The iconic Belgian dark electro/future pop act Aiboforcen recently returned with their 7th studio album, “Between Noise & Silence”. Led by Benoit Blanchart and featuring the enigmatic Patrice Synthea (REGENERATOR), this album merges melancholic dark synth/EBM anthems with thrilling collaborations! Notable appearances include EBM/industrial legends like Patrick Codenys of FRONT 242, POUPPEE FABRIKK & IMPLANT (in a duet), and NUMB. The album also features outstanding female vocalists from the pop wave scene, such as Mari Kattman (HELIX), Noemi Aurora (HELALYN FLOWERS), Emke (BLACK NAIL CABARET), and SORROW STORIES… Without forgetting the splendid collaboration with Jan Dieckmann of NORDERNEY who sings on several songs and strongly contributes to crafting the album’s magic through moving lyrics, catchy dark pop melodies, and upbeat EBM sequences that often evoke the melodic and emotional depth of VNV NATION!  Benoit gave us more insights on his new album… 

You can order the new album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore. Note that the 3CD version was sold out immediately.

S. “Between Noise & Silence” is your 7th studio album and features an impressive 22 tracks. Can you share the journey of creating such a substantial body of work, and what inspired the album’s title?

B. I started working slowly on what would become this new album during the covid period.  Like many bands, those very special times allowed me to concentrate and spend much mor time in the studio creating new sequences and sounds.  After a few months, what was started with no clear objective became to take shape and I started gathering several demo tracks thinking I could use them for an EP or album.  It was a very creative period and also (hopefully for me) the opportunity to learn/improve a bit more the mixing and production side of the aïboforcen sound…  I thus also started thinking about the right vocalist for each track.  The title track “between noise & silence” is actually a sentence coming from a demo track that Tina from SORROW STORIES was working on for me…  it became the title for the track but also for the album.  It’s a bit of a special track (a bit more complex) that I really wanted to be on the album but couldn’t find the right vocalist for it…   Then Tina did a test and she nailed it down!! 😊  It also has a double meaning because since I’m not considering myself as a musician what I create in a studio probably lies in the grey area between noise and silence! 😉

S. On this album it seems that Patrice Synthea and Jan D. play a key role as vocalists? Tell us more about these collaborations?

B. Well, Patrice (REGENERATOR) has been the main vocalist with aïboforcen for quite a long time now and she helped creating some kind of a trademark for us.  But I’m always interested in working for certain tracks with other vocalists, either male or female.  Of course it can break a bit the cohesion of the album but for me it’s more like trying to avoid the monotony of the album. I see/hear the different voices as new instruments I can play with, and it can totally change the result of the tracks.  I also appreciate the fact that I can offer a broader pallet of sounds and emotions. I was introduced to Jan while working on a remix for our label mates of ELEKTROSTAUB.  I knew a bit of his project NORDERNEY that I also appreciated a lot and I thought he would be the right vocalist for a track I was working on at the time.  I sent him a demo and after a few days he came up with something really brilliant for me. I was so pleased with the result that I asked him to do a second track and the result turned out to be even better…  He has such an emotional voice that it really adds another dimension to the song and brings them to a next level.  After a while we started swapping ideas but also sequences and sounds and he eventually became more and more involved in the whole process.  He helped me a lot giving advises and also programmed several synth lines, what was totally new and unusual for me… it was surprising, challenging and it contributed in creating a more mature and developed sound.  In the end he helped for a great bunch of the album in various forms…  Therefore the album is also much more balanced between male and female vocals.  He also made a duet with Patrice on the track “everything” and I’m pretty sure that it’s something we should try again in the future…

S. The album indeed boasts collaborations with a variety of other artists too, from EBM/industrial legends to outstanding female vocalists. How did these collaborations come about, and what unique contributions did each guest artist bring to the album specifically?  

