As the Belgian, Brussels based, Crammed Discs label turns 42 this year, they are taking this opportunity to focus the spotlight on certain areas of their catalog that have been somewhat obscured in recent years. Some music trends which are back popular now were originally explored by the label in the 80s and 90s, but were never released digitally before.

We are speaking of 250 tracks that were once only released on vinyl (or on CDs that have been discontinued for a long time) via SSR Records (Sampler & Sans Reproche) which released music covering a range of styles, from early new beat to downtempo, techno, house and hip hop.

These digital reissues will be released in different phases in the coming years, each consisting of a compilation plus a number of related EPs. They’re introducing the series with a sneak peek, the “Appetiser: Rare Early SSR Electronica” EP which is out today, May 27 and holds material from the era 1989-91.

This release will be immediately followed by the “Phase 1: Rare SSR Electronica”, which focuses on the early days of the ‘electronic’ SSR label from the period 1988-94 with a 24 track compilation and five standalone EPs or albums, all of which come out on June 17.

Here is the complete list of scheduled release waves:

• Appetiser: Rare Early SSR Electronica EP 1989-91 (Crammed Archives 0) out on May 27 – 22
• Phase 1: Rare SSR Electronica 1988-94 (Crammed Archives 1) out on June 17 – 22
• Phase 2 : Rare Global Pop 1980s (Crammed Archives 2) out in Autumn 2022
• Phase 3 : Rare Electronica 1994-01 (Crammed Archives 3) out in Spring 2023
• Phase 4 : Rare Electronica B-sides 1988-97 (Crammed Archives 4) out in Autumn 2023

What’s on the first EP out now?

Here is a description of the tracks on this first EP.

“Hallucination Generation” by The Gruesome Twosome : The GT were an outfit formed by Samy Birnbach/Morpheus with Norwegian techno whiz kid Per Martinsen, and later joined by Bertrand Burgalat. This track – as well as the Mr Big Mouse track mentioned below – enjoyed considerable club success in the US, where they made it into mainstream and underground charts, from Billboard to Rockpool etc..

“A Byte of AMC” by Bleep : Bleep aka Geir Jenssen was a member of Bel Canto. After several EPs and a debut solo album on SSR (as Bleep), he went on to become a leading ambient electronic composer under his Biosphere moniker. This track pays tribute to Manchester hip hop duo Kiss AMC and their cheeky track “A Bit of U2” and also includes an – authorized – sample from the Sussan Deyhim / Richard Horowitz album “Desert Equations” (recently reissued by Crammed). The debut singles by Geir Jenssen and Per Martinsen on SSR are considered as the first Norwegian techno tracks ever. You will notice some Bel Canto sounds too on it.

“Drop That Ghetto Blaster” by Mr Big Mouse feat. Karen Finley : Mr BM were none other than Crammed’s Vincent Kenis and Marc Hollander, and this song was conceived as an ‘answer track’ to the hit single “Theme from S’Express” (and to several other tracks) which had made extensive use of vocals by provocative NY performance artist Karen Finley (lifted from her “Tales of Taboo” EP, released by Crammed in 1986).

“Danger” by Alegria : This was the debut release by Bjørn Torske who, alongside the aforementioned Per Martinsen, is one of the godfathers of Norwegian techno. “Danger” came out as part of the T.O.S. EPs, which laid the foundations for what later became a vibrant electronic music scene, with the likes of Todd Terje, Lindstrøm, Prins Thomas, Röyksopp et al.

“Security” by Farida International : A track created by Mr Big Mouse aka Kenis and Hollander from elements of a song by Middle Eastern rock band Foreign Affair (a Minimal Compact splinter group) and from a bunch of other things.

About The Early Days Of SSR

The story of SSR in a nutshell: As soon as the first wave of Detroit techno hit Europe, and playful, sample-based electronic dance music started popping up in the UK, the people at Crammed Discs were immediately excited about these new combinations of sounds, and started their SSR division in on 1988.

In those early days of SSR, a Belgian-Norwegian axis emerged, when a handful of young Norwegian musicians and producers came to Brussels (in connection with Bel Canto, the electro-pop group then signed to Crammed), and sat down with central figures of Crammed Discs such as Minimal Compact vocalist Samy Birnbach (later known as DJ Morpheus), label owner Marc Hollander, and Vincent Kenis (Marc’s former partner in Aksak Maboul).

A series of hybrid electro EPs were released, mixing early techno styles with influences from around the world.

