim, CA City National Grove of Anaheim
10/17 San Diego, CA Music Box – San Diego
10/18 Phoenix, AZ Celebrity Theatre
10/20 Austin, TX ACL Live at The Moody Theater
10/21 Tulsa, OK Tulsa Theater
10/22 Grand Prairie, TX Texas Trust CU Theatre
10/24 Houston, TX House of Blues
10/25 New Orleans, LA House of Blues
10/26 Atlanta, GA Variety Playhouse
10/29 Ft. Lauderdale, FL Broward Center – Parker Playhouse
10/31 St. Petersburg, FL Mahaffey Theater
11/03 Chattanooga, TN Soldiers and Sailors Memorial Auditorium
11/05 Virginia Beach, VA Sandler Center for the Performing Arts
11/06 Washington D.C. The Hamilton Live
11/10 Glenside, PA Keswick Theatre
11/11 Ridgefield, CT Ridgefield Playhouse
11/12 Westbury, NY NYCB Theatre at Westbury
11/14 Red Bank, NJ Count Basie Center for the Arts
11/15 Englewood, NJ Bergen Performing Arts Center
11/16 Lynn, MA Lynn Auditorium
11/17 Staten Island, NY St. George Theatre
11/20 Munhall, PA Carnegie of Homestead Music Hall
11/21 Chicago, IL Copernicus Center %
11/22 Cincinnati, OH Taft Theatre

% – New Confirmed Performance – On-Sale 4/14

About Peter Murphy

Born on July 11, 1957, Peter Murphy is an English singer, songwriter, and musician. He is best known as the lead vocalist for the post-punk goth rock band Bauhaus. When Bauhaus initially split up, Murphy collaborated with Japan’s bassist Mick Karn to form Dali’s Car, releasing one album titled “The Waking Hour” (1984). Subsequently, Murphy embarked on a solo career, releasing several albums, such as “Should the World Fail to Fall Apart” (1986) and “Love Hysteria” (1988).

In 1990, Murphy found mainstream success with his hit single “Cuts You Up”, which topped the American Modern Rock Tracks for seven weeks, and the album “Deep” also achieved commercial success. In 1992, he released “Holy Smoke” along with the lead single “The Sweetest Drop”.

In 2002, Murphy collaborated with Turkish-Canadian composer and producer Mercan Dede on the – excellent – album “Dust”, which showcased a departure from his previous pop and rock styles. The album incorporated traditional Turkish instrumentation and songwriting, blending elements from progressive rock, trance, classical music, and Middle Eastern music with Dede’s signature atmospheric electronics. In 2014, Murphy released “Lion”, produced by Killing Joke’s Youth.

With his thin frame, striking cheekbones, deep baritone voice, and affinity for dark poetry, Murphy is often referred to as the “Godfather of Goth”.

Oakland post-punk band Low Praise announces debut LP ‘Dressing’, shares new single ‘Forget That It’s Summer’

Bernard - Side-Line Staff — Tue, 28 Mar 2023 07:48:12 +0000

The Oakland-based post-punk group Low Praise recently revealed their debut LP, “Dressing,” scheduled for release on May 19, 2023. Prior to the album launch, the band has shared their latest single, “Forget That It’s Summer.” Drawing musical inspiration from late 70s post-punk acts like The Fall and Wire, Low Praise had previously released two EPs, “Expectations” and “Tanning Beds,” both recorded by Andrew Oswald (Marbled Eye).

Warren, the founding member of Low Praise, describes the process of creating their new single “Forget That It’s Summer.” The song was written during the height of the Covid pandemic when the band members experienced fear, anxiety, and loneliness. Initially, they composed the song by exchanging loops and experimenting with different layers while being physically apart. Later, they reworked the song into a more stripped-down live band version when they could finally reunite. The song’s theme reflects the forced reflection and appreciation of simple things in life during the pandemic, accompanied by a dance groove.

Low Praise’s debut LP “Dressing” was recorded during two sessions divided by a year of Covid restrictions. The band members came together afterward to recreate their digital works into a stripped-down, three-piece live format. Jay Pellicci (Deerhoof, The Dodos) engineered “Dressing,” while Jason Cupp (Maps & Atlases, American Football) mixed the album.

Here’s the band’s newest video.

‘Click Interview’ with Vexillary: ‘Music Has Always Been An Anchor For Me’

Inferno Sound Diaries — Sun, 30 Oct 2022 18:00:00 +0000

Vexillary is the sonic project of New-York based producer Reza Seirafi. The name of the project stemmed from his need for something abstract that didn’t convey a meaning right away. A name that took on color and meaning overtime as the project evolved. Vexillary sounded witchy, dark, and abstract. The sound is mixing different influences together; from Techno to Cold-Wave to EBM to Electroclash to Industrial. Reza Seirafi this year unleashed his second full length album “Crash And Yearn” by Con:trace. The work moves on there where the debut album “Full Frontal Lunacy” stopped while there’s a Pop touch on top. This is a project you definitely have to discover and talked about it with Reza Seirafi.

(Courtesy by Inferno Sound Diaries)

Q: Vexillary is already active for numerous years. How do you look back at the earlier work and your evolution as musician/producer, but still the evolution in influences and music styles?

Reza: Might seem a little cliche but the key to moving forward and evolving the project is to not look back often. I’m beyond proud of every release of mine but it’s pretty apparent that the first 6 EP’s were like an apprenticeship of sorts to get me ready to do my recent LP’s.

There’s been lots of leaps and growth musically in recent years thanks to the earlier work that set the foundation, but I only rank the quality of my music based on the latest projects and outputs. Luckily in my case the latest is usually the greatest and I hope to keep up that trend.

Of course, over time you grow to create your own pallet and box of tricks but for me it’s always about expanding that pallet and getting outside of my comfort zone. I’m inspired and influenced by new things as well which is something that I’m proud of. It’s good to be influenced by new things and try to put your own lens on it. It’s a sure way to end up in interesting territories.

Q: Your debut-album “Full Frontal Lunacy” released last year was a kind of introspective- and very personal work dealing about inner demons, right? How do you look back at this period and what has been the strength and impact of music as ‘cure’ or ‘therapy’?

Reza: I always saw “Full Frontal Lunacy” as an exaggerated self-portrait. it was very me, I was that leather clad burn out drinking absinthe in odd corners of the world. So, tracks like “Burnt Leather” and “Absinthe Minded” and others were self-reflective.

But I’ve always been lucky enough to come back from the fringes naturally one way or another. That’s where the similarities stop. The album highlights a story in which the protagonist couldn’t return to normal and the flirt with madness quickly descended into a downward spiral. It was asking what if there is no return, what if I pass that point?

I think music has always been an anchor for me, more so than a cure or therapy. It’s a way to stay grounded through the madness of the day to day. The recording sessions for “Full Frontal Lunacy” was proof of that. Despite the intense vibes of the album it was actually some of the most methodical and focused working sessions I’d ever had.

Q: The new album “Crash And Yearn” seems to be inspired by the famous fall of Icarus? I see the title as a metaphor to the world we’re living in, but what did you exactly try to express and deal with? And how do you transpose themes into music?

Reza: Yes, it’s loosely based on the Fall of Icarus. Not sure if the theme was there first or it slowly shaped up throughout the recording of the record. Not to reveal too much, but It was again stemming from a personal crash, highlighting a time where I totally hit a wall through the endless pursuit of my own obsessions. I’ve always been an over doer for better or worse and my life has echoed the story of Icarus numerous times. I think most people who are driven by their passions have a similar story to tell. To me, it’s totally humanistic.

But I like to leave things open to interpretation and your point is an interesting take. I think as a society we’re approaching a melting point and an inevitable crash. To me it’s also a fetishistic idea too, that no matter how hard the fall, one would do it again and ‘yearn’ for more just because the potential reward seems worth it.

About the use of themes, for me it’s nice to have a concept when approaching songs or albums, it helps with staying focused and work with specific type of sounds and tempos, etc. For me it’s crucial to keep it somewhat abstract though, so that it’s more of a personal or unique retelling of a story vs the obvious. The concepts are there if you choose to look deeper but it’s way more important to make sure the record works sonically on its own when removed from the story.

Q: How did the transition from “Full Frontal Lunacy” towards “Crash And Yearn” happened? Do you see an impact of the theme(s) you’re dealing with upon the atmosphere, rhythmic… and global production of the songs/albums?

Reza: I never stopped recording after making “Full Frontal Lunacy”. I knew that the record was done at some point but I was enjoying staying in the studio mode so I just kept going. First few songs after the album lacked direction but I was naturally writing more rhythmic patterns.

I knew I wanted to do something different this round but it was the recording that told me where to go vs me coming in and saying the next thing has to be x, y, and z. Once I started seeing a trend towards the higher bpms, lyricism, and emotions in my new stuff that’s when I realized that the new album was going to be this Technoid Dark-Wave album. From then it was a matter of filling the blanks.

Working with Baylee, the vocalist on most of the album, also brought a new angle. Suddenly I felt like I could push the song driven ideas more and move away from writing ‘tracks’. There were some growing pains to get that right though, I have to say. Songs like the title track and “The Fall” and “Bow Down” were a completely new territory for me but it felt exciting, so I forged ahead.

I’m beyond happy with where I’ve landed with this record at the end. When you make records and albums back-to-back in a short period you run the risk of making the same thing over again, but here we are. “Crash And Yearn” feels completely different, which is great.

Q: The vocals are getting more important and definitely are an important evolution compared to early EPs. What are vocals adding to your music and what are the main criteria you’re using to work with guest singers? What’s their impact and input on lyrics and eventually composition?

Reza: I think there’s more vocals now cause simply I got more to say. I’m well aware that I mainly did instrumentals in the beginning so those are still a strength of mine and fun to work on. Things kick into a new gear however once I’m thinking about vocal melodies. Think the vocals are simply replacing some of the extra synth parts that occupied the same space in the past. But now the concepts can be conveyed lyrically as well as musically.

In terms of the guest vocalist I’ve been lucky to have had a few great collaborators. I foolishly think I can do all sorts if male vox which is why so far I’ve done all the male vocals and guests are invited to add the female voice and POV. Think some lyrics can be more potent when delivered by a female voice which is how I generally assign tracks.

On “Crash And Yearn” however, I stuck with Baylee on 6 of the tracks and I did only one myself. Think her voice brought a nice focus to the record and kept the album in a viewers POV. With “Full Frontal Lunacy” most of the lyrics was from a first person view, “I’M Absinthe Minded”, “Welcome To My Lunacy”, “I’m Tarred And Feathered” to paraphrase a few parts. This round it was all about how the actions were viewed “You Crash And Burn, You Never Learn” and so on.

