The Names – SIDE-LINE

The Names return with ‘Balancing Chaos’ remix album – Out now

Bernard - Side-Line Staff — Tue, 07 Apr 2026 18:10:43 +0000

Belgian post-punk band The Names have released the remix and companion album “Balancing Chaos (RMXing The Names)” via Spleen+, the post-punk division of Brussels label Alfa Matrix. The 17-track release appears as a CD digipack and as a digital album through the band’s official Bandcamp page.

“Balancing Chaos” expands on the 2025 studio album “Encore!” with 13 remixes and 4 original album versions of “Far From The Factories”, “Watching For The New World”, “Last Train From Nowhere” and “Apophenia”. Digital pre-orders are available now with the two advance tracks: “Last Train From Nowhere (Gil Robert retrofuturistic remix)” and “Procrastination (Hard Facts remix)”.

The release follows a run of Spleen+ titles that reintroduced the band through the 2-track single “Far From The Factories“, the four-track “Volume” EP, the full-length “Encore!“, the “Swimming With Brian Jones” EP, and the digital “Procrastination” EP centred on the track of the same name.

Remixers include Jean-Marc Lederman, Kyiv-based producer Hard Facts, Gil Robert, Nevel (featuring Reverend Basstorius), Eden, Mike Theis, Halcyon Loop, Rob G. Nichols, Diskodiktator and Error Fate.

Jean-Marc Lederman contributes a rework of “Watching For The New World” dedicated to the late Annik Honoré, while Hard Facts delivers a club-oriented version of “Procrastination”, following earlier work on the “Procrastination” EP. Multiple mixes by Gil Robert are also included, ranging from a retro-futuristic take on “Last Train From Nowhere” to an extended dark electro pop version of “Apophenia” and an ambient electro-focused treatment of “Swimming With Brian Jones”.

Mike Theis, known for work with artists including Tricky and Massive Attack, appears here with the “morecowbell” remix of “Last Train From Nowhere”. Additional interpretations by Eden, Nevel, Halcyon Loop, Rob G. Nichols, Diskodiktator and Error Fate complete the set before the album versions return the material to its original band arrangements.

Balancing Chaos by The Names

The new version of “Procrastination (Hard Facts remix)” is accompanied by a video as well.

Also the single “Far From The Factories”, which closes “Balancing Chaos” in its album version, received the video treatment.

About The Names

The Names formed in Brussels, Belgium, in 1978, emerging from an earlier local group called The Passengers. The original core featured bassist, vocalist and songwriter Michel Sordinia together with guitarist Marc Deprez and drummer/keyboard player Christophe Den Tandt, with Robert Frankson and Isabelle Hanrez passing through the line-up in the early years.

Their debut single “Spectators of Life” appeared in 1979 on WEA as part of a push for locally produced new wave. After a concert by Joy Division in Brussels, the band signed to Factory Records and, with new drummer Luc Capelle, recorded the single “Nightshift” in Manchester with producer Martin Hannett in 1980. Further singles “Calcutta” (on Factory Benelux) and “The Astronaut” (on Les Disques du Crépuscule) led into their first album “Swimming” in 1982. A BBC session for John Peel’s Radio 1 show that same year was later issued as the digital EP “Radio Session 1982”.

The band split in the mid-1980s as the initial post-punk wave receded, but Sordinia and Deprez continued together in the project Jazz, releasing the album “Nightvision”. Archival releases such as “Postcard Views”, the expanded “Swimming + Singles” editions and the compilation “Spectators of Life” kept the early catalogue in circulation through labels including LTM and Factory Benelux.

The Names reunited for the “A Factory Night (and then again)” event at Plan K in Brussels in 2007 and moved back into the studio. They released “Monsters Next Door” in 2009 via Str8line and “Stranger Than You” in 2015 on Factory Benelux, followed by the live album “German Nights” in 2018 and the archival set “Hidden Tracks” in 2021.

From 2024 onward, the band became part of the Spleen+ roster within the Alfa Matrix group, issuing the single “Far From The Factories”, the “Volume” EP, the studio album “Encore!”, the “Swimming With Brian Jones” EP and the digital “Procrastination” EP. The latter centred on multiple versions of “Procrastination”, including the Hard Facts remix that now reappears on “Balancing Chaos”.

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 Names release ‘Procrastination’ EP via Spleen+ including Hard Facts remix

Bernard - Side-Line Staff — Fri, 05 Dec 2025 09:27:07 +0000

Brussels post-punk band The Names release the digital “Procrastination” EP today, 5 December 2025, via Spleen+, the post-punk division of the Brussels-based Alfa Matrix label group. The five-track EP builds around “Procrastination”, one of the key songs from the band’s 2025 studio album “Encore!”, and appears as a download-only release on the group’s Bandcamp page, Spotify etc.. The Bandcamp version also holds a booklet in PDF format.

