Breaches, the post-punk duo from Wellington, New Zealand, is composed of Hayden Ellis and Matt McGuiness.

Following their recent performance opening for Ville Valo (formerly of HIM) in Auckland, the band has been actively releasing new music. Their latest singles, “Twist the Knife” and “Left Behind,” have set the tone for their sound.

They now also unveiled a video for “Twist the Knife,” a track that holds significant meaning for the band. According to Hayden Ellis, “’Twist the Knife’ was the first song we wrote together, and it really defined our direction as a band. The song deals with the feeling of being lost in an unfamiliar place and is dedicated to the memory of a late friend who was always searching for an escape.”

With new music coming in the months ahead, Breaches will support Attrition (UK) in Wellington in November.

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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Today, Fever Ray unveils the video for “Shiver”, taken from “Radical Romantics” released last year via Rabid Records.

The “Shiver” video sees Fever Ray’s Karin Dreijer and creative collaborator Martin Falck continuing to expand the visual world of “Radical Romantics”, closing the chapter on their protagonist, Main, as they are sent off to the ever-shifting sands of time.

Directed by Falck and starring International Fitness and Bodybuilding Federation pro bodybuilder Irene Andersen, the video was inspired by the “Lovers of Valdaro“, the pair of 6000 year-old human skeletons in Italy that were discovered “locked in an eternal embrace”.

Dreijer and Falck elaborate: “We fantasized about what might have happened to these two skeletons. Were they so in love they had their mouths and noses too close to each other, or couldn’t stop kissing so they died of carbon monoxide poisoning? Or did a dinosaur kill them, and they died in fear holding each other? Was it a volcano, and they were protecting themselves from the lava burning their flesh? Maybe they weren’t in love at all; perhaps they were lifelong enemies facing their final struggle strangling each other? We felt there was a beautiful story there about the struggles of falling in love and the vulnerability you might feel being ‘examined’ by your love interest who wants to make sure you really are the one they can trust and form a relationship with, that will last for eternity.”

Watch Fever Ray’s “Shiver” video.

Fever Ray is Karin Elisabeth Dreijer, a Swedish singer-songwriter and record producer. Dreijer was one half of the electronic music duo the Knife, formed with Olof Dreijer, and released a debut solo album under the alias Fever Ray in January 2009. A second studio album, “Plunge”, under the same alias, was released in October 2017. “Radical Romantics” followed in 2023.

Fever Ray on tour

• Fever Ray UK & EU Live Dates
• 23 Feb – Aarhus, DK – Train*
• 24 Feb – Copenhagen, DK – VEGA* – SOLD OUT
• 26 Feb – Hamburg, DE – Kampnagel* – SOLD OUT
• 27 Feb – Amsterdam, NL – Gashouder**
• 29 Feb – Bristol, UK – Beacon**
• 1 March – Manchester, UK – Albert Hall – SOLD OUT 2 March – London, UK – Hammersmith Apollo
• 4 March – Paris, FR – L’Olympia**
• 6 March – Berlin, DE – Theater Des Westens* – SOLD OUT 7 March – Berlin, DE – Theater Des Westens*
• 10 March – Stockholm, SE – Cirkus* – SOLD OUT
• 11 March – Stockholm, SE – Cirkus*
• 13 March – Copenhagen, DK – VEGA* – NEW DATE
• 29 Aug-1 Sep – Larmer Tree Gardens, UK – End of the Road Festival

Tickets are on sale now – Support details: * – Uroish / **LSDXOXO / *** Planningtorock (DJ set)

Previous Fever Ray videos

Bernard - Side-Line Staff

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

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Genre/Influences: Dark-Pop, Electronic.

Format: Digital, CD, Vinyl.

Background/Info: The new album from the American formation Bestial Mouths is still driven by core member Lynette Cerezo who got assisted by Brant Showers and Matthew Tucker. Several productions have been released since 2009 but this is the first opus released by Negative Gain Productions.