B. As I said, when a demo is finished I try to think about what would be the right vocalist and what it would add to the sound of it.  Of course there are some people/singer I would dream of having on the album but sometimes I have to stick to reality.  My choice is influenced by the music I listen to, people I met through remixing, bands I know and so on… I’ve been blessed in the past working with great artists such as Jean-Luc from FRONT 242 and this album also gathers some legend from the scene such as Henrikk from POUPPEE FABRIKK or yet Don Gordon from NUMB who both helped me deliver the most aggressive cuts from the album.  Tina from SORROW STORIES was also really involved in the process, contributing to several tracks that we can find both on the EP and the album but also on the special 8cm cd available with the limited edition.  I had met her through a remix I had done for PSY’AVIAH actually and I had been mesmerized by her rather delicate and otherworldly vocals. She is also a very passionate and nice person, and meeting and exchanging  with people is another aspect of collaborating on tracks.  Then there is also Noemi Aurora who helped us with her very characteristic and powerful voice and it helped adding the extra touch to “cycle of life” and “heaven knows” you can find on the album.  It was a pleasure working with her and she’s a professional and also involved and more than passionate with music…  Also doing a track with Emese from BLACK NAIL CABARET was really an honor for me.  She has one of the most distinctive voice from the scene at the moment and the result is a very captivating cut with upbeat sequences.  I really hope listeners will like this track as much as I do…

Mari Kattman also lends her voice on the opening track as well as on a remix of “In My Arms” (a track from the previous album) and she also has a very distinctive and beautiful voice. Last but not least I also worked with Len from Implant since he is a long time friend of us and I was glad to have him back in one form or another.  With the lyrics of the track he did evoke, it’s like a celebration of a long-time relationship between us (including also Seba, Bernard, Stephan) and how it was when we started this all as students (the magazine, the label, the bands, the gigs).

S. Your sound is often compared to iconic acts like VNV NATION, FRONT 242 or yet COVENANT. How do you approach honoring these influences while still maintaining your own distinct identity as AIBOFORCEN? “Between Noise & Silence” seamlessly weaves between oppressive industrial assaults and catchy synth-pop tunes. Can you discuss the creative process behind balancing these contrasting elements to create a cohesive listening experience?

B. Well, it’s sure that I’ve been listening to those bands a lot (one of my first vinyl was 242’s politics of pressure, along with Kraftwerk radioactivity’s 7”) but I am also influenced by other acts from inside and outside the scene.  I listen to a lot of music from the EBM but also to darkwave, gothic, experimental, industrial or yet metal…  All this is ingested and some parts/influences appear here and there in my music.  Also I hope that with time I manage to create a bit of my own distinctive sound and style. 

As far as VNV NATION is concerned, I have to admit that Ronan has a deep sense for great melodies and a very emotional voice and is an example of what soulful music is. So if we sound a bit like this it’s a good point for us! 😊  Remember he remixed one of our track at our respective very beginning!  But I always try to balance catchier tracks/tunes with a rougher sound and more complex structures or experimentations.  For me it’s kind of logical and it can create a cohesion because some sounds, fx, way of treating things are the same and reflects the different side of one same “machine”.  Also  I tend to focus on recording an album with highs and lows rather than a succession of single tracks…  so this new album (especially the first disc) needs to be explored and listened as a whole, with the tracks kind of merging one into another.  I spent hours / days / months working on sometimes very little details of mixing, samples, eq’s to find the best result I could.  I like it when it takes several listening to really get all the details included in the tracks and hopefully surprise the listeners…

S. One of the tracks on the album is a cover of DEATH IN JUNE’s “Break The Black Ice.” What drew you to reinterpret this particular song, and how did you make it your own while staying true to the original?