“Procrastination” was written in a single, fast session and was added to the recent The Names album “Encore!” almost immediately. The song later travelled “straight into a country at war”, where Kyiv-based producer Serhiy Yasko, under his Hard Facts alias, remixed it into a club-oriented remix with a darker, more driven pulse. The EP sequence contrasts this version with the album take, an alternate full-band “electric” recording, a stripped acoustic rendering and the album track “Last Train To Nowhere”, which reappears here in its original form.

Procrastination EP by The Names

“Procrastination EP” follows a run of Spleen+ releases: the 2-track single “Far From The Factories” in January 2024 and the four-track “Volume EP” in May 2024. The material then led into the full-length “Encore!“. Earlier in 2025, the band also invited external producers to rework “Procrastination”, “New World” and “Last Train” in a stem-based remix contest.

About The Names

The Names formed in Brussels, Belgium in 1978, emerging from earlier local group The Passengers. The original core featured bassist, vocalist and songwriter Michel Sordinia together with guitarist Marc Deprez and drummer/keyboard player Christophe Den Tandt, with Robert Frankson and Isabelle Hanrez as short-term members. Their debut single “Spectators of Life” appeared in 1979 on WEA as part of a push for locally produced new wave.

After a Joy Division concert at the Plan K venue in Brussels, Factory Records picked up the band. With new drummer Luc Capelle, they recorded the single “Nightshift” in Manchester with producer Martin Hannett in 1980, followed by “Calcutta” on Factory Benelux and “The Astronaut” on Les Disques du Crépuscule. The group’s first album “Swimming” arrived in 1982 on Les Disques du Crépuscule, while a John Peel BBC session from the same year was later issued as the “Radio Session 1982” digital EP.

The Names split during the mid-1980s as the first post-punk wave receded, but Sordinia and Deprez continued to work together in the project Jazz, which issued the album “Nightvision” in the 1990s. Archival releases such as “Postcard Views”, “Swimming + Singles” and the compilation “Spectators of Life” kept the early catalogue available through labels including LTM and Factory Benelux.

The band reunited in 2007 for the “A Factory Night (and then again)” event at Plan K and went on to release “Monsters Next Door” in 2009 via Str8line and “Stranger Than You” in 2015 on Factory Benelux, followed by the live album “German Nights” in 2018 and the archival set “Hidden Tracks” in 2021. From 2024 onward they are part of the Brussels-based Alfa Matrix sublabel Spleen+, issuing the single “Far From The Factories”, the “Volume EP”, the 2025 studio album “Encore!” and subsequent digital releases such as “Swimming With Brian Jones EP” and the new “Procrastination EP”.

Current line-ups list Michel Sordinia (vocals, bass), Marc Deprez (guitar), Luc Capelle (drums), Vincent Lesceux and Christophe Boulenger.

Bernard - Side-Line Staff

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Alfa Matrix marks 24 years with a 69-track free label sampler, ‘Matrix+ Downloaded 012’

Eldrina Mich — Fri, 17 Oct 2025 17:43:04 +0000

The Belgian electro label Alfa Matrix releases the twelfth volume in its “Matrix+ Downloaded” series to coincide with the label’s 24th anniversary. The digital-only set collects 69 tracks across the label’s current spectrum – EBM, dark elektro/industrial, synth pop – and newer Spleen+ additions spanning post-punk, goth rock and coldwave. The compilation is offered as a free/pay-what-you-want download via the label’s Bandcamp page and also includes a PDF booklet.

On the cover you will recognize Erica Dunham from Unter Null.

Artists included on this free download compilation include: Studio-X (feat. Kyoko Baertsoen), Rector Scanner, Aesthetische, Cut.Rate.Box, Kant Kino, Frontal Boundary, C-Lekktor, Acylum, Diffuzion, Implant, Neikka RPM, First Aid 4 Souls (feat. Aux Animaux), Noemi Aurora, Suicidal Romance, Llumen, Hanging Freud, Lederman/De Meyer, The Ultimate Dreamers, Aiboforcen, Digital Factor, Armageddon Dildos, Helalyn Flowers, Krystal System, The True Union, Freakangel, Totem Obscura, Lovelorn Dolls (feat. Dero Goi), The Breath of Life, The Names, ImJudas, Synapsyche, Miseria Ultima, Unter Null, Alien Vampires (feat. Dani Divine), Venal Flesh, Helle9, To Avoid, Pouppée Fabrikk, Stahlgeist, Nigra Nebula, Aengeldust, Circuito Cerrado, Matthew Creed, Cubic, Metroland, The Psychic Force, Komor Kommando, First Aid Tech, Die Robo Sapiens, ELM, Plastic Noise Experience, AD:Key, Elektroklänge, 808 Dot Pop, Avarice in Audio, Elektrostaub (feat. Echo Image), Cryogenic Echelon, Entrzelle, Neuroactive, Technoir, Mondträume, Star Industry, Stray, Psy’Aviah (feat. Sorrow Stories), Zombie Girl, Darkness on Demand, Circumpolar, Dunkelwerk, and Lights A.M.