“Crash And Yearn” as a result is like the flip side of “Full Frontal Lunacy” to a degree.

Q: What’s your way of working and composing songs? How do you see yourself as musician/producer? And what’s the next step now?

Reza: I’m a beat maker at heart and naturally all else is designed around the initial beats that I’m putting together. Once I have a series of beats that are connected and react to each other, I have the basis of an arrangement. From then I usually pick a key for the track (not always though) and write riffs, bass lines, and synth parts.

I’m an Ableton producer so I don’t write in a linear way, I create jams and see how they all sit with each other. Things that work together and gel are elaborated on. Once I have an arrangement, I get into sound design and pick the right sounds much like casting a movie, the sonic characters must be right for the parts that I’m assigning.

The vocals are next, usually working off a demo that I track earlier in the process. Once the final vox is ready, I go to town with the mix. The only part that I don’t do is the mastering, simply because you can get immune to certain sounds after mixing a track for a while so nice to get that taken care of by someone with fresh set of ears. Eric Sneo killed it on the masters this time I must say.

Next steps for me are releasing the videos for the new album. The video for “Come As Your Madness” should be out by the time our chat is published. I’ve also made videos for “Le Diable”, “Bullet” and “Haute Cadaver” which should be following soon. I’m also working on a split EP with an exciting artist from Spain that might drop before the end of the year. And yes, album number 3 is in full gear too, so hope to share that with you guys as soon as it’s ready.

New single and video from Swedish darkwave artist aux animaux

Bernard - Side-Line Staff — Tue, 06 Sep 2022 14:11:43 +0000

aux animaux, a darkwave artist based in Stockholm, Sweden, has just released a new single and video for the track “Devil inside”. The song is written, produced and mixed by aux animaux while the mastering was done by Doruk Öztürkcan from She Past Away. The single is accompanied by a remix of the song by italo legend Tobias Bernstrup.

“Devil inside” is the second single from her upcoming EP “Hauntology” which will be released later this Fall. The first single was “Haunted” which was released last year where she had worked together with the Malmö darkwave band abu nein.

Here’s what she says about the song: “The song is about confronting one’s inner demons and accepting them. I derive my inspiration from both horror films and having done a lot of own shadow work especially during the pandemic when I sat isolated from my social circles.”

The video for the track was made together with Jonas Fransson from Then Comes Silence.

Here’s the 2-track single.

Devil inside by aux animaux

About aux animaux

aux animaux is a one woman project, born and raised in Istanbul and residing in Stockholm, Sweden. aux animaux’ music is marked by the use of the theremin both on songs and at live performances plus haunting vocals. Her songs draw inspiration from the 80s dark wave and goth bands, as well as occultism and horror movies.

aux animaux released her first songs in 2017. She has been touring both in Sweden and rest of Europe, opening for artist, such as She Past Away, Hante., Then Comes Silence among others. Her debut EP “Black Holes” had politically loaded songs that were about animal rights, feminism, criticising the society, whereas the sophomore EP “Stockholm Synthrome” combines this approach with a more personal one, among others narrating her decade long struggle with misophonia.

In the fall of 2021 she released her single “Haunted” that she co-produced with the Swedish dark wave band abu nein. In spring of 2022, she released her EP “The Hydesville Episode”, which she produced and mixed entirely on her own that’s more experimental than her previous work reminding of horror movie soundtracks.

www.facebook.com/jrstange

The Murder Mystery releases first of two new singles

jrstange — Fri, 27 May 2022 16:17:42 +0000

(By our Norwegian correspondent Jan Ronald Stange / Hello Human Records press release) Norwegian doomsday pop duo The Murder Mystery will release two singles in the coming weeks, starting off with ‘A Girl Named Red’ on all streaming-services May 27th (listen to it at the end of the article).
Two weeks later, June 10th, a total remake of the old demo track ‘Amphetamine’ will be out. (PS! I’ve heard’em both – excellent tracks!)

The Murder Mystery (Bjørn-Erik Borg and Ole Andreas Hagen) have been an active band since 2005. They have released several demos and EPs in addition to the two albums ‘The Murder Mystery LP’ (2017) and ‘HNFS’ (2018). They have played numerous gigs and festivals around Norway, as well as played support for bands like Agent Side Grinder, Kontravoid, Spleen United etc.

If you recognize the band name it might be because in the fall of 2021 the band was chosen from over 1500 contributions to be included on Side-Line Magazine’s compilation “Post-Punk (Genesis)”, available on Bandcamp and Spotify. They’ve also been included on a compilation released by the Swedish magazine Svartpunkt (#3) and on the soundtrack to the NRK (the National Norwegian Broadcaster) produced TV series ‘Unge Lovende’.

Written and recorded by The Murder Mystery, mixed by Gunnar Kjellsby. Released in co-operation with Swedish/Norwegian indie label Hello Human Records.

Listen to the new track below or buy it on Bandcamp, and come back in about two weeks for more!

jrstange

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… 😉

Exclusive: French coldwave act Je t’Aime releases video for ‘Dirty Tricks’

Bernard - Side-Line Staff — Wed, 11 May 2022 10:35:00 +0000

The French coldwave act Je t’Aime has a brand new video out for the track “Dirty Tricks”. The video was directed by Quentin Caffier and produced by Sélénites Films & Noires Productions. Shot at Le Bus Palladium (Paris) and Studio Five Monkeys (Ivry-sur-Seine) the video is the 4th single taken from the band’s recent album “Passive”.

The first single of “Passive” was the song “Another Day In Hell”, released in the spring of 2021 and the second “Give Me More Kohl” in the Fall of the same year with a music video. The third, “Stupid Songs”, was released on Valentine’s day to accompany the release of “Passive”.

Here’s the video for “Dirty Tricks”.

And here is the full album, out as download, CD and vinyl.

PASSIVE by JE T'AIME

About Je t’Aime

Je t’Aime consists of dBoy, Tall Bastard and Crazy Z. Merging electro-clash, new-wave, and post-punk, they founded Je t’Aime in 2018 and released a first eponymous album via both Icy Cold Records and Manic Depression Records. A live album called “Live At Gibus”, recorded in Paris, followed immediately.

In 2021, the silence of the three men reached a point where their labels began to wonder whether they were a real band and musicians capable of writing other records, or another one-hit wonder talent. But it appeared they had secluded themselves on the Brittany coast recording “Passive/Agressive”, a double-album. The first part “Passive” was released on Valentine’s day February 14th, 2022, while the second part “Agressive” will follow next October.

Sheffield-based cult act In The Nursery returns with ‘Ektachrome (The Animator)’ – first single from new album out February 25, 2022

Bernard - Side-Line Staff — Fri, 03 Dec 2021 13:14:48 +0000

Currently celebrating their 40th anniversary year, Sheffield-based cult act In The Nursery will release a brand new studio album in late February 2022. Entitled “Humberstone”, it refers to the family surname of the identical twins Klive and Nigel who are the core of this – exquisite – project.

But first there’s “Ektachrome (The Animator)”, the first single from the new album.

You can download the single right below.

Ektachrome (The Animator) by In The Nursery

Looking back in time

The record is a deeply personal record that sees them in reflective mood as a year in which they also turned 60 (yes time flies!) comes to a close.

“We have always needed a reason to make music, a rationale for its creation and existence,” they state. “As composers, the two of us are conscious of the connection between music and memory. The loss of family is a strong emotion, one that we’ve harnessed to revisit our past. Our antecedents have been a catalyst and a stimulus for this new album and it has been good to reconnect and remember.”

Recorded at the group’s own Beehive Works studio in Sheffield, each track on “Humberstone” is prefixed with an ‘H’ number to indicate the order in which ideas came to the twins when writing the album.

You can pre-order the new album right here.

About In The Nursery

In The Nursery formed in 1981. Their cinematic music blends electronica, classical arrangements, orchestral percussion and soundscapes.

Since 1981 ITN have released over 25 albums and their music has been used on numerous film soundtracks and trailers that include “Game of Thrones”, “Gran Torino”, “Beowulf”, “The Aviator”, “Interview With A Vampire”, “Along Came A Spider”, “The Rainmaker”, plus the TV series “La Femme Nikita”.

In parallel to their studio albums, ITN have also developed their Optical Music Series, recording new scores for classic silent films such as “The Cabinet Of Dr Caligari”, “Asphalt”, “Man With A Movie Camera”, “Hindle Wakes”, “A Page Of Madness”, “Electric Edwardians”, “The Passion Of Joan Of Arc”, “The Fall Of The House Of Usher” and “The Seashell And The Clergyman”.

Their last studio album, “1961”, took its title from the year in which the twins were born and drew inspiration from historic, literary and personal connections to that year. It was released in 2017.

‘Click Interview’ with The Rorschach Garden: ‘The Rorschach Garden Always Was And Still Is My Musical Diary’

Inferno Sound Diaries — Sun, 21 Nov 2021 18:00:00 +0000

The Rorschach Garden can be seen as an ‘old’ project. Set up in 1988 by Philipp Münch (Synapscape, Ars Moriendi, Mandelbrot, Rasputin ao) and joined throughout the years by different extra members, The Rorschach Garden has been also put on hold and next reactivated. Philipp Münch remains the single member on board. He this year released a new opus “We Are Vanishing” (Ant-Zen), which is a new exploration of retro-Electronics, getting us back to the golden years of Electro/Minimal-Wave music. I’d a chat with this prolific and talented artist.

(Courtesy by Inferno Sound Diaries)

Q: The Rorschach Garden was originally set up in the late 80s. Several members joined in and left, the project was put on hold and reactivated. Can we speak about a turbulent history and how do you see The Rorschach Garden ano 2021?

Philipp: I would not speak about a turbulent history. Most of the time I was inspired and willing to do The Rorschach Garden, but there were times when there was nothing to say or to sing or other music was more important to me. So I announced the end of the project two or three times since I have no masterplan and most things are going to happen. That was similar with my co- members. We had a good time doing this together, but after a while it was time to move on.

So in 2021 The Rorschach Garden is 33 years old. I do not need anything to prove anymore. If I’m inspired it’s a lot of joy to do this kind of music.

Q: Philipp, you’ve been involved with an endless list of bands/projects, but I always considered The Rorschach Garden as something different. What does it mean to you and what makes the difference between this project and all the others?

Philipp: The Rorschach Garden always was and still is my musical diary. A blend of everything I notice and feel, of course in my own weird view. It is like a never ending journey. The longing to arrive is always there and gives it a bittersweet melancholic blend.