B. We’ve always tried to include at least one cover song on any of our releases, either for fun or to show where our roots are…  I was introduced to DEATH IN JUNE’s music more than thirty years ago and the album “The World That Summer” from 1986 has always been a favorite of mine.  “Break the black ice” was an obvious choice because it is a rather simple, dark but catchy song, kind of desperate also and I really liked the version sung by Rose McDowall which is a fragile and delicate dark cut.  I thought that Patrice could do it as well and recorded a demo.  The first version was really slower and darker than the one on the album. We will feature it on a compilation from our label later this year actually.  The final version has a stronger beat and an aggressive lead sound while the original one is softer.  Both Patrice and I liked the version very much and what was a the beginning more like a “b-side” became one of the main important track from the album…  I hope fans of DEATH IN JUNE and AIBOFORCEN will be pleased by this tribute…  the structure is rather close to the original version from DEATH IN JUNE but of course it’s 100% electronics and there are some distortions here and there… 😊

S. The album is described as a high-tension dark elektro masterpiece. How did you approach crafting the sound production to achieve this level of intensity and maturity?

B. I always spend a long time editing, changing, mixing, adding details and I hope it can be reflected in the overall sound of the album.  I never intend to choose the easiest way while producing the music and I hope I raised the level a bit more on this new release.  I spent much more time on the vocals (cutting, eq’s , volumes, …) than on any other previous releases; there are lot of movie samples (hidden or not), lots of different synths and fx…  I can sometimes leave a track for one month and then come back with new ideas and Jan also helped me developing as much as possible this new sound which is probably more focused than before.  It still goes into any directions but with a common thread and overall atmosphere throughout the numerous tracks.  It was exhausting (especially at the end) but it was worth (at least personally) and I really hope our fans will like it… 

S. How important is the visual aspect of your music, and what role does it play in enhancing the overall experience for listeners?

B. It is important, not as much as the music, but it sets the tone for the whole album.  We always tried to have eye-catching sleeve or at least mysterious ones that will give the envy to enter into the universe of aïboforcen…  When I was a kid, I used to go to a place where you could rent vinyls and I would sometimes rent releases just because the sleeve would attract me in a way or another.  On this release we obviously used AI to create the graphics but it was intended and assumed. It was our easiest way to express and get the closest to the images we had in mind while creating the music.  And since our music relies on techniques, processors, synthetic soundscapes, it makes sense…

S. Lastly, the first 50 orders from the official Alfa Matrix e-shop received a signed version with an exclusive bonus mini-CD. Can you tell us more about the significance of this bonus content and what fans can expect from these exclusive tracks?

B. When the album was completed and sent to the mastering, I noticed that there were a few tracks left without vocals that couldn’t make it on the album but were a good insight of what it’s like being in the studio and working on new tracks.  It is more like demo’s but also I had the feeling that they could stand on their own and give another view on our music.  The first of those 4 tracks is called “eliza effect” and is a brand new one that maybe will give some infos of how the future sound of aïboforcen will be (or not).  The track “pulsions” (with vocals by Tina from SORROW STORIES) arrived too late in the process of the album but was good enough as well. In the end it gives the opportunity to the die-hard fans to have some extra tracks (unreleased) and have a bit more “intimacy” with the band…

Bernard - Side-Line Staff

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

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(Photo by Paul Heartfield, 2007) The Throbbing Gristle reissue series is set to relaunch on August 23, 2024, with the release of “TGCD1” and “The Third Mind Movements”, available on both CD and vinyl.

You can already listen to “The Third Mind: First Movement”, an eight-minute piece recorded during the ICA Desertshore sessions. Previously, this track was available only on a CD sold during TG’s final US tour in 2009.

“TGCD1” will be available on vinyl for the first time. It’s also the first CD release since 1986 under The Grey Area of Mute. Included are 42 minutes of studio recordings from March 18, 1979, at TG’s Martello Street studio using a TEAC 8-Track recorder. The set comes with a booklet with original 1986 sleeve notes by the band.

For “The Third Mind Movements” it will. Be a first-time ever vinyl release and the first commercial CD release as it was originally an exclusive CD for the band’s final US tour in 2009. It features recordings from the Desertshore sessions at the ICA, London and consists of six live recordings marked by manipulated samples, rhythmical breakbeats, and electronic oscillations.