Matrix+ Downloaded 012 by Various Artists

A&R manager, Sebastien Dolimont says: “In 2025, Alfa Matrix proudly celebrates 24 years of existence. Nearly a quarter of a century fighting for dark alternative music, discovering new talents, and keeping the underground alive. This anniversary is not just about us and our artists – it’s about you, our fans. Because without your constant support, there would be no label, no releases, no future for the scene we all love.”

And he add: “In a world where indie labels are disappearing, streaming revenues collapse, and risks of signing new talents are higher than ever, we are proud to still stand strong — but we can only do it with you by our side. By downloading this compilation, you are not just enjoying music — you are actively supporting 69 artists and helping keep our scene alive, fresh, and forward-looking. From all of us at Alfa Matrix and Spleen+, and on behalf of all our artists: thank you for 24 years of loyalty, passion, and support. Together, we’ll keep writing the future of the dark underground.”

About Alfa Matrix

Alfa Matrix is a Brussels-based independent label founded in 2001. The catalogue focuses on electronic subgenres including industrial, EBM, dark elektro, and synth pop, later expanding into post-punk/coldwave via the Spleen+ division. The label’s team includes label & artists manager Seba Dolimont, promo manager Bernard Van Isacker, and head of design Benoît Blanchart.

From the early 2000s, Alfa Matrix used series-based releases to build international reach. Notable strands include “Sounds From The Matrix” (label samplers), “Re:Connected” (digital label overview), and the club-oriented “Endzeit Bunkertracks” multi-CD anthologies (first “Act” released 21 March 2005, featuring 60 tracks with 50 exclusives).

In 2023, Alfa Matrix inaugurated Spleen+, a division centred on post-punk and adjacent styles, and followed with multi-artist projects and catalogue building, including the “Resurgence” 7-CD box that assembled 133 contemporary bands from the post-punk family.

This interview is part of an ongoing interview series that we do in collaboration with Spleen+ / Alfa Matrix for the massive 7CD post-punk / coldwave / minimal electro boxset “Resurgence”. You can order this fine set as a 7CD set or as a download via Bandcamp. This release will NOT be available on Spotify or any other service, except for Bandcamp.

Resurgence by VARIOUS ARTISTS

The label has since the very start focused on a direct contact with its fans and customers via their online webstore and Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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The Names release ‘Swimming With Brian Jones’ EP with video and remix

Bernard - Side-Line Staff — Wed, 02 Jul 2025 17:04:42 +0000

Belgian post-punk pioneers The Names return with a new single and video, “Swimming With Brian Jones”, taken from their album “Encore!”. The release is out now on all platforms.

“Swimming With Brian Jones” draws symbolic inspiration from the death of Rolling Stones co-founder Brian Jones, found dead in his swimming pool on July 3, 1969. The track references a similarly titled song, “Swimming”, from The Names’ earlier repertoire, linking past and present through lyrical and musical motifs.

The EP features three versions of the title track: the original version, a remix by Gilles Robert which introduces ambient synth textures and delicate distortion, and a live version, recorded in Brussels on November 9, 2024.

Swimming With Brian Jones EP by The Names

The accompanying black-and-white video clip was filmed on a Belgian beach in April. You can watch it below.

About The Names

The Names formed in 1978 in Brussels, Belgium, originally consisting of Michel Sordinia (vocals), Marc Deprez (guitar), and Christophe Den Tandt (bass), later joined by Luc Capelle (drums). The group emerged from the post-punk movement and signed to Factory Records in the early 1980s. Their early work includes the acclaimed single “Nightshift” and the album “Swimming” (1982), produced by Martin Hannett.

Following a long hiatus, The Names reformed in the late 1990s and resumed recording and live performance, often reworking earlier material alongside new compositions. They released “Monsters Next Door” in 2009 and “Stranger Than You” in 2015 via the French label Factory Benelux.