Also as a person I remain unfinished. I still oscillate between different states like young, old, male, female, tired, awake and so on. This is reflected in my music.

Q: Let’s talk about the new album “We Are Vanishing”. What did you try to express by the title and what kind of album did you want to accomplish sound-wise?

Philipp: The title is about my fascination for Autumn. I love falling leaves and the smell of rotting organics. Strong fog when everything is blurring engages my imagination. Yes, you can consider me as a romantic and of course I agree with gothic clichés. Back in the 80s I was a New-Wave guy. I still have this in my heart. Originally this album was supposed to be released somewhere else, but we never really got into a proper way of communication. So I cancelled this when Stefan Alt (Ant-Zen) who also did the artwork, invited me to do it on his label. A vinyl edition would have been too much, so we made a CD album with 4 additional songs which were not on the original album. Sure you hear my way of New-Wave/Synth-Pop. Some songs are a bit more modern, others very typical. I want it that way and since I’m not bound to success, why should I change this?

Q: How much of the early The Rorschach Garden do you still recognize in “We Are Vanishing” and how do you analyze the evolution of the project –versus your own evolution as musician/artist, throughout the years?

Philipp: In the early days The Rorschach Garden was not bound to New-Wave and Synth-Pop. I also did this, but also a lot of Experimental stuff. Also when I met friends to record some music, The Rorschach Garden was still my vehicle for things I wanted to do on my own. Since my Experimental strains got a home elsewhere, the song oriented styles remained. And yes, there is still something in it you also can find in my early times. Maybe I’m not that desperate anymore…

Q: I noticed more and more artists are getting back to the 80s, using analogue equipment/sounds to compose their music while even famous artists are again releasing their work on cassette format. What do you think about it all and how do you look back at this unique decade when it comes to music and the evolution of Electronic music?

Philipp: It’s good to see young people doing this in their way. The 80s were an intense decade with all the coldness, fear and paranoia. The end of the cold war, the fall of the iron curtain led to the 90s spirit of limitless freedom and life as an ongoing party. It was nice indeed, but those times are gone. Also today we are aware of eminent major threads and we need to get along with it. So it is a plausible way to express feelings and emotions.

Analog equipment is very handy and I like it a lot, although I record my music into a DAW because it gives me flexibility and total recall. I would not swap that with a 4-track cassette recorder. It astounds me that people are paying insane prices for those. But it’s totally ok. You can also have all those reissued or cloned analog synths. It never was that easy to dive into this kind of sound. Happy times.

Q: The ongoing pandemic and especially the quarantine has been inspiring and a very prolific period for a lot of artists. What has been the impact on your own work and activities? What did it change for you as musician and human being?

Philipp: It’s still difficult to play some shows and I’m happy to say ‘I had my times’. It is about time to respect the young generation and give the stage to them. I’m not in an urgent need to play on stage. Music will always be important to me like breathing or sleeping.I still feel a bit uncomfortable when I see crowds but I’m also happy to meet friends again. We will see where this all is leading to. Thank you for your questions!

The Operating Tracks are back with an all new single: ‘Poison ID’ feat. Emma Anitchka (The Guilt)

Bernard - Side-Line Staff — Thu, 21 Oct 2021 11:51:42 +0000

The Operating Tracks have released a brand new video and single for the track “Poison ID” featuring Emma Anitchka.

For those not familiar with the band (a shame!), this Swedish combo – based in Stockholm – started in the fall of 2014 based on their musical roots which was in times when DAF and The Normal were revolutionary and when they, for the first time, heard about Orwell’s future theme.

In late 2015 and early 2016 the band released “Testify” that featured Rein (and that’s how we first got to hear about Rein actually) before her breakthrough in 2016 and the EP “Colliding Bodies” which held the such tracks as “Daniel”, “The Collider” and “Human Blood”.

After that everything went quiet. Carl Nilsson moved forward with Lucifer’s Aid and released a number of very hard electronic albums. Carolina Lindahl from her side re-appeared in 2020 with the new project The Brides of the Black Room. Andreas Jismark, who stayed in the shadows between 2014-2016, has since managed and worked with acts like Rein, Wulfband and The Lovers of Valdaro.

The band luckily reconnected in 2021 when Progress Productions asked if they could release “Testify” and “Daniel” as a 12″ vinyl. So they started to work with some other old songs as well such as “1000 Ways to Die” and “1001” which were two songs that the band recorded in early versions and played at the first live shows (with Youth Code in Stockholm) back in 2014. With two brand new versions of these tracks the 12″ soon turned into an EP.

The band also started writing songs again and added some brand new guests vocals to the material. The first one to discover is Emma Anitchka from the duo The Guilt who sings on the band’s comeback single & video “Poison ID”

Duran Duran’s Nick Rhodes and British artist and singer/violinist Wendy Bevan release new video + new Duran Duran single to be revealed tonight

Bernard - Side-Line Staff — Fri, 24 Sep 2021 15:06:03 +0000

(Photo by Radka Leitmeritz) Duran Duran’s Nick Rhodes and British artist and singer/violinist Wendy Bevan have released the third installment of their four part Astronomia project “Astronomia III: heaven and hell in the serpent’s tail”. Ahead of the release, the pair have shared the album’s opening track “Meteor Shower” which you can check below.

Over the course of 2020, the duo collaborated on a series of 52 cinematic instrumentals inspired by the universe. These works are presented across four 13-track, individually named albums, as the Astronomia project. The first release “The Fall of Saturn” was on the Spring Equinox (March 20), the second; “The Rise Of Lyra” on the Summer Solstice (June 21) and this third release falls on the Autumn Equinox (September 22). The final installment will be released on the Winter Solstice (December 21).

In related news, today, Duran Duran will reveal their new track “Tonight United”, produced by the band alongside the Italian producer Giorgio Moroder. It’s the fourth song to be taken from their fifteenth studio album, “Future Past” to be released on October 22 via Tape Modern for BMG.

For now, here’s “Meteor Shower”.

Post-punk act Actors to release new album ‘Acts of Worship’ in October

Bernard - Side-Line Staff — Fri, 06 Aug 2021 15:37:29 +0000

(Photo by Shannon Hemmett) Vancouver based post-punk act Actors returns with an all new 10-track album, “Acts of Worship”, October 1st. The release is the follow-up to their 2018 album, “It Will Come to You”.

“Acts of Worship” was produced by band founder Jason Corbett at his own Jacknife Studio in Vancouver.The album sees the debut of new bassist Kendall Wooding and thus joins the current lineup with synth player Shannon Hemmett and drummer Adam Fink.

Here’s the band’s latest music video for “Only Lonely”.

Actors will be touring North America throughout the fall. Below are the tour dates.

Sep 9 – San Diego, CA @ Space BAR
Sep 11 – Phoenix, AZ @ Rebel Lounge
Sep 12 – Los Angeles @ Catch One Underground
Sep 13 – Oakland, CA @ Elbo Room
Sep 14 – Sacramento, CA @ The Starlet Room at Harlow’s
Sep 15 – Portland, OR @ Star Theater
Sep 16 – Tacoma, WA @ Elks Temple Spanish Ballroom
Sep 17 – Seattle, WA @ Tractor
Sep 18 – Bellingham, WA @ The Shakedown
Sep 22 – Montreal, QC @ Le Ritz
Sep 23 – Toronto, ON @ Horseshoe
Sep 24 – Pittsburgh, PA @ Spirit Lodge
Sep 25 – Detroit, MI @ Small’s
Sep 26 – Chicago, IL @ Cold Waves Festival
Sep 27 – Indianapolis, IN @ Black Circle Brewing
Sep 28 – Louisville, KY @ Art Sanctuary
Sep 29 – Cleveland, OH @ Mahall’s
Sep 30 – Baltimore, MD @ Metro Gallery
Oct 1 – Philadelphia, PA @ Warehouse on Watts
Oct 2 – Brooklyn, NY @ Saint Vitus
Oct 3 – Washington, DC @ Pie Shop
Oct 4 – Richmond, VA @ Richmond Music Hal
Oct 5 – Raleigh, NC @ The Pour House Music Hall
Oct 6 – Asheville, NC @ The Odditorium
Oct 7 – Atlanta, GA @ 529
Oct 8 – Tampa, FL @ Absolution Fest
Oct 9 – Austin, TX @ Elysium
Nov 27 – Vancouver, BC @ Rickshaw Theatre
Dec 7 – San Antonio, TX @ Sam’s
Dec 8 – Dallas, TX @ Dada
Dec 9 – Salt Lake City, UT @ Kilby
Dec 10 – Denver, CO @ HQ

A Cloud Of Ravens release remix EP feat. remixes by Clan of Xymox, Actors, Chris Vrenna, John Fryer, …

Bernard - Side-Line Staff — Fri, 25 Jun 2021 13:48:11 +0000

Today, the Brooklyn-based gothic rock duo A Cloud of Ravens have released “Another Kind of Midnight: The Remixes”, I an EP featuring remixes by Clan of Xymox, Actors, Chris Vrenna, John Fryer, Ritual Howls, Tummyache and Ego Likeness.

Formed in the fall of 2018 by Beth (bass guitar) and Matthew (guitar/vocals) the band is centered around their longstanding and shared admiration of bands and artists that defined the stark, minimal dramaticism of the initial post-punk era, and all its related subgenres. The band quickly self-released their first single, closely followed by the “Sacred Hearts” EP and their full-length album “In the Wicked Hours”.

The duo signed with American independent label Cleopatra Records to issue their new full-length offering “Another Kind of Midnight” and now they offer the remix EP “Another Kind of Midnight: The Remixes”.

The release is available from Cleopatra Records on all digital and streaming platforms.

Duran Duran’s Nick Rhodes and British artist and singer/violinist Wendy Bevan release 2nd collaborative album

Bernard - Side-Line Staff — Tue, 22 Jun 2021 15:33:29 +0000

Out now is the second album by the duo consisting of Duran Duran’s Nick Rhodes and British artist and singer/violinist Wendy Bevan who started working together in 2018, Wendy in Los Angeles and Nick in London. Titled “Astronomia II: The rise of Lyra” the album has been released via Tape Modern, the record label founded by Stephen Duffy and Nick Rhodes in 2002.

Over the past twelve months, the duo have collaborated on a series of 52 cinematic instrumentals inspired by the Universe. These works will be presented across four 13-track, individually named albums, as the Astronomia project. The first release “The Fall of Saturn” was released on the Spring Equinox (March 20, 2021) and “The Rise of Lyra” will be followed by two further records, released on the Autumn equinox and Winter solstice of this year.