SSR (and its sub-labels Language and Selector) would release more than sixty albums and dozens of EPs, spanning various styles (from house and techno to downtempo, ambient, broken beats, drum’n’bass and hip-hop), featuring artists such as Carl Craig, Snooze, Juryman aka Ian Simmonds, DJ Spinna, 4hero and Tek 9, Bleep aka Biosphere, Telex, DJ Morpheus and many others.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Die Krupps is considered as one of the Godfathers of EBM. The German band from Düsseldorf (Germany) was set up in 1980 and experimented with much more styles than only EBM. Fourty years after their set up the band is still active and are actually promoting their newest album “Vision 2020 Vision” released by the end of 2019 on SPV GmbH / Oblivion & Metropolis Records. The album is driven by a furious mix of industrial/metal guitar play and EBM. Front man Jürgen Engler kindly accepted to answer a few questions about this new opus.

(Picture credits: Franz Schepers / Interview courtesy by Inferno Sound Diaries)

Q: Die Krupps this year celebrates its 40th anniversary! What does it evoke to you and how much of the early Die Krupps and the ‘younger’ Jürgen Engler do you recognize in the new album “Vision 2020 Vision”?

Jürgen: The band went through many different phases, the noise-industrial phase of the early year, the pre-EBM electro style, the industrial-metal phase and so on. This new album picks up where we left it off in the 90s, but obviously with a modern twist and production. The songs still have the same spirit musically like “To The Hilt” and also lyrically, like “Fatherland”, the lyrics being political for most part of the album and verbalizing what is going on in these extremely troubling times.

So back to your question, I would say a lot of the original motivation is still intact, we still have something to say and you better count on Die Krupps, there’s no end in sight!

Q: Let’s talk about “Vision 2020 Vision”, which has been introduced as a dystopian vision of the world we’re living in. I get the feeling it’s not a dystopian-, but a rather realistic vision and maybe the most ‘engaged’ and ‘political’ album to date! Tell us a bit more about the content and the sources of inspiration?

Jürgen: I absolutely agree, it is not a dystopian vision, but rather it has become reality. We are moving towards exactly what the album lyrics prophetically suggested may happen. In my house the news are on from the second I get up to the moment I go to sleep. I have almost no doors in my house, so even when I’m working in the studio I can hear the TV somewhere in the background, so all the information that I absorb during the day or night will find its way into my lyrics and music. That is a very important part of my work and I could not have done the album without. This may very well be the most engaged and political album to date, but it’s no wonder given the political nightmares we are facing on a daily basis. Never did we have a more erratic madman controlling the button of the nuclear arsenal. It’s beyond crazy!

Q: The Trump administration is clearly not getting your support! But how do we have to understand Trump will probably reelected? What does it mean to you dealing with this theme and how do you transpose it into the song writing?

Jürgen: The problem lies in the American system, a so-called democracy which is not, where the power of the people doesn’t matter, and the popular vote doesn’t matter. What kind of democracy makes it possible for a non-politician with nothing, but money to run the world’s greatest country? A country that doesn’t know the difference between socialism and communism, where the pure thought of socialism scares 2/3 of the population away from the voting booth. This is not a democracy, the voting system is from the middle ages, and it’s run by a wanna be king! How fucked up is that?

Q: How did the composition of the album happened? Were there some basic ideas about ‘sound’ and ‘production’ properly speaking? Did you handle specific criteria and/or do you have explicit references to know a song/album is accomplished or not?

Jürgen: I wrote all my songs here in my studio in Austin (USA), Marcel and Nils contributed some songs or ideas, and Ralf and I shared the lyric writing. We didn’t meet until all songs were written, all basics recorded and when it was time to do the final recordings, vocals and guitars, and mixing the album, which was done in Hamburg Germany in our new drummer’s, Paul Keller’s, studio, who also engineered the mixes. The idea behind this production was to have an album that is like a snapshot of what the band is about at this very moment. The production did not last for two years or more, but rather three months max, so it really sums up best what Die Krupps 2020 is all about.

Q: You last year started with the “Vision 2020 Vision”-tour, which unfortunately was interrupted due to Marcel’s injury. How do you look back on the tour so far? And can you tell us a bit more about the preparation process of such a tour?

Jürgen: The European tour for the album was one of the best that I can remember. The audience response was amazing and in parts better than any other shows we’ve played in the past! We have a very loyal following and it’s amazing to see how younger generations and older generations, long-haired and shorthaired of both sexes and in-between, all come out to see us play. The audience ranges from the 20s to the 50s, and the shows usually end up with people dancing from the front to the very last row, and occasionally with 50 or more people dancing on stage, as happened in Budapest on the last day of the tour! It’s been a blast, and I cannot wait to play here in the U.S. later this year!