Content: If you’re a bit familiar with the sound of Bestial Mouths you’ll directly recognize the charismatic and bewitching vocal parts by Lynette Cerezo. She has a particular, expressive, timbre of voice which is often reminding me of Gothic singers. The particularity of Bestial Mouths remains the mix of the vocals together with an explicit Electronic composition. The music sounds like a Dark-Pop exposure featuring piano-sound arrangements and bombastic elements.

+ + + : Bestial Mouths would be a different band without Lynette Cerezo who remains a true charismatic performer. She injects the spirit to the music. I also like the delicious contrast between her voice and the Electronic music. Another contrast comes back in the arrangements which can be now refined and then heavy, bombastic. The album is supported with a haunting atmosphere getting its highlight with the great “Slitskin”-song.

– – – : I regret the work only features 9 songs.

Conclusion: This album brings no true innovation nor surprises but is another noticeable work from a band which according to me deserves a wider recognition.

Best songs: “Slitskin”, “Only Dead Fish”, “The Knife”, “Vast Murmur”.

Rate: 8.

Artist: www.bestialmouths.com / www.facebook.com/BESTIALMOUTHS

Label: www.negativegain.com / www.facebook.com/NegativeGain

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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The Stockholm based post-punk outfit A Projection is back with an all new album on Metropolis. “In A Different Light” includes the band’s recent singles “Darwin’s Eden”, “No Control”, “Careless” and “Anywhere”. The album also includes contributions from fellow Swede Henrik Linder of Dirty Loops and Sarah Boom of the Brussels-based Turquoise.

Formed in 2013 as a post-punk outfit they are both influenced by The Cure, Joy Division/New Order, Sisters of Mercy, Interpol and Editors, and by electronic acts such as Kraftwerk, Depeche Mode, D.A.F. and compatriots The Knife. The first three albums by the band – “Exit” (2015), “Framework” (2017) and “Section” (2019) – developed from minimalist beginnings into a more accessible sound but with a strict post-punk aesthetic and attitude.

The band recently left the indie oriented Tapete label to join the more electronically leaning Metropolis roster for the release of “Section” resulting in a more synthesizer based style with influences from the 80s and contemporary darkwave.

Below is the video for “Anywhere”.

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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(Photo by Karolina Pajak, FSF) Karin Elisabeth Dreijer is a Swedish singer-songwriter and record producer. Dreijer was one half of the electronic music duo The Knife, formed with brother Olof Dreijer.

Dreijer released a debut solo album under the alias Fever Ray in January 2009. A second studio album, “Plunge”, was released under the same alias in October 2017.

Karin Dreijer now returns as Fever Ray with the new track “What They Call Us”, written and co-produced with brother Olof Dreijer. The video was written and directed by long-time collaborator Martin Falck.

“What They Call Us” is out now on Rabid Records / [PIAS], an album is in the making.

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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Out in a little more than a week is the collaborative project between Nordic electropop diva Karin Park (Årabrot) and legendary electronic pioneer Lustmord. “Alter” is the pair’s first collaborative work and holds nine tracks.

You can already check out a first track “Hiraeth” right below. And for those unaware who these two excellent artists are, below we added some extra info.

About Karin Park

Karin Park made her debut in 2003 with the single “Superworldunknown”. After the release of her second album “Change Your Mind” (2006), the music developed in a new, darker and more synth-based direction. The third album, “Ashes To Gold” (2009), was produced by Fredrik Saroea, frontman of the Norwegian band Datarock.

Following this record, Karin has continued to develop a more experimental, beat-oriented sound. Karin Park is also a well known producer, who has done remixes for other bands and co-produced the latest Årabrot record “Who do you love” with her husband Kjetil Nernes, frontman in Årabrot.

Together with her brother David Park, Portsmouth based producer Barry Barnet and the Swedish producer Christoffer Berg (known for his work with The Knife, Fever Ray, Massive Attack and Little Dragon’s Yukimi Nagano), she made her fourth album, “Highwire Poetry” (2012). In 2015, she released her fifth studio album “Apocalypse Pop”.