A real lifeline

As it happens, the recording sessions for both artists confined to their houses in London and Los Angeles did also help them cope with the lockdown.

Nick Rhodes: “Throughout the last year, writing and recording the Astronomia compositions was a real lifeline for Wendy and I, it gave us both a sense of purpose during the bleak times and it became our diary echoing every mood and feeling we had as the days passed by. Being freed from all rules and conventions of traditional song writing was entirely liberating. Without restrictions we were able expand our horizons and we still have not reached the boundaries. It is thrilling to start with a blank canvas, no sketch at all and just see where the notes and sounds lead you.”

Wendy Bevan: “Just like Nick says, Astronomia became a lifeline for both of us during the lockdown. It allowed me to have a space for my emotions to flow into music, a sacred space to create my own universe, with endless freedom. We had no boundaries. It took me away from the reality of what was happening in the world during the pandemic and gave me a sense of hope. When Nick and I started Astronomia we had no idea of the vast amount of music we would create. Notes kept flowing in response to the situation we found ourselves in, it became a parallel universe with its own unique language, drama and elegance, far, far away from reality.”

You can check out the first 2 releases in the series below.

‘Click Interview’ with Digital Factor: ‘Many Releases Today Are Unfortunately Very Uniform’

Inferno Sound Diaries — Thu, 10 Jun 2021 17:00:00 +0000

Hailing from the former Eastern part of Germany, DIGITAL FACTOR rapidly became a renowned and successful EBM formation during the 90s and early Millennium years. The band released multiple noticeable albums on the defunct Hypnobeat. They moved on releasing a few more productions after 2000, the last album “Trialog” being released in 2011. Core member Mike Langer brought DIGITAL FACTOR alive, started working on new material and found a deal with Alfa Matrix. The EP “Come With Me” released in 2020 was an appetizer to the this year unleashed new opus “A Chemical Process”. The work is still driven by EBM vibes, but also into Minimal-Electro treatments and Electro-Pop vibes. This is a new chapter in the band’s history and I talked about it with Mike Langer.

(Courtesy by Inferno Sound Diaries)

Q: Ten years have passed since the “Trialog”-album (2011) so how does it feel to be back with a new opus and how would you introduce DIGITAL FACTOR in 2021?

Mike: It is of course always a good feeling when you start with new material and especially when you get so much positive feedback on it. Usually this is more of a feedback when you’re on tour. But due to the Corona pandemic, significantly more is happening via social media.

DIGITAL FACTOR was and is a German Electronic band since 1993. We were one of the first bands in this genre from Eastern Germany to get a record deal after the fall of the Berlin Wall and to release a CD.

In 2020/2021, the musical concept of DIGITAL FACTOR has come back to where it began, with the fascination of Electronic sound generators.

Q: The new album “A Chemical Process” clearly reveals a different approach in sound and influences. How do you look back at your earlier work and what inspired and influenced you to compose new songs?

Mike: The early productions of DIGITAL FACTOR were already shaped by the enthusiasm for synthesizers and the way you can work with them. Now, over 20 years later, you only really know how the parts work properly and you get to work in a much more targeted manner. So you can get a lot more out of a sound generator than we thought it could be possible at the beginning of our musical career. What has been preserved is the joy of every new instrument in the studio. In contrast to the past, every synthesizer today has a special sound function within a production. Currently I have been working on two digital remasters of old DIGITAL FACTOR releases and even if you would and do a lot of things differently today, I’m still discovering songs on the old albums that are still really cool today.

Q: Did you see main and noticeable changes in the music industry and the scene today compared to the 90s when DIGITAL FACTOR started?

Mike: In the 90s, the music industry was shaped by people who were enthusiastic about music. Of course, the CD business was also important, but everyone was keen to experiment. When bands met, it was always a kind of workshop for music and instruments. Today everything is usually much more busier, maybe a little more mellow. So I’m very happy about the collaboration with Alfa Matrix, because music enthusiasts still work here and this complements the creative environment that a musician must have.

Musically, many releases today are unfortunately very uniform, you often hear the same presets from software synthesizers. I don’t mean to say that this is bad music, but experimentation is increasingly lost and with it the independence of the music. In this respect, it is important to me that DIGITAL FACTOR develops again and again and also challenges itself musically. A band’s musical concept should never be finished. If you think you have finished with it, then you can only be monotonous and You will become a copy of Yourself… boring.

Q: You first started composing all songs on guitar and next transposed them to synthesizers, right? Tell us a bit more about this way of working? And what has been the input and importance of bassist and guitarist Georg Kostron who contributed to the work?

Mike: Interestingly, I’ve read this somewhere before and don’t even know where the rumor came from. In fact, I’m a pretty bad guitar player and I’m learning this a little from my daughter taking guitar lessons. But she is much more better than me at that. I originally learned piano and this is often the basis for my first layouts. Parts of “A Chemical Process” were created on the piano and then implemented in the studio. Other songs come from working in sound design.

In the last few months I have rebuilt my studio in such a way that all synthesizers are connected to one another, similar to a modular system. Analog sequencers, sound generators and drum machines work with one another and also enable jam sessions. Some of them can be seen on the DIGITAL FACTOR YouTube channel. These jam sessions are often the basis for new material that is currently being created. My guitar playing is only enough for a few small riffs in the songs. When things get more complicated, I work with Georg Kostron, who plays the guitar for “Noone On The Line”. As a trained bass player, he is currently recording bass lines for a new DIGITAL FACTOR album.

Q: I get the feeling the lyrical part of the album is also very important while featuring dark, existential themes. What is it all about? What inspired you and what did you try to express… and maybe exorcize?

Mike: I’ve always been interested in why people do what they do. Logically, there is always a reason for this, even though it cannot always be understood or it is so simple that one thinks too complex to understand other people. I work with that in my lyrics. But it is always about the position of the individual within society, the disappearance of the individual in the human mass. In this respect, the main inspiration is observing people and following processes that are initiated and influenced by people.

Somehow I try to answer questions with the texts that I ask myself, even though the answer is at most an approximation of something like an objective truth. The latter is also a topic on the album that many people think they know the truth. Only a few are able to look at themselves and to question themselves and their own opinion and, much more unthinkable, to revise them. By the way, politicians are particularly bad at this.

Q: How do we have to understand the title of the album “A Chemical Process” and the clip you made of the song?

Mike: Chemical- and biochemical processes are in the background for everything we do. Ultimately, the same processes take place with Donald Trump as with the Dalai Lama, for example. And yet the worlds of the two are completely apart. On “A Chemical Process” I ask why this is so. This is implemented in the video clip for the title song of the album. From love to war, everything is sustained by these chemical processes. The results are very different to the joy or sorrow of ourselves or others.

Electronic pop duo Korine launches brand new video: ‘Cruel’

Bernard - Side-Line Staff — Thu, 19 Nov 2020 18:24:17 +0000

Korine is a Philadelphia based electronic pop duo comprised of members Morgy Ramone and Trey Frye who blend new wave nostalgia with modern pop. Following a self-released EP “Corsage” in 2017, Korine debuted their first full-length record “New Arrangements” in 2018 on Philadelphia label Born Losers Records.

Following this release were two singles “Uncrossed” and “To You” which were specially released on a limited 7” vinyl in the Fall of 2019. Earlier this year Korine released their newest album “The Night We Raise” released jointly by Born Losers Records (US) and Data Airlines (FR).

But out now is the newest video for the track “Cruel”.

‘Click Interview’ with Art Of Empathy: ‘It’s All About The Audio Waves Hitting Your Heart And Soul’

Inferno Sound Diaries — Fri, 30 Oct 2020 18:00:05 +0000

Belgian artist Jef Janssen started with music when he was a kid, walking around in the backyard with his Fisher Price tape recorder machine. A bit later, he became a nine-year old boy with a big guitar on his back, that was forced to go to musical class, because it was part of his parents‘ ‘educational plan’. It helped him a lot composing his own music. It’s also the reason the Spanish guitar is very prominent in ART OF EMPATHY’s music. So ART OF EMPATHY started with the guitar strums Jef collected on tape, of which he made songs, short after his studies. A few albums were released, but the new opus “End Of I” is the first new album in ten years. The work, released on Aenaos Records, is a true artistic piece mixing elements of Neo-Folk together with Cinematographic music.

(Courtesy by Inferno Sound Diaries)

Q: ART OF EMPATHY is already active for numerous years now, but the new album “End Of I” puts definitely you back on the map. What have been the main facts in the ART OF EMPATHY history so far?

Jef: Actually, the greatest time to run this project was this startup-period, in the early 2000’s. The internet was booming, but music was not yet streamable. It’s a bit odd to say, but that means literally: it had more value, because in these days people were not yet overloaded by tremendous amounts of internet entertainment. Getting in touch with like minded people from all over the world (mostly through Myspace), was very exciting.

The following two full albums were, of course, two other main facts to mention here. Both of them are still exactly the result of what I was aiming for, regardless of the opinion of audience or critics.

Another fact might be the confirmation I got from several listeners that ART OF EMPATHY is an unique project with an unique feel and sound, apart from all labels and musical dogma’s.

Q: Your music has been introduced as a mix between Neo-Folk and Dark-Wave while I think “End Of I” clearly covers much more influences, revealing a truly eclectic style. How do you perceive your own composition and what do you consider as your own sources of inspiration?

Jef: The music of ART OF EMPATHY is not created during trial and error jamming, but rather mentally planned. By the start-up of a new album, I mostly know exactly what I am working towards. So the music is already finished in my head, but it still needs a lot of work to translate it to audiowaves.

In the future, I might do things in a different way, because I’m curious what would come from collaboration or experimenting. Losing control would be new for me, but might be also exciting and fun.

Musically, at the start it was my goal to combine the sound of nature inspired Dark-Folk like Empyrium and Dark-Wave like Dargaard. The result, however, was of course influenced a lot by more than those styles. My all time favorite band, for instance, is Type O Negative. This band also had a true, unique sound. In terms of songwriting, they managed to find a nice balance in between catchy, pop-tunes and progressive songwriting, which I adore.

Q: ART OF AMPATHY is a solo-project so how did the entire process from composition till recording and production happened? Do you follow an established pattern to compose your songs –including the lyrical content and recording/production of the vocals?

Jef: The album concept is already roughly finished in my head at the startup. I think of it a lot in the months before the creation process. It is exciting to find lyrical ideas while reading, watching movies or documentaries (for the use of samples) that fit the puzzle I’m creating.