Q: I’ve always experienced Die Krupps as a band without real compromises and especially when it comes to ‘sound’ although you set up Die Robo Sapiens, which is pure electronic and should I dare to say ‘getting back to the EBM roots of Die Krupps ’? Can we expect new work from this side-project and do you’ve other projects/releases in the pipeline?

Jürgen: That is also true, I hate to compromise, we never played by the rules of the industry, we always did what we thought was right and best. A new EP will soon be released for the Robo Sapiens project. I’m still working on the rest of the tracks for the album, which should also see the light of day hopefully in late spring or summer. I’m also still playing and recording with my first band, which was Germany’s first Punk band from 1976, and we are still doing shows in May. Other projects are all Cleopatra Records related, because that is my main job! I’m one of their in-house producers and have been for over 10 years now, and a lot of their releases have my touch. It’s very diverse and interesting, and definitely my dream job! Who gets to work with William Shatner, David Hasselhoff, Al Jourgensen, Iggy Pop, Nik Turner and hundreds more? I can’t complain (lol).

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Experimental, electronics.

Background/Info: Behind The Anti Group (TAG) is hiding Adi Newton. He was previously involved in The Future and later on created Clock DVA. Together with S.J. Turner he set up TAG as a project of multi-media research & development active in different areas. Several members have been involved in the project, but Adi Newton always remained the ‘supervisor’. This work brings a nice selection of tracks that were originally composed during the 80s and 90s.   

Content: This album is a perfect opportunity to re-discover the experimental approach of TAG, and also a more intelligent sound, which clearly was the basis to Clock DVA. One of the tracks (cf. “Big Sex”) clearly inspired one of the most famous Clock DVA cuts. I’m sure you’ll recognize the samplings. The debut part of the album is definitely experimental while the last part became more sophisticated.  

Both last songs are attention grabbers as they are remixes by Richard H. Kirk (Cabaret Voltaire), which have been produced and developed this year by Adi Newton. 

+ + + : First of all this release reveals a great DVD digipak format including a 16 page booklet. But this album is also a perfect opportunity to get back to the particular sonic universe of this group. The album reflects the experimental spirit of the 80s next to the sound genius of Adi Newton, which totally emerged during his Clock DVA period. The sophisticated format clearly appears during the last tracks. I recommend listening to “Morpheus Baby”, “Big Sex” and “Broadcast Test – Transmission 1”. The remix of “Zulu” by Richard H. Kirk is another great piece of music.

– – – : Some of the most experimental cuts sound like pure improvisation and aren’t my favorite part of the TAG.

Conclusion: Bringing TAG to life is a real great idea to rediscover a somewhat forgotten treasure from the 80s, but still a way to rediscover the genius of Ady Newton. He according to me remains one of the Godfathers of intelligent electronic music!

Best songs: “Big Sex”, “Morpheus Baby”, “Broadcast Test – Transmission 1”, “Zulu – Dub Remix produced by Adi Newton from Richard H. Kirk Remix Version”.

Rate: (8).

Artist: https://armcomm.co.uk / www.facebook.com/adi.newton

Label: www.peripheralminimal.com / www.facebook.com/PeripheralMinimal

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial-techno, IDM. 

Background/Info: David Christian set up Cervello Elettronico in 2001. The American sonic project rapidly became one of the most visionary and innovative ones from the industrial scene. The enigmatic entitled “Top Ded Ctr” is the sixth official solo-work of Cervello Elettronico. 

Content: “Top Ded Ctr” is a work that has been seriously contaminated by the techno virus while holding on the industrial roots of the artist. But it’s not just an industrial-techno fusion, but also a work featuring transcendental passages, icy sound treatments and a real raw production. The work features 14 cuts and especially the last one (cf. “Nowhere Fast”) is really surprising. This is a mix between subtle IDM, dark tones and a real sexy sphere plus cadence. 

+ + + : The visionary side of the artist has no longer the same magic, but it remains a great, danceable experience. This is a judicious fusion between intelligent industrial, icy sound treatments and hypnotic techno beats. Cervello Elettronico is one of the few artists to deal with such a subtle merge between both music styles. And here again David Christian takes his fans by surprise, having accomplished little sonic jewels as “Mind Mechanism” and “Controlling Systems”. I already mentioned the astounding “Nowhere Fast”, which tends to prove that industrial music can be sensual as well. 