The current lineup includes founding member Michel Sordinia, with ongoing collaborations involving producer and musician Gilles Martin.

Bernard - Side-Line Staff

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Belgian post-punk legends The Names launch remix contest – Participate now

Bernard - Side-Line Staff — Sun, 23 Mar 2025 16:19:02 +0000

The Belgian post-punk pioneers The Names have announced a remix contest for 3 tracks from their latest album, “Encore!”. It’s the first time that The Names are offering their music for remix duties.

You can choose to remix one of these three tracks:

“Procrastination”
“New World”
“Last Train”

How to Participate

Download the Remix Kits: Stems for each track are available here.
Submit Your Remix: Send your unmastered WAV file to thenamesofficial@gmail.com.
Deadline: All entries must be submitted by April 15, 2025.

The Names frontman and founder Michel Sordinia will personally select his top five favorite remixes. The winning entries will be featured on an official The Names digital EP, offering artists a chance to become part of the band’s storied legacy.

About The Names

Emerged during the late 1970s/early 1980s vibrant post-punk era on the legendary Factory Records label (Joy Division, New Order, …), The Names (formed around frontman Michel Sordinia) have continued to perform and release new material since the band reformed in the 2000s.

The initial lineup of the band included Sordinia, guitarist Marc Deprez, and drummer/keyboardist Christophe Den Tandt. Robert Frankson and vocalist Isabelle Hanrez were short-term members. Initially performing locally as The Passengers, they renamed themselves before releasing their first single, “Spectators of Life”, in 1979 through WEA to gauge interest in local new wave music.

Following a Joy Division performance in Brussels, Factory Records signed them. With new drummer Luc Capelle, The Names recorded “Nightshift” in Manchester with producer Martin Hannett in August 1980. This single exemplified their style: a dark, restrained modern rock akin to Magazine, Comsat Angels, and Joy Division/New Order. In February 1982, they recorded a session for John Peel’s BBC Radio 1 show, released as a digital EP, “Radio Session 1982”, in 2009.

Their collaboration with producer Hannett continued, overseeing their next single, “Calcutta” (Factory Benelux, 1981), and their first album, Swimming (Les Disques du Crepuscule, 1982). Their last single, “The Astronaut”, was released in 1982 on Les Disques du Crépuscule, produced by Hannett, who had left Factory Records. As the post-punk era waned, the band disbanded.

In 1985, LTM Recordings released “Postcard Views”, a cassette featuring studio and live tracks. Expanded versions of Swimming, renamed “Swimming + Singles”, were released in 1991 and 2000 by Factory Benelux and LTM Recordings, respectively. A 2013 reissue by Factory Benelux included the 1982 John Peel session.

In 1995, the original trio of Sordinia, Deprez, and Den Tandt formed Jazz, releasing “Nightvision”. LTM’s 2001 compilation “Spectators of Life” featured The Names’ B-sides, live tracks from 1979-1982, and two Jazz tracks.

The Names reunited for A Factory Night in Brussels in December 2007. In April 2009, they released “Monsters Next Door” on Str8line. After Den Tandt’s departure in December 2009, Christophe Boulenger joined. In 2015, now a quartet with new drummer Laurent Loddewyckx, they released “Stranger Than You” on Factory Benelux. A 2016 compilation, “In Mutation”, by Les Disques du Crépuscule included a Deprez 1981 solo single and a 1982 live performance.

Bernard - Side-Line Staff

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The Names interview on the post-punk power of the brand new album ‘Encore!’ – Out now

Bernard - Side-Line Staff — Fri, 21 Mar 2025 06:57:33 +0000

With “Encore!”, THE NAMES prove that time has only sharpened their edge. Seamlessly blending their post-punk roots with forward-thinking sonic experimentation, the band delivers an album that is both a reflection of their past and a bold statement for the future. Having found a new home with Alfa Matrix / Spleen+, they embrace reinvention while staying true to their signature melancholic yet powerful sound

In this exclusive interview, we sit down with THE NAMES to discuss the inspirations behind “Encore!”, their connection to the post-punk movement, and the ever-relevant quest to balance nostalgia with evolution. From the cryptic references in “Far From the Factories” to the poetic themes of love, death, and human connection, THE NAMES invite us into their world – where the ghosts of the past walk hand in hand with the sounds of the future. Dive in and discover the stories behind the music. A conversation with Michel Sordinia about legacy, evolution, and the fire that still burns…

“Encore!” is available as download from Bandcamp and on CD and vinyl from the Alfa Matrix webstore.