So piece by piece, it comes all together in this one concept (album) and, except for some adjustments here and there, I work towards a clear goal. The months in between the ‘album in my head’ and the ‘album on the shelf’ are quite heavy and intense. It takes a lot of time and effort to write lyrics, record, sing… For instance: every choral voice is individually recorded by myself.

It is not only very intense for myself, but also for my entourage. So a different approach imposes itself. What will happen might be more relaxing and fun.

Q: I noticed “End Of I” is dealing about consciousness and in a way a critical reflection about the Western lifestyle. It makes me think to the themes evoked by Belgian psychiatrist Dirk De Wachter, but what are the lyrics all about and how do you transpose the ideas into sounds and songs?

Jef: Consciousness might be indeed a key word in the “End Of I” album, and yes, I live in the ‘West’, so it is from the point of view of the Western lifestyle. On the one hand, I perceive the world with my senses and my guts are telling me things. I start to see dots and try to connect those.

Luckily, there are a some smart people walking this earth who see a lot more of these dots and help me with connecting them. So yes, people like Dirk De Wachter, Paul Verhaeghe, Rutger Bregman, Alain de Botton are a big help in finding a way throughout the chaos that surrounds us. More and more, I also get deeply touched by the wisdom from ancient philosophers or spiritual teachings of people like Eckhart Tolle.

Q: The title of your album is however intriguing and interesting as it reflects to me ‘individualism’, a world where people are no longer connected with each other except by social media platforms. So this album can be seen as a soundtrack denouncing individualism… or a requiem for the fall of capitalism? I probably have to much imagination, but what did you really try to express and what did it say about your own perception of life?

Jef: I really do not despise individualism or capitalism. It’s only the fact that they have become so excessive that makes me believe that I might be time for a turning point. Recently I read following quote: ‘Freedom without discipline equals chaos. Discipline without freedom equals tyranny.’ I guess, in the West, it has become more of a chaotic thing. Many people drift off and as a social mammal it might be a good thing to find a bit more connection with fellow humans or the world as a whole. The fact that this instability is used by some greedy psychopaths to feed their greed and ego is a thing I despise. That’s also clearly translated into my music. But I don’t want to spend much more time on that and rather choose to focus on the search for a new balance.

Q: How do you as solo-artist transpose your music to the stage? And what might we expect from your live performances?

Jef: I would love to do some live performances, but as I witnessed some nice shows from several (even huge) acts in the Dark-Folk or Ambient scene: I don’t think I can put much effort in it. The input would be too big in comparison to the output. With Covid-19 on top of that, it is not the right time anyway. I always refer to a project like Summoning, who inspired and enlightened a lot of music lovers from all around the globe, without any live performance. It’s all about the audio waves hitting your heart and soul.

Finnish synthpop duo Aeronaut V release brand new single ‘Discovery’ – watch it here

Bernard - Side-Line Staff — Mon, 12 Oct 2020 10:45:49 +0000

Out now from the Finnish synthpop duo Aeronaut V is a music video for their brand new single, “Discovery”. The video was directed, shot and edited by Miika Hakala, previously known for his two feature films and Poets of the Fall music videos. The track itself pays homage to the 80s classics such as Miami Vice.

The video was shot entirely in their home town of Tampere, which for a few days and nights turned into the steamy nightclubs and crashing waves of yesteryear. “Making the video was loads of fun, since we both grew up on stuff like this”, the guys from Aeronaut V state. “It was a fantastic trip down memory lane, and a beautiful opportunity to visit that world for a few days.”

The video was shot entirely in their home town of Tampere, which for a few days and nights turned into the steamy nightclubs and crashing waves of yesteryear.

The cast was joned by Anna Helsted, better known as Shanna, an alternative model. “This video was one of the most fun projects I’ve worked on so far, and I was absolutely thrilled to get the chance to live my 80’s film fantasy for a moment.”

As it seems casting the hobo was the most demanding task for the whole thing.

Tampere based synth sounds

Aeronaut V formed in Tampere, Finland in 2018. The band debuted with the “Late Departure” on the Swedish label Electric Fantastic Sound back in January.

New single ‘The Blame’ by Violent Vickie available now

Bernard - Side-Line Staff — Mon, 13 Jul 2020 17:43:47 +0000

The follow-up to Violent Vicki’s “Circle Square” single is available now. “The Blame” turns out to be a distorted synth and guitar driven track about letting go of an unhealthy relationship. It’s the 3rd single from her upcoming “Division” LP and should please fans of Joy Division, Bauhaus, Sleater Kinney, Sonic Youth and Le Tigre. Violent Vickie’s “Division” LP will be out in the fall of 2020 on Crunch Pod..

You can check out the new single below.

Violent Vickie is a Los Angeles based dark synth-riot artist consisting of Vickie and co-producer/recording guitarist E. Her track “The Wolf“ was featured in a National Organization for Women film and she was interviewed for the documentary “GRRRL”, part of the museum exhibit “Alien She”.

Artoffact Records to release NYC post-punks’ Bootblacks new album ‘Thin Skies’ – check the first track streaming now

Bernard - Side-Line Staff — Mon, 06 Jul 2020 14:35:28 +0000

Following a handful of formative sessions with prolific drummer/producer Jim Sclavunos (Nick Cave and the Bad Seeds, Sonic Youth), the Brooklyn-based Bootblacks released its first EP “Narrowed” in the fall of 2012. The debut full-length eVeinse came next in 2016 and was backed by extensive touring. 2017’s “Fragments” found the band expanding to a more synth-heavy sound.

Out on October 9th on Artoffact Records is the new album release of “Thin Skies” by Bootblacks. With “Thin Skies”, the band’s first album for Artoffact Records, they continue where “Fragments” left off. The whole was produced by Jason Corbett of Artoffact labelmates Actors with backing vocals courtesy of Shannon Hemmett (Actors) and Kennedy Ashlyn (SRSQ, Them Are Us Too).

You can stream the new track “Traveling Light” right below and pre-order the album right here on Bandcamp in various formats.

Agonoize – A Vampire Tale (EP – RepoRecords)

Inferno Sound Diaries — Sun, 01 Mar 2020 19:30:00 +0000

Genre/Influences: Dark-electro.

Format: Digital, CD.

Background/Info: “A Vampire Tale” is the second EP taken from the last year released album “Midget Vampire Porn”. The sixth full length by the German masters of (h)el(l)-electro is probably their best and most punching work to date. “A Vampire Tale” also was one of the best cuts from the opus so it’s a quite logical choice to release it as title song. Next to the revisited title song, the EP also features three exclusive cuts, three remixes and a very special cover version.

Content: “A Vampire Tale” perfectly symbolizes the album the song is taken from; a hard-hitting song in the purest dark-electro style of Agonoize. Power, melody and harsh vocals are the major aspects to understand this winning sound formula. Next comes a cover version of Prodigy’s mega-hit “Breath”. The song is meant as an ode to Keith Flint who passed away in 2019.

The two new songs are more heavy cuts in the truest tradition of the band. “I Just Want To Live” sounds pretty Suicide Commando-like while “Requiem” reveals the band at its best. The last song left is a calm piece, sort of break.

Remixes have been accomplished by Intent: Outtake, Vanguard and Diverje, which each took a song from the album.

+ + + : This is the kind of EP I totally support. Next to the title song and a few remixes by well-chosen artists you also get 3 exclusive songs and a little extra, which is a Prodigy cover. Agonoize no longer has to confirm they belong to the top of dark-electro standards! Their music is not only powerful, but worked-out and always danceable. Two from the three exclusive cuts could have found their place at the album as well. Among the remixes I especially like the pop touch on the remix of the title song by Vanguard while Diverje did a great job as well remixing “Weltenschmerz”.

– – – : The cover version of “Breath” is cool, but I think this song will get more reaction in front of a live audience. The new song “The Fall” is the only ‘filler’ from this EP although a way to bring some rest in this heavy production.

Conclusion: This EP is an absolute must have, a pretty cool addition to the album and a production the dark-electro lovers are going to like! Agonoize rules!

Best songs: “I Just Want To Live”, “Requiem”, “A Vampire Tale – Blutdurst”, “A Vampire Tale – Vanguard Remix”.

Rate: (8).

Artist: www .facebook .com /AgonoizeOfficial

Label: www .reporecords .de / www .facebook .com /pages /Repo –Records /119590774857404

‘Click Interview’ with Agonoize: ‘If Jesus Existed, He Would Have Died For Nothing’

Inferno Sound Diaries — Thu, 13 Feb 2020 18:00:28 +0000

German dark-electro formation Agonoize last year unleashed their sixth full length album. “Midget Vampire Porn” released by RepoRecords, reveals thirteen new songs filled with rage and sonic terror. I consider their new work as one of their best albums to date; maybe the best one! The constant energy carried by pumping rhythms, elevating choruses and harsh vocals made from this opus one of the best dark-electro productions from 2019. I’d a chat with the band’s captain Chris L. (still involved with Darkness On Demand, Funker Vogt, The Sexorcist).

(Picture credits by Kevin Stevens / Interview courtesy by Inferno Sound Diaries)

Q: Agonoize is back with a new album, but still with a somewhat different line-up and on a different label. How did these changes happened and what has been the impact of the ‘new’ line-up on the composition process?

Chris: The contract with Out Of Line was fulfilled so it was time to find a new home for Agonoize. RepoRecords are doing amazing work for Funker Vogt, so it was the best choice.

Our ‘beast’ on the drums was planned as a live-drummer for already a long time and Sam jumped in as live-keyboarder when Oli took a step back from the live shows because of health Issues. So not that much changed in the end.

Q: Gerrit Thomas (Funker Vogt, Eisfabrik) also joined in for some additional programming and mastering. What has been his real input and maybe that little ‘extra’ he added to the work?

Chris: I am a musician and a performer and to be honest, I don’t have a clue about mixing and mastering and I don’t want to be able to do it at all. But Agonoize needs a fat mix and a brilliant mastering, which is important for the typical sound. Gerrit is a genius when it comes to that and he added some sounds, which made the whole sound more bombastic in the final mix. We work very close together on Funker Vogt and our old friendship became a lot deeper, so he was my first choice. In the beginning we both didn’t knew if he could give Agonoize the needed punch, without sounding like Funker Vogt. But he got into the sound very fast and I think the credits for the ‘killer sound’ goes to him.

Q: “Midget Vampire Porn” sounds to me as the most accomplished and successful Agonoize-album ever. How do you perceive the album in the band’s discography and tell us a bit more about the ideas, sound treatments and lyrical content of the work?