Bernard - Side-Line Staff

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

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(Photo by Paul Heartfield) Out on August 23rd on Mute are two new releases in the Throbbing Gristle reissues series: “TGCD1” and “The Third Mind Movements”. Both reissues will be out on CD and vinyl.

Throbbing Gristle’s “TGCD1” will be available on vinyl for the first time and on CD for the first time since The Grey Area of Mute’s release in 1986. “TGCD1” comprises 42 minutes of studio recordings, recorded at Throbbing Gristle’s infamous Martello Street studio on a TEAC 8-Track recorder on 18 March 1979.The release comes with a booklet featuring the original 1986 sleeve notes by the band.

“The Third Mind Movements” is equally available for the first time on vinyl and commercially for the first time on CD. It was initially an exclusive CD release for the band’s final US tour in 2009. The tour, which saw them perform in the US for the first time in 28 years, included their first shows in NY and an appearance at Coachella festival. “The Third Mind Movements” album was recorded during the “Desertshore” sessions at the ICA, London several years earlier.

Listen to “The Man From Nowhere” below.

Bernard - Side-Line Staff

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

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Genre/Influences: Body-Pop.

Format: Digital, Vinyl + CDR.

Background/Info: Finish Huminoida, a project driven by ex-Neuroactive member Kimmo Karjalainen, strikes back with a new EP. This is a new chapter in the ‘seasons-series’ which was preceded by “Mystic Summer” (2013) and “Intoxicating Spring” (2014). Huminoida of course released other EP’s and two albums. We get three new songs and three remixes from earlier cuts. The vinyl format is strictly limited to 50 copies and also features a CDR.

Content: Karjalainen remains faithful to his familiar sound formula. It sounds as the perfect offspring between solid, EBM-driven, bass lines and polished, Pop-injected, choruses. The production of the vocals remains half whispering-like injecting a warm and sensual touch to the work. Among the remixes you’ll get one by Neuroactive and another one by NYX plus an EP-version of “Ghosts On Photos” -a track that originally appeared on the last album “The Grey Area” (2018).

+ + + : The debut song “The Lights Are Going Out” is a true sonic jewel and pure Body-Pop music with a clear connection to Neuroactive. The Neuroactive-remix of “Just By Wishing” is another masterpiece. The song is outstandingly composed and driven by a carrying and catchy chorus. Humanoida deals with irresistible vintage sound treatments and a personal approach in the merge of EBM together with Electro-Pop.

– – – : One great new song -the aforementioned “The Lights Are Going Out”, but both new tracks left are less inspiring. Especially “Lunar Lullabye” sounds as a slow running Halloween-pop song.

Conclusion: I was not convinced by the entire work, but the best cuts are truly accomplished and refreshing Electro-Body-Pop songs.

Best songs: “The Lights Are Going Out”, “Just By Wishing – Neuroactive Remix”, “Ghosts On Photos – EP Version”.

Rate: 7½.

Artist: www.huminoida.com / www.facebook.com/huminoida

About Huminoida

Huminoida is the project of Kimmo Karjalainen, who previously played in [Active] Media Disease and Neuroactive. Karjalainen set up Huminoida in 2007, initially as a duo with AugM, who ran his own label, Plastic Passion, and joined for the project’s first two singles before leaving. Karjalainen has continued Huminoida as a solo project since, releasing all of its output through his own label, Out Of Range.

The first Huminoida full-length album followed in 2011, then two EPs and the second album, “The Grey Area”, in 2018. The seasons-themed EP series includes “Mystic Summer” (2013) and “Intoxicating Spring” (2014), continued with “Haunted Autumn”, reviewed here, released via Out Of Range.

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.