Encore! by The Names

Resurgence by VARIOUS ARTISTS

SL: “Encore!” feels like both a continuation of your legacy and a fresh new chapter. What was the driving force behind this album, and what message do you want to convey to your listeners?

M. You are right, it is exactly how we feel about it. Keeping close to what we were about from the start on, and still experiment, evolve, pushing things ahead. The new album came about as sort of a new start (having changed labels, finding a new home at Alfa Matrix / Spleen+ after many years with Factory Benelux), and a reaffirmation of what The Names stand for. Adding a new accent on songs with a strong and obsessive groove (like “Light”, “Shanghai Gesture” and “This is Harmony” were in Martin Hannett’s time), while remaining faithful to our sensual – emotional approach. “Encore!” is addressing very intimate matters (like facing death, expanding perception, love and desire) and visions of a changing and potentially dehumanized world.

SL: Your music has always walked the fine line between post-punk melancholy and avant-garde experimentation. This time, you’ve infused elements of the ‘60s and futuristic soundscapes. How did these influences shape the album’s sonic identity?

M. We are welcoming these words that indeed capture what we aimed at. Melancholy will definitely stay, experimentation also. Showing vulnerability and at the same time producing powerful sounds is our way forever. And yes, elements from the late Sixties are present for sure. We’re actually preparing a series of cover versions of songs from the period 1967-1969… Futuristic soundscapes will be present too, as they are in “Encore!”. Experimenting with those is something we enjoy more and more, as long as they can contribute to our (very) organic process.

SL: A song like “Far From the Factories” and its video clip set the tone for this album’s release. What made you choose these as the first glimpses into “Encore!”?

M. This song is looking at three factories: the industrial one, Andy Warhol’s, and of course Manchester’s Factory Records. It’s addressing, in a sometimes cryptic way (lots of references, many hidden at first sight), the social background and the artistic experimentations that contributed to the emergence of the punk and then post-punk scenes. With its pulsing groove and memories content, we thought it could represent a good introduction to the album.

SL: You’ve been part of the post-punk and new wave movement since the late ‘70s, alongside legends like JOY DIVISION and NEW ORDER. How do you see your role in the genre’s evolution today?

M. Keeping true to a certain essential of what was, but not simply reproducing it, even if it seems pleasing audiences. We always had our difference, and we will always cultivate it. As the great French poet René Char said: “Développez votre étrangeté légitime!” – Develop your legitimate strangeness”. That’s what we do. At our concerts, ghosts of the past will be there, always. But new sounds will make their way too. This is 2025, not 1980 anymore.

SL: The title track “Encore!” feels like an anthem. What inspired this song, and does it carry a deeper meaning for THE NAMES at this stage in your career?

M. The title is playing with the double meaning of “Encore”. In English, an additional piece played as gratitude for an audience. And in French, a word meaning “More” or “Still”. Yes we are still making music, and yes we will make more! The song is also about keeping the flame alive, the desire for more, even with death waiting somewhere at the edge of time…

SL: Your lyrics are often enigmatic, full of poetic and abstract imagery. Can you share insight into the themes explored on this album? Any particular song that holds a special significance?

M. Some songs are less enigmatic this time. “Procrastination” is about… procrastination, “Mort d’Amour” about love and death, à la Romeo/Juliet or Tristan/Isolde (the two major chords are in fact Wagner’s), “Mei Mei” is dedicated to my adopted daughter, “Sunny Side” is a simple love song in Lou Reed’s fashion. But some other songs are more enigmatic, like “Apophenia” that speaks about a pathology where one looks at links between things that are not actually linked, and see coherent shapes in a clouded sky, for instance. Or “Swimming With Brian Jones” which is a playful metaphor for dying, the only thing that is certain when we’re born.

SL: With limited-edition colored vinyl and a digipak CD featuring exclusive bonus tracks, “Encore!” is a collector’s dream. In an era of streaming, how important is it for you to maintain a strong physical release presence?

M. Maintain a strong physical presence. Yes, absolutely! We love things that can be seen and felt, that have a certain weight, and three dimensions. Things that can be touched. Our song “Touch Touch Touch”, inspired by the Covid period and today’s tendency to look at virtual substitutes for human direct contact, is saying all that better than I could do here.

Bernard - Side-Line Staff

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Exclusively stream the new The Names album ‘Encore!’ now

Bernard - Side-Line Staff — Thu, 06 Feb 2025 18:41:15 +0000

The legendary Belgian post-punk and new wave pioneers The Names will release their brand new album “Encore!” tomorrow via Spleen+, the post-punk subsidiary of the Brussels-based Alfa Matrix label. But today you can already exclusively stream the fiull album on Side-Line. “Encore!” is the band’s first new album in over 7 years.