Chris: I think the lyrics are pretty typical for Agonoize. Maybe the music sounds more evolved because this time I didn’t had any ‘leftover’ songs from Mike like on the “Apokalypse”-album. There I used 8 songs from Mike and just had to fill in with the missing songs.

I wanted Agonoize to became a bit more mature, but without changing it too much for now. So in the end we added some new sounds to the songs, but kept the basics. And after 5 years I had a lot of rage to get rid of. Also I wanted to experiment with slower, really dark, depressive songs from the deepest dark of my soul. We did that already with, for example, songs like “My Battlefield” or “Drowning In Isolation”, “Unchained” and so on, but “True Blood” and “The Fall”, which is from the upcoming EP, are different from what we did before.

I think when I finished the “Apokalypse”-album I was at a turning point; not a 100% into what I’m doing, tired and disappointed. Now I’m back with full energy and I think everyone can hear that. And thanks for the compliment 😉

Q: The song “Blutgruppe Jesus (-)” clearly is an important song from the album and has been first released as EP-title track. You also (self)made a clip of that song so what’s the deeper meaning behind and what did you try to express by the clip?

Chris: As usual, mankind is looking for a savior, someone who takes the blame for our failure and sins. We think ‘Hey, let someone else suffer for our mistakes’ never willing to take the blame ourselves. But only you can change your life, your fate. We think we only have to pray 3 The Lord’s Prayer and everything is forgiven, or we just pay for our sins. But in the end that would mean, if Jesus existed, he would have died for nothing. The church is using our fears against us, but in my opinion religion and especially the catholic Church should be well known by now.

Church is oppression, religion the reason for war. Believe in yourself in the first place!

Q: When you’re listening to the new album (and EP) right now, what are the elements of the writing/production getting you proud and are there some aspects you would have done differently?

Chris: I would always do things a difficult way; I’m too self-critical. But after 1,5 years delay with the album I’m happy that it’s finally on the market. When it came out I already had 6 new songs done, so the next release will not take another 5 years and on new EP “A Vampire Tale” you’ll find 3 exclusive songs as a bonus track meant as a gift for all the fans who were waiting.

Now that the album got an unexpected, overwhelming good response I start to be proud of it, but it always takes a while for me to realize it.

Q: I often get the impression bands are putting more efforts in their image and artwork than in the music while with Agonoize, every aspect seems to be important! What does it really mean to you and what do you try to express with the imagery (live) and artwork?

Chris: Thanks, indeed it was always very important for me that the videos, the artwork and the stage presence all fit with the songs. I don’t like to give the job to an outsider who doesn’t has a clue or feeling about what I want to express. I was never too much into looking pretty on stage, but more into doing a good and freaky performance. I always created the stage shows myself.

I am going back to my roots now also, directing, filming and cutting the videos myself. For the artwork I’m very happy to have Sam as part of the band. He is a genius with Photoshop and understands my ideas very fast and he has also very good ideas which fit with the project. It’s similar to Funker Vogt right now; we all work very well together as a team, ideas become a concept and especially live I love to entertain and gladly everyone plays along with my stupid ideas for shows 🙂

It’s slowly getting better and better and I look forward to present my newest ideas to a bigger crowd 🙂

The Membranes song ‘Nocturnal’ gets the remix treatment by Kitty Lectro – watch the video

Bernard - Side-Line Staff — Wed, 06 Nov 2019 16:08:48 +0000

Iconic UK post-punk/alt act The Membranes release an EP featuring two remixes of their song “Nocturnal” by goth rock/darkwave Goth DJ Kitty Lectro.

“Nocturnal” was originally released on The Membranes new album “What Natures Gives… Nature Takes Away” on June 7th this year. Having remixed artists such as Kommunity FK, Andi Sex Gang, Beauty In Chaos (Wayne Hussey, Simon Gallup and Michael Ciravolo) and more, Kitty Lectro adds a dance floor spin to “Nocturnal”.

Frontman and The Membranes founder John Robb explains why they chose to remix the song: “‘Nocturnal’ is our death disco dance with Pan, or our dark Dionysian dislocation of the senses that has been remixed to shadowy dance floor brilliance by Kitty Lectro. It is from our new double album “What Nature Gives… Nature Takes Away” and examines the beauty and violence of nature, in which we took our bass-driven post-punk and added choirs to it to create an epic brooding soundtrack to the theme of nature itself and its desperate struggle to survive the human race’s hell bent determination to destroy it.”

The Nocturnal EP will be available for streaming on all major platforms. You can here it right below.

Tracklist of the EP:

Nocturnal (KITTY LECTRO Remix)
Nocturnal (KITTY LECTRO Meow Meow Money Mix)
Nocturnal (Album Version)

The Membranes will be on tour in Europe with Mark Lanegan Band in November/December.

About The Membranes

Formed in 1978 in Blackpool, England, The Membranes played classic bass-driven northern post-punk and were part of the same world as bands like Joy Division, Bauhaus, The Fall, Sisters Of Mercy, and Cabaret Voltaire, all inspired by the punk explosion of 1977 to launch their own idiosyncratic journeys. The band released a remarkable series of records throughout the ‘80s that combined their small town frustration with a love of heavy bass and distortion. This ultimately became a prime influence on such American noiseniks as Steve Albini, Swans and Sonic Youth.

The group reformed in 2010 at the request of My Bloody Valentine to play the All Tomorrow’s Parties festival, and have since made two albums, inspired by newer bands like Godspeed You Black Emperor, Mogwai, Ulver and Wardruna.

Membranes frontman/bassist John Robb is an acclaimed British musician/author/publisher and TV/radio commentator. He is the editor-in-chief of British music monthly Louder Than War and the author of the celebrated non-fiction work “Punk Rock: An Oral History”.

a-ha to play the USA for the first time in 10 years

Bernard - Side-Line Staff — Thu, 03 Oct 2019 14:02:38 +0000

a-ha’s ‘Hunting High And Low Live’ tour will be extended into the fall of 2020. First a-ha will return to Europe for more dates, as well as paying visits to some classic a-ha cities in other parts of the world, and exploring a few more new ones.

But the most surprising leg of this 2020 tour will be that a-ha will also return to the USA for the first time in 10 years. The band will play 2 US shows.

More news soon.

‘Click Interview’ with Cryo: ‘Much Song Writing In The World Is More Of A Mass-Production Industry’

Inferno Sound Diaries — Wed, 31 Jul 2019 17:00:45 +0000

Martin Rudefelt set up Cryo in the early years 2000. From start on this Swedish project dealt with a ‘different’ and clearly ‘intelligent’ electronic format. It’s hard to call it EBM in the truest sense of what we define as EBM, but let’s consider Cryo as a ‘futuristic sound made with vintage equipment’. Together with Torny Gottberg (still label owner of Progress Productions), Martin Rudefelt accomplished a new masterpiece entitled “The Fall Of Man”. I sincerely think if Front 242 would have been set up today, this is the kind of work they could have released. This album will be without a shadow of a doubt one of the 2019 major releases.

(Courtesy by Inferno Sound Diaries)

Q: Cryo is now active for several years and has just released its fifth full length album (including the mini-album “Beyond”). What have been the main themes and sonic ideas you tried to put in this album and how would you analyze the final result?

Martin: Oh I thought this was our fourth full-length album… I need to have a serious talk with Torny about releasing new albums without my knowledge (lol). Anyway, we are very happy with the result of the new album, many seem to consider it the best one so far and that makes me very happy. Five years since the previous album is a long time, but that’s the time it took to find my way to the sound I wanted. We could have released it after one year instead, but I would not have been happy with the result.

Torny: Also, I had this old-school idea that I wanted work around a few singles to lead up to the album. “Control” and “Sanitarium” both took quite some time to organize as it holds quite a lot of remixes etc. But I think it has been worth the wait. And it´s not like we have been lazy either. We have done shows during this time.

Q: Some artists compose songs and albums in a hurry, others consider that a song is never finished and can always be improved. What’s your state of mind about this topic and how do you look back at the writing- and recording process of “The Fall Of Man”?

Martin: I fully respect any writing- and recording process that an artist chooses, as long as the end result is interesting and original enough. Some artists create a song in a day, some need a year. Much song writing in the world is more of a mass-production industry according to preset recipes of what sells the most. This is perhaps not as prominent in the synth scene where there’s not much money to be made, but you can still hear a lot of it unfortunately. I consider such mass-produced songs as more of sound pollution than something that contributes to the scene and attracts new listeners. Once in a while, I do find new music that I enjoy, but as the bitter old man I am, I most often choose to go back to artists (other bitter old men) that I know put their hearts and souls into their songs.

Torny: I sort of feel the same. I have a hard time finding new stuff that I really like. There are some ‘new’ bands which I really think is great. Bands like Legend, Fix8:Sed8, Acretounge, Zynic and a few more I really like. But like Martin already pointed out, there are a lot of same-same as well. But then again music is a matter of taste. There is no wrong, there is no right. All a matter of opinions. I think this is the beauty of music.

Q: “The Fall Of Man” appears to be a truly dystopian title for an album. What did you try to express by this title and what does it say about the ëmení hiding behind the ëartistsí and their vision upon life, society, world etc?

Martin: The album title reflects the overall mood and messages of the songs, that faith in humanity has been lost (and needs to be recovered) and that the core nature of man is far from something to strive for.

Q: I think there’s an interesting duality running through your work; there clearly is a retro/vintage-like inspiration at one side, but still an explicit modern/progressive approach in the sound treatments/arrangements at the other side. Let’s talk about the Cryo ‘sound’, which seems to have a very proper DNA! What’s the focus? Equipment? Procedure to compose? Possible criteria you’re handling?

Martin: For this album we tried hard to make the songs simpler, much time was spent to redo details over and over again until they just had the core of what makes a cryo song interesting. For example “Valium” took almost two years to finish, with about 15-20 very different versions until we finally were happy with the result. We used older equipment even more than before, analog synths from the 70’s and 80’s create the foundation, tape delays and other vintage items for their unpredictability. This together with modern and precise production tools creates an interesting contrast, not just a tribute to the past.

Q: I always experienced Cryo as a band dealing with an intelligent and elaborated electronic format. But ‘intelligent’ music is not easy to ‘sell’ and ‘gain’ a wider recognition. Why is it people are more interested in ‘cheap’ standards without any creativity instead of real innovative bands such as Cryo? This must be frustrating or not?