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Coinciding with the reissue of “The Bridge” on 8 April 2022 is a Thomas Leer and Robert Rental ‘From The Port To The Bridge’ exhibition launch with Daniel Miller on 21 January. The exhibition takes place at the Horse Hospital in London from 21 January till 10 February.

Limited tickets are available – to attend, please book here – and are free, but a donation towards The Horse Hospital would be appreciated. Tickets to view the exhibition are available throughout the day, for tickets to the Private View Launch Event, book for 6pm.

On 21 January Simon Dell (music archivist and curator of ‘The Port To The Bridge’ exhibition) will host a talk and Q&A with Mute owner and founder Daniel Miller, discussing his friendship with Robert Rental, their work together and his recollections of the UK around the time of the recording and release of “The Bridge”. They’ll also discuss the legacy of these important works and their impact on electronic music in the current era. In addition, a new filmed interview with Thomas Leer is showing for the first time. The talk and Q&A is at 7pm.

Out via The Grey Area, the reissue of Thomas Leer and Robert Rental’s 1979 album, “The Bridge”, will be out on a limited edition white vinyl for the first time since its original release, and on CD for the first time since The Grey Area of Mute’s release 30 years ago. Recorded at Rental’s home over two intense weeks using equipment provided by Throbbing Gristle (with only rudimentary explanation of how to use it), their groundbreaking album was cited by a number of electronic musicians at the time as being of a big incluence, including John Foxx, Matt Johnson (The The) and ABC.

This is the opening track, “Attack Delay”.

Bernard - Side-Line Staff

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

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(Photo by Chris Carter) Out on 28 January 2022 via The Grey Area (Mute) is the reissue of the 1979 album “The Bridge” by Thomas Leer And Robert Rental. This new reissue will be available on limited edition white vinyl and CD, both featuring new sleevenotes.

The reissue of Leer and Rental’s sole collaboration will coincide with “From The Port To The Bridge”, an exhibition detailing the duo’s work and legacy, due to run at The Horse Hospital in London from 21 January through to 10 February 2022.

Discovered by Throbbing Gristle

Thomas Leer and Robert Rental, both from Port Glasgow in Scotland, were at the vanguard of a DIY electronic scene that went on to influence and inform the 80s synth-pop movement. After self-releasing two solo 7” singles, they came to the attention of Throbbing Gristle and signed to their label, Industrial Records. Their one and only collaboration, “The Bridge”, was originally released in 1979, the first non-TG / associated release for the label.

Recorded at Rental’s home over two intense weeks using equipment provided by Throbbing Gristle (with only rudimentary explanation of how to use it), their album was cited by a number of electronic musicians at the time, including John Foxx, Matt Johnson (The The) and ABC.

Listen to “Monochrome Days”.

The late Robert Rental retired from the music industry

Robert Rental (who sadly died in 2000), went on to collaborate with The Normal – Daniel Miller and Rental’s live album, “Live at West Runton Pavilion, 6-3-79”, was released in 1980 by Rough Trade. Rental also released a single on Mute, “Double Heart” / “On Location” in 1980 and produced music for the Comic Strip’s “A Fistful of Traveller’s Cheques”, before retiring from the industry.

Thomas Leer continued to release music

Thomas Leer went on to release albums on Cherry Red and Arista, formed Act with Claudia Brücken (formerly of Propaganda) in the late 80s who released on Trevor Horn’s ZTT label. After a hiatus, he re-emerged with a series of releases from 2001, and currently lives in Greenock.

About The Grey Area

The Grey Area was founded in 1990 to restore and reissue albums by important and influential artists, initiated by catalogue deals between Mute and Throbbing Gristle, Can and Cabaret Voltaire.

The label went on to be the home for the catalogues of DAF, Virgin Prunes, SPK, Swell Maps, Dome, The Radiophonic Workshop and The Hafler Trio as well as key early works by Wire, Buzzcocks and Einstürzende Neubauten.