The new full length got already teased with the “Volume” EP and the “Far From the Factories” single. Musically “Encore!” ventures into the early ’80s with a modern touch.

The album is in a limited-edition collector’s colored vinyl (150 copies each respectively in solid red or solid white) and a digipak CD edition with three exclusive bonus tracks. You can order the album on Bandcamp, and on the Alfa Matrix webstore (CD and 2 vinyl versions).

Here’s already an exclusive full preview of the new album.

Encore! by The Names

About The Names

Bernard - Side-Line Staff

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The Names announce new album ‘Encore!’ for early 2025

Eldrina Mich — Mon, 09 Dec 2024 19:23:26 +0000

The legendary Belgian post-punk and new wave pioneers The Names will release a brand new album titled “Encore!” In February 2025 via Spleen+, the post-punk subsidiary of the Brussels-based Alfa Matrix label. “Encore!” will be the band’s first new album in over 7 years.

The new full length got already teased with the “Volume” EP and the “Far From the Factories” single. Musically “Encore!” ventures into the early ’80s with a modern touch.

The album will be available in a limited-edition collector’s colored vinyl (150 copies each respectively in solid red or solid white) and a digipak CD edition with three exclusive bonus tracks. Pre-orders are available on Bandcamp, and on the Alfa Matrix webstore (CD and 2 vinyl versions).

Encore! by The Names

About The Names

Volume EP by The Names

Far From The Factories by The Names

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

‘Resurgence’, a massive 7CD post-punk boxset to be released in January 2025 – Pre-order now

Bernard - Side-Line Staff — Sun, 06 Oct 2024 15:25:46 +0000

The Brussels-based Spleen+ label (a division of Alfa Matrix) has prepared a deluxe 7CD collector’s edition – “Resurgence” – which brings together 133 active bands from across the globe, spanning the diverse sub-genres born from post-punk’s iconic roots. You can order it now from the Alfa Matrix webstore and in digital download format from Bandcamp.

The release comes housed in a luxurious vinyl-sized box, and comes accompanied by a 28-page book. The book holds interviews from renowned producers like John Fryer and Jean-Marc Lederman, label managers, journalists, and iconic artists (including Red Lorry Yellow Lorry, William Faith, No More, Skeletal Family, Mona Mur, KaS Product, And Also The Trees, Clan Of Xymox, Attrition, Das Ich, Merciful Nuns, The Names, The Breath Of Life, etc).

Spanning 23 different nationalities, the music included is a genre-spanning mix of post-punk, cold wave, dark synth, ethereal, and minimal EBM with such bands like Boy Harsher, A Cloud Of Ravens, No More, Skeletal Family, Collection D’Arnell Andrea, Underviewer, Attrition, Merciful Nuns, Lederman/De Meyer, Local Suicide & Sekelesys, Star Industry, Ataraxia, Czarina, Helalyn Flowers, Ascii.Disko, Je T’Aime, The Ultimate Dreamers, Lycia, Opera Multi Steel, The Breath Of Life, Auger, The Names, Whispers In The Shadow, Lovelorn Dolls, Astari Nite, Chiasm, Saigon Blue Rain, Omnimar, Still Patient, Creux Lies, Golden Apes, and many more.

You can already check out a few tracks here.

Resurgence by Various Artists

Apart from the 7CD vinyl size deluxe carton box format, “Resurgence” will not be available on mainstream digital platforms, except exclusively via the label’s Bandcamp page.

There is also a special combi pack including the 7CD set plus Darkness On Demand’s “Panic In Reserve” CD and To Avoid’s “All Gods Are Gone” 2CD.

“Resurgence” Tracklist

Cd 1

Bestial Mouths . Hex (The Spell)
A Cloud Of Ravens . Parable
Boy Harsher . Give Me A Reason
Czarina . Wonderland
Collection D’arnell Andrea . Waiting For Meaulnes
Krystal System . La Lame Dans Ta Main
Je T’aime . Out Of Sight
Aeon Rings . Fully Operational
The Ultimate Dreamers . Polarized
Partikul . Nothing Good In Me
Cosmobrigade . Spacepit
Aeon Sable . From Witchcraft To Deviltry
Stereoskop . Deep Down
The Breath Of Life . Slowly Crushing
Faust Project . Rats Lullaby
Al . Mistake
N.E.L. & J.P . Desinteresse
Zeitgeist Zero . Scream
Voyna . Moulding Heart