Martin: Why do people prefer to go and stand in a queue to McDonald’s instead of visiting that nice little Italian restaurant next to it? One answer is, they know what they will get, a cheeseburger is always a cheeseburger. And yes we could write cheeseburger music, it would be easier and much quicker and the audience would love us for it. It’s very tempting and maybe I will do it as a side-project one day just for fun and to be allowed on stage more.

Q: A lot of bands dealing with EBM and dark-electro related music styles are still very busy with aspects such as image and social media. I don’t have the feeling these things are the most important aspects for Cryo! What does it evoke to you and do you think composing ‘good’ music is just enough?

Martin: If you want to become big, you need to focus a lot on image and to be seen everywhere. I wish I had that interest, and skills, to build such an image. But I just want to write songs and perform them on stage. So from that perspective, I’m quite a failed artist. The music of Cryo will still remain though, and we are very proud of it.

Torny: I also think that this hysteria of social media, being everywhere is sort of blahhhhh… I mean I can seriously get tired of the massive flow of things on Facebook etc. It just becomes like an overload of things. And sometimes I just want to shut it of. ALL OF IT. One should really focus on the music. Nothing else.

Cryo – The Fall Of Man (CD Album – Progress Productions)

Inferno Sound Diaries — Thu, 11 Jul 2019 18:30:14 +0000

Genre/Influences: EBM.

Background/Info: It took five years for the Swedish duo Martin Rudefelt – Torny Gottberg (owner of Progress Production) to achieve the fifth album of Cryo. Two singles (cf. “Control” and “Sanitarium”) were released last year to announce “The Fall Of Man”.

Content: Cryo always has stood for an intelligent EBM-format. Cryo’s sound has something retro-like and yet with a progressive approach. Some sounds are clearly evoking Front 242 (especially the deep bass lines), but any further comparison stops here. Cryo has a very proper sound, which is danceable, full of effects, supported with cold spheres (“Decay Decay Decay” evokes to me ‘EBM made for “The X-Files”) and spooky, commanding vocals.

+ + + : If both previously released singles were already worthy of examination, there are much better songs featured here. It simply proves the potential of this album! It’s an intelligent and elaborated writing with a mysterious touch hanging over the songs and accentuated by the ghost-like vocals. But the solid and deep, vibrating bass lines plus danceable rhythms are there to remind us Cryo is first of all a progressive EBM-formation. This is a visionary release featuring outstanding sound treatments. Especially the first part of the work left me breathless. “Remember” and especially “Valium” both are outstanding pieces.

– – – : “The Fall Of Man” features 10 songs and only the last 3 ones can’t convince me in the same way as the rest of the tracklist.

Conclusion: If Front 242 would have seen the light of day in 2019, they would maybe have released an album such as “The Fall Of Man”! Cryo stands for the modern vision of EBM and this new opus as a true reference in their discography! Respect guys!

Best songs: “Valium”, “Remember”, “Sanitarium”, “Control”, “Know Your Enemy”.

Rate: (9).

Artist: www .cryodome .com / www .facebook .com /cryosweden

Label: www .cryochamberlabel .com / www .facebook .com /CryoChamber

‘Click Interview’ with Borghesia: ‘Like Every Style Of Music, EBM Also Had A Limited Period Of Duration’

Inferno Sound Diaries — Wed, 20 Mar 2019 18:00:03 +0000

Set up in 1982 in Ljubljana (Slovenia) Borghesia became a so-called pioneer in the electronic-underground scene. Early albums such as “No Hope No Fear” and “Escorts” both released on Play It Again Sam became EBM-icons. They next went on releasing noticeable productions such as “Resistance”, “Dreamers In Colours” ao, but the influences progressively evolved. The band finally stopped their activities in 1995, but came back alive in 2009. Core members Dario Seraval and Aldo Ivančić got joined by new members. The band released a new album entitled “And Man Created God” (2014) on Metropolis Records. And now they’re back again with the opus “Proti Kapitulaciji” released in their homeland on the independent label Moonlee Records. The work reveals a very own approach mixing elements of industrial- and rock music. I’d a chat with Aldo Ivančić. For this interview I would like to thank Side-Line and Peek-A-Boo for their interest to each publish this interview as a kind of ‘collaboration’ between both Belgian online platforms.

(Courtesy by Inferno Sound Diaries)

Q: How would you introduce Borghesia ano 2019 while reflecting items such as line-up, sound & influences, production and live performances?

Aldo: The line-up is: Dario Seraval (vocals), Irena Tomažin (vocals), Jelena Rusjan (bass guitar and vocals), Ivo Poderžaj (vocals, bass guitar and guitar), Sašo Benko (guitar), Aldo Ivančić (drums), Lina Rica and Boštjan Čadež (video), Primož Vozelj (sound engineer) and Igor Remeta (lights). So, quite a big project with a lot of people. We like every kind of music and for this project we explored music from the beginning of 20^th century, artists like Luiggi Rusollo, Marinetti, Kurt Weill, Russian constructivists… very interesting stuff 😉 Our new performance is kind of multimedia with prepared computer graphics with live processing and live performance combined with back tapes from computer.

Q: “Proti Kapitulaciji” is your newest full length album. What kind of work did you want to accomplish and how do you look back at the writing and recording plus the multiple contributors (mainly singers) of the work?

Aldo: We worked for 3 years on this project. First we selected 12 poems by Srečko Kosovel and it was very hard to make a decision, because he has a lot of good poems. His poetry is timeless and a lot of people were surprised when they discovered that these lyrics where written 100 year ago. Can you imagine that he wrote 100 years ago: ‘The phone lines are all dead, Oh, but this one is cordless’.

Very visionary. So, the central point of the record are definitely the lyrics and we built the music around them. Most of the people think that W. Burroughs is inventor of cut – up technique, but we think, that Srečko Kosovel had invented it 50 years earlier. He called them ‘Kons’ (Constructions). Our approach was in a way cinematic in editing the lyrics like the film is made of different scenes. That is the reason why we used a lot of different vocals in one song. It is not very often that you can hear it in ‘pop’ songs. Maybe Frank Zappa, but this is another story;)

Q: You just mentioned Srečko Kosovel as main source of inspiration. While he’s a kind of Slovenian icon of poetry, I guess he remained unknown for a lot of readers and people. Tell us a bit more about him, his work and the influence he had on your work as musicians?

Aldo: Srečko Kosovel was a strange bird. He died at the age of 22 and as a radical anarchist he was not popular in his time nor is he today in petit bourgeoisie society. Even today he does not have a single monument in the capital of Slovenia and still after four months, our record was not presented on National Radio and Television. No review at all.

From the song “I Protest”:

Everyone of you, sitting in theatres,

bars and coffee houses

and other haunts of pleasure:

I protest!

In pain,

ruthless struggles,

I curse you,

the fallen nation’s

fallen son.

From “Genealogy”:

Slave.

Slave the Servant.

Slave Servantich the Servant.

Slave Slavetich Servantich the Humble.

Slave II.

Slave Humblich III.

Servantich IV.

Janez the Humble, the Craven, the Grandiose.

(Janez is common name in Slovenia like John in GB)

He was also a strong critic of hypocrisy of politicians and economic elite

From “Destructions”:

Millions are dying,

but Europe is lying.

To destroy, To destroy, To destroy!

From “Kons”:

Civilization lacks a heart.

The heart lacks civilization.

An exhausted struggle.

Evacuation of souls.

The evening burns like fire.

The dead is Europe!

Mercy! Mercy!

Q: So we easily can consider “Proti Kapitulaciji” as an ‘engaged’ work; a reflection about the social-, cultural-, artistic- and political situation of the ‘great’ Europe! What did you try to express?

Aldo: After the fall of the Berlin Wall, we thought that better days were coming for Europe. But we witnessed a war in Yugoslavia in which 140 thousand people were killed, we saw the lies about WMD in Iraq (courtesy of Tony Blair and other bandits), then Libya, Syria, now we have Brexit, the rise of right wing nationalists in almost every country, xenophobia, hate fake news, egoistic, competitive selfie narcissistic culture, stupid reality shows, uninterested pacific hipster youth promoting stupid values, corporative ‘truth’….

Q: You often have been considered as a ‘controversial’ band because of your imagery and themes, but in the end it was all about artistic freedom. I can imagine it hasn’t been always easy to handle and do you think things have changed today when it comes to artistic freedom and controversy?

Aldo: We think that today is even worse, since Thatcher/ Reagan neo-liberal politics occupied everything, media and political floor. We were always fans of critical artists like Woody Guthrie, sixties music, punk, The Clash, Sex Pistols, Test Department… Today it would be impossible for such artists to reach the wider audience. You just have to compare top charts from the past and today.

Q: The EBM community recently celebrated the international EBM day (-24/2 – February, 24th).. What does EBM mean to you today and what did you keep in mind from the early years of EBM when you were considered as ‘pioneers’?

Aldo: Like every style of music, EBM also had a limited period of duration. First comes the innovative, creative period, then the commercial one, and then the decline, just repetition of itself. We are very proud that we were part of this innovative period, but after so many years we are not the same persons anymore and the world has changed. EBM in some way become EDM and 95% of music today is made on computer. We were one of the first musicians that had an Atari on the stage.;) Today a smart phone is 1.000.000 times more powerful than Atari and now you can make music on a smart phone on the beach and this is very nice. In a very near future there will be Artificial Intelligence composing music to suit your personal taste, Artificial Intelligence will write books to suit your tastes… Most people will be just good consumers controlled by multinational corporations 😉

Download to release 11th album ‘Unknown Room’ on Artoffact Records – available now

Bernard - Side-Line Staff — Thu, 27 Dec 2018 16:46:45 +0000

2019 will mark 25 years since the formation of Download, the avant-garde, post-industrial project featuring Skinny Puppy’s Cevin Key, and Vancouver fixture musician Phil Western.

“Unknown Room” is the project’s 11th studio album, recorded in Los Angeles over a several-year period, culminating in a recent two-month session in the Fall that Key describes as being “extremely intense.”

On “Unknown Room”, one hears some of the old Bites-era sampling techniques coming through, as well as a strong Tangerine Dream influence. Fans of second-wave Download, early Skinny Puppy, minimal techno, and off the wall zaniness from the 1970s and 1980s pioneers that mixed prog experiments with analog equipment will love what is here.

You can get this album in various vinyl versions via the band’s Bandcamp page.

Ashbury Heights – The Victorian Wallpapers (CD Album – Out Of Line)

Inferno Sound Diaries — Tue, 20 Nov 2018 20:30:01 +0000

Genre/Influences: Electro-pop, indie-pop.