Dormant for a few years during the 2000s, The Grey Area emerged again quietly in 2013 with the re-release of Cabaret Voltaire’s Virgin period work, Richard H. Kirk’s solo work, the Sandoz catalogue and a new agreement with Throbbing Gristle.

Bernard - Side-Line Staff

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

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The cult act Cabaret Voltaire have announced the release of their 1979 soundtrack, “Chance Versus Causality”, which will be available officially for the first time since the film’s release. “Chance Versus Causality” will be out on limited edition transparent green vinyl, CD and digital formats on August 30 via Mute.

On the same day, “1974-76” will get its first vinyl release. The album, originally released on cassette via Industrial Records in 1980, was reissued on CD by The Grey Area of Mute (a division of Mute dedicated to reissues) in 1992 and will be available on limited edition transparent orange double vinyl and digital formats. “1974-76” is a selection of material recorded by Cabaret Voltaire in their formative years. Recorded in Chris Watson’s attic on a domestic reel-to-reel tape recorder, a number of the recordings were included in the now legendary limited edition cassette released by the band in 1976.

The lost “Chance Versus Causality” tapes

“Chance Versus Causality” was recorded in 1979 as the soundtrack for director Babeth Mondini’s film of the same name. The band originally met Mondini at the infamous Brussels Plan K show which saw Joy Division, Cabaret Voltaire and William Burroughs share a bill, and soon after, Mondini asked them to create the soundtrack for her film.

The soundtrack was recorded live by the original Cabaret Voltaire line up – Richard H. Kirk, Stephen Mallinder and Chris Watson – at the band’s Western Works studio with no prior knowledge of the film or instruction from the director.

Only one copy of the soundtrack existed on 2 reels of tape that were sent to Holland for inclusion in the split-screen 16mm film which was given a limited release and never even seen by the band. Around 15 years ago, the tapes were returned to Cabaret Voltaire and only recently resurfaced during discussions with Mute. The artwork for “Chance Versus Causality” was executed by Richard H. Kirk and Phil Wolstenholme.

Bernard - Side-Line Staff

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

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Kimmo Karjalainen got some recognition as member of [Active] Media Disease and Neuroactive. In 2007 he set up Huminoida and started to release his own music, which reveals an atypical synth-pop approach. Earlier this year he released the album “The Grey Area” revealing a quite eclectic electro-pop release carried by a strong lyrical content.

(Courtesy by Inferno Sound Diaries)

Q: Kimmo, you gained some experience in music as member of [Active] Media Disease and Neuroactive. What did you learn and keep in mind from this experience with both bands and what incited you to set up Huminoida?

Kimmo: I have fond memories of both of those bands and I learned something about the recording  process and gigging also, but after all these years I think the camaraderie between band members is the thing that I value the most. There are some good points of making music together, and the times when everything clicks into place are just wonderful. But Neuroactive slowed down (we both had very time consuming jobs at that time), and I had always wanted to write and release my own stuff, so I eventually set up Huminoida.

Q: Huminoida was originally set up in 2007 as a duo. What have been the main facts in the band’s history and how does it feel to move on as a solo-project?

Kimmo: Yes, I was determined to set up this slightly skewed synth band (first single was an instrumental and the  B-side was carved by hand!), and AugM had his own record label (Plastic Passion) and some connections, so he joined in.

After a while it became clear that he really hadn’t time to contribute, so he left after two singles and I started to make the first full-length album which was released 2011. After that there were two EP’s and the second album “The Grey Area”, released in 2018. This kind of solo working suits me well, I love the  freedom of it.

Q: All Huminoida productions have been released on Out Of Range Records, which I think is your very own label. So in the end it all looks like you’re taking care of every single aspect of the production; from composition to recording to production to manufacturing… What does this D.I.Y. approach mean to you and why is it important?   

Kimmo: Well, maybe I’m just a control freak… 😉 I love the D.I.Y. aspect because it’s direct, fast and fun. Straight from the artist to the audience, there are no  middlemen filtering out the odd bits and telling what can or cannot be released. I’ve always loved records  where the artist’s personality shows through, and this is the way to do it. It’s also very fast and easy to  upload a new track to the net whenever you want.