– – – : I can’t say that this work has minus points or forgettable songs; it’s just that Cervello Elettronico’s sound formula became quite familiar after all these years and that the original magic is a bit gone. 

Conclusion: This is for sure one of the albums to look for this year. Cervello Elettronico can be easily considered as one of the Godfathers of the post-industrial times. 

Best songs: “Mind Mechanism”, “Controlling Systems”, “Nowhere Fast”, “Resist”, “The Report”, “Drop Off”. 

Rate: (8).

Artist: www.cervelloelettronico.com / www.facebook.com/cervelloelettronicomusic 

Label: www.handsproductions.com / www.facebook.com/hands.official

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM.

Background/Info: Mika Rossi, Jesper Nilsson and Anders Olsson are celebrating the 10^th anniversary of their EBM brainchild commonly known as ‘Autodafeh’. The band has released 5 albums and 2 EP’s and are actually working on their new opus planned to be released this year. “The Vintage Collection” as the title indicates is a collection or compilation or simply a ‘best of’ album featuring remixed songs (by Autodafeh) taken from all their releases. The album features 14 songs while the vinyl edition only features 10 cuts.

Content: Autodafeh definitely is one of the most recognized and praised contemporary EBM bands. The Swedish formation (also involved with Agrezzior) has been always been strongly inspired by the work of Front 242 and that’s an element you’ll rapidly notice. Every single song reminds me of a track from the impressive ‘242’ discography, but it has been adapted into an own approach. The songs are driven by danceable kicks, typical electro-body sequences, good-old spoken samplings and vocals in the style of Jean-Luc Demeyer and Richard 23.

+ + + : Autodafeh is to Front 242 what Spetsnaz is to Nitzer Ebb! You could say ‘a copyist’, but I think that would be offending the genius of Mika Rossi and his mates. The work is the result of great sound treatments, intelligent structures, carrying melody lines and the right BPM’s to get you into a frenetic dance. The shadow of Front 242 supports the entire work, but the composition is styled and more an ode to the Godfathers of EBM. I also want to say a word about the great vocal lines, which are also pretty ‘classical’ like for this kind of music, but still that efficient. The use of a delay and the backings à la Richard 23 are just great.

– – – : Autodafeh has been never dealt with originality, but simply efficiency! I however can imagine some die-hard fans of Front 242 considering this kind of formation as pure blasphemy.

Conclusion: If Front 242 is commonly and world-wide known and recognized as being the Godfathers of EBM, Autodafeh is one of the best odes a band has ever accomplished to this formation. That’s why this ‘best of’ is an absolute must-have for EBM fans.

Best songs: “Exercise Your Brain”, “Divided We Fall”, “Retro Electric”, “Heaven Screams”, “Identity Unknown”, “Hunt For Glory”.

Rate: (8½).

Artist: www.autodafeh.com / www.facebook.com/autodafeh

Label: www.ekproduct.com / www.facebook.com/EKProduct

Inferno Sound Diaries

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

www.side-line.com

The legendary British alternative rock/new wave band The Godfathers (which always reminded us of a mix between The Ramones and The Clash) returns with “A Big Bad Beautiful Noise”, the follow-up to 2013’s “Jukebox Fury”. The new album will be out on vinyl too, which can be ordered right here.

The Godfathers were formed by Peter and Chris Coyne after the demise of The Sid Presley Experience in 1985. Fellow Sid Presley member, and later Godfather, Del Bartle went on to form The Unholy Trinity with drummer Kevin Murphy. After a few independent single releases (produced by Vic Maile) they released their debut album “Hit By Hit” and signed to Epic Records in 1987, a few albums followed after which they signed to the German label Intercord in the 90s. The band ceased activity in 2000 but reformed in 2008 with its original line-up.

In March 2009, the band announced a change with Del Bartle returning to replace Kris Dollimore. Grant Nicholas later replaced George Mazur on drums, and Mike Gibson also left the band. 2014 saw a fresh line-up change, with two new guitarists, Mauro Venegas and Steve Crittall, replacing Del Bartle, and Tim James replacing Grant Nicholas on drums.

“A Big Bad Beautiful Noise” is the first studio album with the current line-up.

For the young kids on the block, here’s the band with “Birth, School, Work, Death” and below “Cause I Said So”. 2 pearls that will surely ring a bell (and if not, you have a huge hole in your music history).

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com