Her new band project Pandora Drive is London based and released their first EP “Albino Heart” in 2018.

Aside from her musical career, Karin Park occasionally works as a model and an actress. She starred in the Norwegian horror film Hidden (2009) and her song “Out of the Cage” was the theme track to the film.

About Lustmord

Brian Williams is a Welsh industrial musician, sound designer and film score composer. He is often credited for creating the dark ambient genre with albums recorded under the name Lustmord.

Williams was raised in rural Wales, before relocating to London in his late teens where he befriended Throbbing Gristle members Cosey Fanni Tutti and Chris Carter, who urged him to make his own music. He started recording as Lustmord in 1980 before joining SPK in 1982.

Some of Lustmord’s most notable collaborations include Robert Rich on “Stalker”, Jarboe, John Balance of Coil, Monte Cazazza, Clock DVA, Chris & Cosey, Paul Haslinger, and Melvins on “Pigs of the Roman Empire”.

In short, an electronic music pioneer.

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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(Photo by Sofie Nørregaard) The second and final stand-alone single of Trentemøller in 2021 has just been released on his label imprint In My Room last Friday. You’ll find UK legend Tricky on vocals here who Anders Trentemøller invited to recite a six word mantra over a five note passage. Also featured is Danish violinist Maria Jagd.

The B-side of the new single is the track “Vespertine”. You can listen to the new single below.

About Trentemøller

(Anders) Trentemøller is a Danish indie/electronic music composer, producer and multi-instrumentalist based in Copenhagen, Denmark.

He started music in the late 1990s with different indie rock projects. In 2006, following a line of more electronic orientated 12-inch EPs, Trentemøller released his debut album “The Last Resort” which was extremely well received. In 2009, The Trentemøller Chronicles, a double compilation of unreleased songs, non-album tracks and remixes for acts including Röyksopp, Moby and The Knife, was released.

After starting up his own record label, In My Room, Trentemøller’s second album “Into the Great Wide Yonder” was released in 2010. It was a move into a more analogue sound influenced by indie and post punk, and incorporating more live instrumentation and vocals. Following his second album, “Reworked/Remixed” was released, a compilation of Trentemøller’s remixes for other artists and other musicians’ reworking of his music including Modeselektor, UNKLE, Franz Ferdinand, Andrew Weatherall, Efterklang and Depeche Mode.

In September 2013, Trentemøller released his third full-length album “Lost”, including collaborations with Low, Jonny Pierce from The Drums, Marie Fisker, Kazu Makino of Blonde Redhead, Jana Hunter of Lower Dens, Ghost Society and Sune Wagner of The Raveonettes.

Trentemøller’s fourth album, “Fixion” was released on 16 September 2016 and featured vocals by Marie Fisker, Lisbet Fritze and Jehnny Beth. A fifth album, “Obverse”, was released in 2019.

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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(Photo by Elin Berge) The Knife continues its 20th anniversary celebration as the duo of Karin and Olof Dreijer announces a “Silent Shout” audio-visual experience on May 14 at 2pm Eastern via the band’s YouTube channel. Footage for this event is taken from their 2006 hometown performance at Trädgår’n in Gothenburg, Sweden. The Knife’s 2006 tour featured their first-ever headline shows in support of their third studio album, “Silent Shout”.

Below is The Knife performing “We Share Our Mother’s Health” live from Gothenburg in 2006.

“Silent Shout” was the third studio album by Swedish electronic music duo The Knife. It was released on 17 February 2006 by Rabid Records. The album was definitely darker than its predecessor, “Deep Cuts” (2003). It spawned four singles: “Silent Shout”, “Marble House”, “We Share Our Mothers’ Health” and “Like a Pen”.

The album, the music video for the title track and some of the press photos were inspired by the work of German-American animator Oskar Fischinger and the comic book series Black Hole by American cartoonist Charles Burns.

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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(Photo by Jon Bergman) The Knife are 20 in 2020. To commemorate the release of their very first 7” on August 14, 2000, the band in conjunction with their label partners are making available some previously unreleased music on the same date, August 14, this year.