The visual aspect is also an important part of the Huminoida releases. I like to make an effort to offer something extra with the music: paintings for the record sleeves, booklets, posters, little bits & pieces to make the whole package interesting. That’s the fun part, and I’m intrigued with the idea that the whole release is made by an artist including the artwork. (‘Gesamtkunstwerk’, like they used to say)

Q: What have been the main ideas you wanted to accomplish when starting the writing of the new album “The Grey Area”?

Kimmo: Musically “The Grey Area” is in the line of the other Huminoida releases. It’s varied, and I think a strong collection  of songs with nice pop tunes (“Just By Wishing”, “Beneath The Empty Skies”), harsher material (“Contradictator”, “Trying Times”, “Thoughts Like Insects”), plus the ‘difficult’ bits and some beautiful tracks also.

Lyrically it’s a whole different thing, it became clear very soon that this isn’t going to be a party record. I started the songwriting in 2015, and since then the news from the world and from my home country Finland haven’t been pleasant reading with all the hate-mongering, terrorism, wars, influx of refugees, racism, the relentless greed and short-sightedness of the business world and politicians. Not to mention the end of the world… It’s finally seeped into the common consciousness that this isn’t going to end well, and the problems  are so big that we can’t deal with them, or more likely don’t want to deal with them.

I wanted the lyrics reflect the anxiety of the the times, and I’m also venting my frustration and anger in these  lyrics. But I definitely wanted to avoid preaching or the ‘Fuck you fucking cunts’-type of argumentation,  because there’s enough moronic shouting on the Internet already. I think I managed to handle the difficult  topics well, and I’m happy with this set of lyrics, although they’re pretty heavy, depressive even.

Q: One of Huminoida’s main characteristics is the ‘atypical’ electro-pop approach. It’s hard to describe, but your music clearly is an antidote to all electro-pop clones and Depeche Mode copyists! Tell us a bit more about this ‘sound’ and ‘approach’?

Kimmo: Oh yes, I’ve had difficulties with this also…  I sometimes call it ‘uncomfortable synthpop’:)

The style of Huminoida is hard to describe mainly because it’s musically varied, there are some nice  synth-pop tunes, some beautiful tracks and then some dark, heavy stuff as well. To me it’s electronic music  mainly to listen to, there are the danceable tracks, but it’s not club-friendly at all. Lyrics are also an important part of Huminoida. This may sound odd, but I see myself more as a singer-songwriter than an electronic music  maker anyway.

When it comes to sounds I don’t have any rules. I’m a music lover and I’ve taken lot of influences from lot of  different genres, but naturally I try to maintain some degree of originality in the work. There has to be that ‘personal touch’, otherwise the whole thing pointless. (I don’t quite understand bands who want to copy  some other band exactly – there’s a tragic lack of ambition there.) So, I’m not so keen on following some current song writing style or ‘trend’ or imitate certain era in music. But I love those late 70’s / early  80’s synth sounds, and that’s why some Huminoida tracks have a very strong ‘retro’ feel.

Q: There’s a hiatus of 7 years between both Huminoida albums. How would you analyze your own evolution as musician from the “Whiter Album” towards “The Grey Area” and what brings the future?

Kimmo: Well, actually I don’t call myself a musician, because I’m not exactly a virtuoso.. I guess the new one is more refined soundwise, and the production/mixing is clearer (not too crisp or light though – I like my  synth-pop dark and heavy).

The future brings new records, next will be the “Autumn” and “Winter”-EP’s to complete the “Seasons” series. I’ve also thought of adding some other instruments along the synths to some tracks, trying some new tricks etc..  Lately I’ve had this growing urge to make some really insane, out-there release (in the same vein as the first hand-made single), but these are now just in my head, let’s see what comes out.

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.

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