Background/Info: Swedish duo Anders Hagström – Tea F. Thimé are back on track unleashing the fourth full length album from their sonic brainchild Ashbury Heights. They got a helping hand in the production process by Mario Rühlicke (Blutengel).

Content: Ashbury Heights remains inspired by electro-pop music although I experienced this opus as touching ground with indie-pop. The songs are pretty dance-like, mainly characterized by happy-pop tunes and carrying –and sometimes techno-driven, choruses. The female vocals remain a quite noticeable element, but there still is a sweet harmony with the male backings.

+ + + : Tea F. Thimé remains one of the main strengths from this band. She has a powerful and alluring timbre of voice, which really put her stamp on this band. Sound-wise I experienced this work as the most ‘happy’-sounding ones in the band’s discography. But the main- and most noticeable evolution is the global sound production. Ashbury Heights has reached an ultra professional level.

– – – : I always have liked Ashbury Heights because they bring a more personal electro-pop style. But this new opus sounds now and then a bit too ‘commercial’ or ‘dance’-like. The choruses are cool, but on a few tracks it clearly sounds a bit ‘teenager’-like.

Conclusion: I’m missing the magic from previous releases. Ashbury Heights remain to me a great and talented band, but this new opus can’t fully satisfy me.

Best songs: “Headlights”, “Waiting For The Fall”, “Firebird”.

Rate: (7).

Artist: www .facebook .com /ashbury .heights

Label: www .outofline .de / www .facebook .com /outoflinelabel

‘Click Interview’ with Zwaremachine: ‘Minimal Hypnotic Industrial Body Music’

Inferno Sound Diaries — Tue, 23 Oct 2018 17:00:41 +0000

Did you ever heard of Zwaremachine before? Based in Minneapolis (USA), ‘Mach Fox’ released different productions on German-, Italian-, French- and Russian net labels. In about 2012 he wrote and released a song titled “The Zwaremachine”, which also became the band name because the song could represent a back story for the band that Mach Fox could build a world of music and images around. He liked that idea of creating a visual style music and love the horror/sci-fi genres in relation to live performance, artwork and sounds. There was also a heavy inspiration from the artwork of Paul Gerrard. The official debut album “Be A Light” released on Phage Tapes, revealed an intelligent EBM-inspired format. Time now to discover an interesting new name active at the wider fields of EBM and dark-electronics.

(Courtesy by Inferno Sound Diaries)

Q: I’m sure Zwaremachine is a new name for electro lovers so can you briefly introduce us and give us some background information?

Mach Fox: Thank you for this opportunity to introduce myself and band to your readers. I am a musician and VJ/visual artist from Mpls.Mn.USA and perform as ‘Mach Fox’ and also with my band Zwaremachine.

Horror/sci-fi and theatrics are always something I have been drawn to in live performance and try to bring to my projects over the years. Hearing songs like “Cars” by Gary Numan and “Collapsing New People” by Fad Gadget gave me an early interest in electronic music while I was still into rock and punk music. I didn’t comprehend how those songs were made, but was instantly and very deeply drawn to that music and those other-wordly sounds. I was primarily a guitar player and come from a punk DIY background.

Zwaremachine is a solo-project much like I had done with my prior band Mach Fox. I tend to write and record most of the music myself and bring in other musicians for the studio and live performance once the direction and mood is established.

Q: You claim to be inspired by some famous EBM artists. What do you especially like in this music style and what are the main characteristics of your own sound?

Mach Fox: For EBM in particular it is the drums and basslines that I find very exciting because of the visceral and urgent feelings they produce. It can be hard and menacing or groovy and sexy with simple well-placed elements to create those emotions.

I describe Zwaremachine music as ‘Minimal Hypnotic Industrial Body Music’. I wanted to blend elements from many electronic genres and also incorporate some of my other influences in the arrangements and production.

I love working with sequencers, drum machines and synthesizers as my band member and find that composing these tracks as solo artist makes it easier to follow a sound and idea through to the end without any compromise. With the songs on “Be A Light” I chose a particular sound set that I really connected with and took those sounds into the songwriting process to inform the moods and arrangements on the album. Those sounds and much of the equipment I used were most noted in electronic music associated with some great artists from the 80s and 90s.

The mixing and mastering was done with a bit more modern approach, but I fiercely fought to keep those characteristics that made the basis of the sound.

Q: You just mentioned the album “Be Alight”, which got released earlier this year. What is the album all about and what are you favorite elements/parts of the work?

Mach Fox: The final songs for the album were chosen from several I had written and began performing live in the Spring of 2017. Some were written and performed in earlier versions of Zwaremachine, but I chose new sounds as well as new arrangements. As the live sets progressed over the Summer and into the Fall I was able to pick out a body of work that was focused on a style and attitude that would become the core of the album and future of the band. That was a very important period for me and I wanted to retain the earlier electro-industrial style and bring a more personal influence on the new music I would release.

I have to also mention Paul Gerrard again because the influence of his amazing artwork is a part of the lyrics on many of these songs and probably my favorite element since it perfectly fits the world this music lives in. I consider him as part of the band as well. Themes of horror, cyber futuristic worlds and science fiction are all over this album.

Q: The album features 7 songs plus 7 remixes. You don’t exactly chose famous and familiar artists. How comes and what do you like about remixes?

Mach Fox: I have many artist and musician friends that have contributed great amounts to help me with different projects throughout the years and I’m very loyal and grateful for that. All of these remixers I contacted are either close friends, former band members and they do great work themselves.

I wanted some very original approaches to the remixes that would show their strengths and not the typical agro-dance remix approach (though some did that very well!) that is in the club/industrial scene. I could probably provide a great story behind my relationship with each of the remixers, but that can be another time.

This was a personal work and I felt it best to keep it close and promote some friends who have helped and inspired me so much over the years.

Q: I’ve been impressed by the sophisticated production, which reminds me to early Skinny Puppy mixed with the elegance of Plastic Noise Experience. Do you recognize yourself in this description and what are your personal criteria/ and references when composing?

Mach Fox: Yes. and thank you. As mentioned above I specifically chose those sounds and that production because it created that mood and emotion I was looking for in these songs. This style also promotes an energy that I can bring into the live performance. I understand those references and I did not set out to be compared to those bands, but while using the same hardware and approaches of the bands I admire I guess that would happen.

Q: The album has been released on Phage Tapes, which is a label based in your hometown Minneapolis and, which I think is more focalized on ‘noise’ and ‘industrial’ music. Do you feel related with other label mates and what do you expect from a label in times labels are complaining about sales?

Mach Fox: Working with Sam and Phage Tapes has been an absolute pleasure. It’s really great to be a part of that label and appreciate the work he does with all the releases and especially Zwaremachine.

I didn’t know much about the label when he had offered to release a CD/cassette after I announced there would be new recordings. He had already seen the band several times and said he had interest to expand the label and include some industrial and other electronic acts. As I researched the label I realized some respected friends in the electronic/noise scene had released thru the label and was interested in his offer.

Once the recording process started I was sending demos out to other labels I had been influenced by or thought we could benefit from releasing together and the response was slow or no interest. It made sense to release through Phage Tapes since I began to admire and learn about the label and I felt there was genuine enthusiasm about working together and the communication was clear. …and he could release as soon as the mastered recordings were available instead of waiting in a line of other releases and the recording not coming out for months.

Some of other artists on Phage Tapes released at the same time as our album like Spit Mask, STCLVR, Synaptic Memories all have very strong releases and I don’t think Phage is going to stop finding great albums to put out anytime soon. I know that Phage is releasing music to streaming services and just recently made more releases available through Cold Spring Records store in the UK as a way to avoid high shipping costs from the U.S. to places around the world. I feel like a part of the label and other bands and will continue to promote the label’s other artists as well as my own release because it’s really great stuff coming out.

Darkwave artist Base 211 releases action figure & download kit

Bernard - Side-Line Staff — Tue, 17 Jul 2018 11:23:46 +0000

Do you know a darkwave act which has released an action figure? Neither do we, until now that is. Base 211, a darkwave music
artist from Little Rock, Arkansas, has created the first in a series of exclusive action figures available at the artists’ website.

Having said that, it’s not really a true action figure, as the figure itself has no articulation. Base 211 considers it to be more of a collector’s item created after Sikh Bastard, the creator of Base 211. More figures will follow with forthcoming releases. Next to be released later this year will be singer Sid Sicness.

Officially dubbed the Base 211 Action Figure Fan Kit, this kit comes with the Sikh Bastard figure on a keyboard base, a black and white bumper sticker, a 1” color button and, most importantly, a download of the “Take the Fall/In Dark Dreams” 2 song single.

The single is available to stream on Spotify, iTunes and so forth. You can get in on the action at www.base211.com.

The video for “In Dark Dreams” can be viewed below.

Einstuerzende Neubauten releases ‘Grundstück’ for the first time on the commercial market in 2 formats: Vinyl + DVD / CD + DVD

Bernard - Side-Line Staff — Mon, 16 Jul 2018 09:52:15 +0000

With “Grundstück”, a real Einstuerzende Neubauten rarity is being released on the commercial market for the first time.

Originally issued in 2005 as a small, limited edition, strictly intended only for registered band supporters, the much sought-after album is now officially available as a CD, and also for the first time ever as an LP, each including a DVD with previously unpublished film recordings of the project and an extensive booklet.

You can order the CD/DVD version right here while the vinyl/DVD version is available here.

“Grundstück” (also informally known as “Supporter Album No. 2”) was completed in the fall of 2005. It was shipped to supporters in October and was also available to non-supporters during the ‘Alles Wieder Offen’ tour in 2008. Back then the album was offered to supporters in two versions; one with just the audio CD and another version with the DVD containing material from the November 2004 “Grundstück” performance at the Palast der Republik in Berlin.

Einstürzende Neubauten finally give 2005 fan-only album a proper release

Bernard - Side-Line Staff — Thu, 07 Jun 2018 18:42:10 +0000

Einstürzende Neubauten have announced the first official release of the album “Grundstück”. The 10-track album “Grundstück” has up until now only been available to supporters of the so-called Phase II project.

The album release will take place on September 7th, 2018 and “Grundstück” will be available on CD and Vinyl. Both formats will also include an accompanying DVD and a comprehensive booklet. The DVD will probably contain material from the November 2004 “Grundstück” performance from Berlin (at the Palast der Republik).

“Grundstück” is the second supporter’s album by Einstürzende Neubauten, completed in the fall of 2005. It was shipped to supporters in October. The album was also available to non-supporters during the Alles Wieder Offen tour in 2008 but never got a proper mainstream distribution.