Cd 2

Blackbook . You Are Strange
Auger . My Heart Is Glass
Dekad . A Deadly Show (Video Edit)
Love In Cage . A Logical Secret Collection
Helalyn Flowers . Halos
Soft Scent . No Wounds
Sweet Ermengarde . Sweet Sacrifice
Martin Dupont . Bent At The Window (2023)
The Names . Far From The Factories
Boxes Of Blow . Melting Faces
Mirror Of Haze Feat. Primitive Heart . Reckless
A Slice Of Life . Seven Days
Then Comes Silence . Pretty Creatures
Nite . Inside Of My Head
Astari Nite . Bowie In Daydreams
Korus . Złote Światło Pierwszego Zachodu
Lovelorn Dolls . A Heart Cries
Whispers In The Shadow . Revenants
Merciful Nuns . Oneironauts

Cd 3

Lederman – De Meyer . Heartbeat
Local Suicide & Skelesys . Surface Of The Sun (Radio Edit)
Punx Soundcheck Feat. Ascii.Disko & Princess Superstar . Gasoline
No More . Sleepers And Trains
Mitra Mitra . Memories For Company
A Copy For Collapse Feat. Simona Pietrucci . Faded
Alien Skin . Depress Me
White Mansion . Cancel The Sky
Apnoie . Splash Your Bile
Celluloide . Compte Les Ombres
Risk Risk . Streetwalk
Total Chroma . Northern Lights
Opera Multi Steel . À Nos Moments Perdus
Lycia . Simpler Times
Noemi Aurora . Blood As Lipstick
Novus . Ess
I Ya Toyah . Death’s Kiss
Katcross . Rest
Winter Severity Index . Speak To Me

Cd 4

Systeme Paradoxe . Comme Le Sable En Hiver
Aiboforcen . Break The Black Ice (Original Mix)
Chiasm . Cut Right Through (Emileigh Rohn Edit)
Saigon Blue Rain . Dolls Dresses
Her Own World . Mistrust
Still Patient Feat. Minu-Schirin Samimi . Blind Vision
Creux Lies . Playtime
Der Klinke . Curtains (Your Life On Hold Remix)
On The Floor . Crying On The Dancefloor
Numa Echos Feat. Red Zebra . Waisted Items
Factheory . The Day (Ok Lion! Mix – Short Version)
Antiflvx . Crystal
Flor Concreta . She’s Closer
Golden Apes . Ash Trees
Glis . Blue Sky Night
Ataraxia . The Source
Hanging Freud . Grooming
Ok Lion! . Get Away
Yuzna . Queen Of The Eels

Cd 5

The Breath Of Life Feat. Implant . The Last Record
The Halo Trees . Happy Man
Palm Ghosts . Tilt
Your Life On Hold . Imprisoned (Merciless Radio Edit)
Götterdämmerung . Common Existence
Jenni Sex . Sin Chimes
Denner . She Radiates Darkness
Imjudas . I Love You
Black Needle Noise . Dollhouse On Fire
Dead Souls Rising . Dysmorphobia
The Waning Moon . Annabel
Korinthians . Leader Of The Night
Elektrostaub Feat. Stefan Netschio . Mantis (Auger Remix)
Omnimar . The Matrix
Synapsyche Feat. Chris Harms (Lord Of The Lost) . The Last Dying Flame
Dance My Darling . Criminal
First Aid 4 Souls Feat. Emke Of Black Nail Cabaret . Das Messer
Supernova 1006 . Tell Your Name (Mix)
Suicidal Romance . Runaways

Cd 6

Ascii.Disko . Loslassen
Vioflesh . Emotions
Dina Summer . Who Am I (Club Version)
Pleasure Victim . Rascheln
Pink Opake . Pronta
Thewalkingicon . The Trail (Radio Edit)
Psy’aviah Feat. Sorrow Stories . Healing
Seasurfer . Collapsing
Lakeside X . Fire In The Sky (Radio Version)
Darkness On Demand . Hang On (Winterhart Remix)
Star Industry . Selling Icons (The Dreamside Remix)
Alphavox . Dark Satellite
Yama Uba . Shapes
Lifeless Past . Anxiety
Pink Turns Blue . Not Gonna Take It
Social Union . Waiting For Red
Sine . Until (Clan Of Xymox Remix)
Sorry, Heels . She Burns (We Burn) Version
Lights A.M . Clouds