Mute North America will launch a series of digital and vinyl reissues that have been inaccessible on most music providers in North America. Notable items include multiple remixes of Deep Cuts favorites “Heartbeats”, “Pass This On”, and “You Take My Breath Away” from various international editions as well as the “Pass This On” vinyl 7″.

Also among the August 14 reissues is “The Knife: Live At Terminal 5” which was previously only released in select territories. The live album will be available on physical and digital formats worldwide.

Finally, the band will digitally release their soundtrack to the 2003 Swedish thriller “Hannah Med H”. The band are currently planning an event to mark the anniversary of The Knife later this year with news and details to follow soon.

From Sweden with love

The Knife are a Swedish electronic music duo from Gothenburg, formed in 1999. The group consisted of siblings Karin and Olof Dreijer, who together also run their own record company, Rabid Records. The group gained a large international following in response to their 2003 album “Deep Cuts”.

The Knife disbanded in November 2014 after releasing their 2013 album “Shaking the Habitual” and completing its attendant tour.

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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Genre/Influences: Experimental, neo-folk.

Background/Info: Both artists already released a single together in 2016 (cf. “The gardens And graves”) and now joined hands again to unleash a full length album. Miro Snejdr is Herr René Kramer and Wolfgang Weiss Lounge Corps are Cadaverous Condition.

Content: “The Breath Of A Bird” is definitely a unique piece of music. It reveals neo-folk influences, but the major influence seems to be pure experimental music. The tracks are accomplished with different kinds of effects, sound manipulations, noises, but still with some orchestral arrangements. It creates a real contract with the neo-folk input. The vocals are deep and cavernous and sometimes reminding to Laibach. The last track is a remix by GosT.

+ + + : I always have liked and supported ‘atypical’ artists, just trying to do something different from the rest. That’s precisely what I experienced on this work. The album is mixing opposite influences, but in the end it all sounds pretty compact. I like the neo-folk and even some neo-classic elements while the experimental approach gives it this very own touch. This album is a truly challenge!

– – – : It’s not the easiest album to listen to. The unique side can be the strength of the work, but also a reason for listeners to skip and listen to something different and more ‘traditional’.

Conclusion: Her Lounge Corps & Cadaverous Condition aren’t innovating, but they clearly bring us something different. Experimental tasters will be pleased.

Best songs: “In this Room There Are More People Than You Can See”, “I Am The Knife”.

Rate: (6½).

Artists: www.herrloungecorps.com / www.facebook.com/herrloungecorps / www.facebook.com/CadaverousCondition

Label: www.klanggalerie.com / www.facebook.com/Klanggalerie-400510642753

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: Electro-tribal, trance, rhythmic-ambient, cinematographic.

Background/Info: Steven Archer (Ego Likeness) strikes back with the fifth full length of his electro-tribal side-project Stoneburner. This album also is the first one released on Negative Gain Productions while previous productions were released on Distortion Productions.

Content: “The Agony Box” moves on there where previous album stopped. It’s a new exploration of electro-tribal music fields featuring bombastic drum sections, mystic chants and Eastern sound atmospheres. The work –and especially the final part, sounds more cinematographic. It’s not really a new aspect in the sound of Stoneburner although this element is more accentuated than before.

+ + + : Stoneburner deals with a music genre we all know, but where only a few numbers of artists are involved with. You can hear the tribal and especially dark side of the work, which might remind This Morn’Omina and the cinematographic plus Eastern mystic sound approach reminding me of Juno Reactor. Stoneburner is somewhere in between and has never disappointed. The songs are well-crafted revealing great sound treatments and a hypnotic trance feeling. The cinematographic approach is also worthy of examination and is carried by some overwhelming epic arrangements (which might also remind you of Juno Reactor).

– – – : I prefer the tribal-trance approach instead of the soundtrack cuts, but that’s just a personal point of view. The only single aspect I’m missing in the global production is the use of authentic instruments (like conga’s ao), which would inject a more authentic touch.

Conclusion: “The Agony Box” is the perfect album moving in between film music and tribal-trance electronics. Stoneburner became a reference in this music genre although this project is mainly known in the USA and rather unknown in Europe.

Best songs: “Tales Of The Great Cryptogram”, “Osafa Charm”, “Saint Alia Of The Knife”.

Rate: (8).

Artist: www.stoneburnerband.com / www.facebook.com/stoneburnerofficial

Label: www.negativegain.com / www.facebook.com/pages/Negative–Gain/212061438836984

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

Can musician Holger Czukay is no more. The Cologne musician and co-founder of the band Can died at the age of 79 years in his studio – an old cinema based in Weilerswist – which he had converted into the apartment in recent years. The cause of death is yet to be determined. , Czukay died only a few days after his wife Ursula, who died on July 28th on her 55th birthday.

Holger Czukay revolutionized the musical world from 1968 to 1978 with the band Can. Czukay founded Can in 1968 together with Irmin Schmidt. Both had studied with the Cologne composer Karlheinz Stockhausen and the duo was joined later on by the late Michael Karoli (he died in 2001 at the age of 53) and Jaki Liebezeit (he died in January 2017, 78 years old).

The band knew it’s international breakthrough in 1971 with the music for the Francis Durbridge crime drama “The Knife”. Through albums such as “Monster Movie” (1969), “Tago Mago” (1971), “Ege Bamyasi” (1972) and “Future Days” (1973), the band exerted a considerable influence on avant-garde, experimental, post-punk, ambient, new wave and electronic music.

After the end of Can, Czukay went on a solo endeavour – with the album “Der Osten Ist Rot” and the single “Cool In The Pool”.

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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Due for Release 1 September via Rabid Records is The Knife’s “Shaking the Habitual: Live at Terminal 5” film, album & photobook. After a 7-year hiatus from playing live, the resulting musical saw The Knife expand from Karin and Olof to a 11-piece dance troupe.

The band employed designer Bella Rune to create bespoke instruments for the show, aiming to give the audience something more interesting to look at than a figure turning knobs and pressing buttons behind a laptop. On the last leg of the tour, in the autumn of 2014, photographer Alexa Vachon joined The Knife to document their journey. These photos have been collected in a limited-edition photobook.

The Knife was a Swedish electronic music duo from Gothenburg formed in 1999. The group consisted of siblings Karin Dreijer Andersson and Olof Dreijer, who together also run their own record company, Rabid Records. The group gained a large international following in response to their 2003 album “Deep Cuts”. The Knife disbanded in November 2014 after releasing their 2013 album Shaking the “Habitual” and completing its attendant tour.

The Knife played their final show, entitled “Post-Colonial Gender Politics Come First, Music Comes Second”, on November 8, 2014 at the Iceland Airwaves Festival in Reykjavik, Iceland.

PS: The new album won’t be available to buy or stream in the following territories UK/Eire, USA/Canada, Asia & South/Latin America. This is due to a long running dispute between the band and its label partner in those territories, Brille Records.

Here’s the trailer for the release:

Bernard - Side-Line Staff

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

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The Klinik (or Klinik as you want) no longer has Dirk Ivens in the line-up so it seems. The duo Marc Verhaeghen and Mark Burghgraeve (member of the band in 1981–82, 1995, present) have been working on brand new material, of which the track below, “Don’t look back”, is already a nice teaser.

To many the line-up that delivered such albums as “To The Knife” and “Stitch” (along with early Noise Unit) is considered to be the project’s finest. The band itself was originally formed around 1982 by Marc Verhaeghen, who is the only constant member. Previous members included Dirk Ivens (1985–1991 and 2003–present), Eric van Wonterghem (1985–87), Sandy Nys (1985), Thorsten Stroth (1995), Tom Claes (1996), Stefan Mertes (1996) and Nickanor (2002).

Verhaeghen has been involved in several projects outside Klinik, including Noise Unit (with Bill Leeb and Rhys Fulber of Front Line Assembly), D.Sign (with Philippe and Eliane Fichot of Die Form), X10 (with Niki Mono, Marc Ickx of A Split-Second and Vidna Obmana), and Para (with his own wife Sabine Voss).

For now enjoy this track, “Don’t look back”.

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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[By our Norwegian correspondent Jan Ronald Stange]
It’s not too often we get new and exiting electronic music from the western part of the American continent, so when the Los Angeles based electronic musician, visual artist and multi-instrumentalist WVM released his single “Sown” last week we had to check it out.

Echoing both classic synth pop masters Depeche Mode, Human League and New Order as well as the more modernized sounds of Daft Punk and The Chromatics, the Christoffer Berg (The Knife, Fever Ray, Depeche Mode) mixed single was inspired by WVM’s love of 80’s pop, while still heavily infused with his unique aural stylings.

WVM: ‘Sown’ gets a lot of its inspiration from 80’s Bowie and Peter Gabriel with a lot of early Prince…. but mostly it’s just the music I want to hear, a lot of my heart and soul went into it, which is why it really doesn’t sound like any other artist other than me.

Is there a story behind the name?
WVM: The name WVM is a wavelength, everything in this reality is made of waves from the car you drive to the skin on your bones. What I love about these waves is that they can be molded into anything. The juxtaposition of the W and the M are intentional to remind me everything has it’s opposite. The letters can stand for anything you want, but it’s just WVM.

The premiere of the song was done as an interview/review on Huffington Post.

Listen to/download “Sown” online:
iTunes / Amazon / Spotify / bandcamp

For more snippets of WVM music and other info:
WVM Official / Facebook / Twitter / Instagram / YouTube

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… 😉

www.facebook.com/jrstange

Storming The Base is having a special St. Patrick’s Day Sale going on (which only lasts a few more hours) giving you the ability to get ahold of lots of vinyl at 50% reduction. The selection holds releases by various hotshots from the industrial music scene including Psyche, Pankow, Mobile Clones, The Knife etc..

You can check the selection right here!

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

Genre/Influences: Dark-electro, electro-industrial.

Content: This newest EP by Acylum has been released nearly at the same time of the “Venom”-EP. “Venom” revealed a completely new song plus an extra exclusive track while “Hate” brings you back to the dark inferno of the “Pest”-full length.

The main song “Born To Be Hated” was reconstructed into a so-called “Shot Two”, which remains pretty faithful to the raw electro-industrial Acylum sound. It all sounds brutal and harsh, which is an element you once again will discover in the production of the vocals. It’s an overwhelming dark-electro style, which is highly danceable, but still influenced by a sort of tormented layer. Acylum is the kind of band that can’t leave you unmoved.

“Born To B Hated” was remixed on this EP by 4 different formations, which each have tried to inject their own touch to the song. Xentrifuge and First Black Pope both did it a rather familiar dark-electro and industrial way, and both of the remixes are pretty well-crafted.

The biggest surprises were accomplished by a more clubby-danceable remix of Simon Carter and totally transformed and impressive work of Venal Flesh. The remix of Venal Flesh really deserves a special mention for their creative work.

The few remixes left are also songs that were originally released on the last album. The “Pest” song was remixed by two bands, but I here especially noticed the amazing work by Llumen. This new-signed Alfa-Matrix band transformed the original song into a modern dark cut with vague technoid elements and a kind of avant-garde approach.

“My Knife” was remixes by two different bands as well and I here especially recommended the brilliant and somewhat body-minded remix by VV303.

Conclusion: “Hate” reveals not as many surprises compared to “Venom”, but a few remixes transposing the original songs into a new approach and sound dimension are worthy of examination.

Best songs: “Born To Be Hated – Shot Two”, “Pest – Llumen Remix”, “The Knife – VV303 Bunker Remix”, “Born To Be Hated – Venal Flesh Remix”.

Rate: (DP:8)DP.

Band: www.facebook.com/Acylum.Music

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix

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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