Cd 7

Useless/You . Echo
Attrition . The Great Derailer
Children Of Zeal . Taking Over
Octolab . Friend Or Foe
Vague Phonique . The Last Man
Midnight Poetry . Black Hole
The Overlookers . Undercover (Edit)
La Machine . Vamos A La Playa (Radiomix)
Die Sexual . House Of God
Carrellee . Morning Sun
Underviewer . Was Soll Ich Tun (Aiboforcen Remix)
Night In Athens . Words Unspoken
Neila Invo . Alienation
Skeletal Family . My Own Redemption
The Murder Mystery . A Girl Named Red
Princess Ugly . For A Moment I Forgot The Desolation
Instant Lake . Ivory Dreams
Vision Video . Balaclava Kiss
La Scaltra . Dancing On Debris

Bernard - Side-Line Staff

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Belgian cult new wave act The Names returns with ‘Volume’ EP – Out now

Bernard - Side-Line Staff — Fri, 17 May 2024 06:34:07 +0000

Out now via Spleen+ is a brand new EP from the cult Belgian post-punk/new wave band The Names: “Volume”. This new EP holds 4 tracks and can be downloaded right now from Bandcamp. This new EP comes just before the release of their upcoming studio album, “Encore!”.

Kicking off with “Far From The Factories” (which was earlier on released as a 2-track single backed by the track “Apophenia”), the three other tracks are “Mort D’Amour”, “Watching For The New World” and “Laudanum”.

Volume EP by The Names

This new EP now also offers a video for “Far From The Factories” set against the backdrop of Belgium’s industrial landscape.

The Names are legends of the post-punk / new wave scene and emerged from the iconic Factory Records label alongside the likes of Joy Division and New Order.

Bernard - Side-Line Staff

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Cult new wave band The Names returns with a brand new 2-track single

Bernard - Side-Line Staff — Fri, 19 Jan 2024 15:56:05 +0000

Out now via Spleen+ is a brand new single from the cult Belgian post-punk/new wave band The Names. “Far From The Factories” holds two tracks and can be downloaded right now from Bandcamp.

“Far From The Factories” evokes the characteristic sound style of the band mixing post-punk guitar work, new wave basslines and atmospheric melodic keyboard elements. The B-side is the track “Apophenia”.

Both tracks are a first sign of the new album which will be released later this year on Spleen+.

Far From The Factories by The Names

About The Names

Bernard - Side-Line Staff

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

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

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

(Courtesy by Inferno Sound Diaries)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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Belgian goth / coldwave act The Breath Of Life signs to Spleen+, announces new album and immediately releases a download EP

Eldrina Mich — Mon, 26 Jun 2023 12:08:19 +0000

The Breath of Life was formed in 1985 and the band immediately stood out thanks to a creative originality, as a result they are the best known cold wave gothic rock band from Belgium. The band has now signed to the brand new post-punk label Spleen+ (division of Alfa Matrix) where they will be releasing their 11th album.

A first excerpt in the format of a 3-track EP is out now via Bandcamp (and all other platforms): “Down We Go”. The EP evokes good old ethereal moments from the 4AD cult years merged with their classic darkwave roots. Also added to this 3-track release is the band’s take on The Cure’s “The Lovecats” which got turned into a much darker version. As 3rd track you get a more electronic song which is their very own reinterpretation of Implant’s “The Last Record” featuring Len Lemeire himself on backing vocals.

Down We Go EP by THE BREATH OF LIFE

Anno 2023, The Breath Of Life are Isabelle Dekeyser (vocals), Philippe Mauroy (guitar, drums programming), Giovanni Bortolin (violin, keyboards), Didier Czepczyk (bass).

Below is the video for “The Lovecats”.

About The Breath Of Life

The group was formed in 1985 in Gembloux when Isabelle Dekeyser (vocals), Philippe Mauroy (guitar), and Benoît Sokay (bass) first met. In 1990, with the addition of Giovanni Bortolin (keyboards & violin – formerly of Jo Lemaire + Flouze) and the decision to incorporate a drum machine, the group independently produced a 10-track cassette. In 1991, the band embarked on a tour in Czechoslovakia, followed by another tour the following year, which is reflected in their debut CD “Live in Praha 92”.

That same year, they released their first studio album “Painful Insanity,” recorded by Gilles Martin, a renowned producer of Coldwave (Minimal Compact, Tuxedomoon, Anna Domino, Colin Newman, Malaria, The Names, Indochine). 1993 marked their breakthrough with the release of “Taste of Sorrow,” also produced by Martin, featuring the title track “Nasty Cloud,” which became a gothic classic.

In 1995, the band released “Lost Children,” showcasing a more ethereal wave style. They subsequently signed with Hall of Sermon for their next album, “Sweet Party,” which came out in 1997 and marked a shift towards a more pop and electronic sound. In 2000, they released “Silver Drops,” once again with Martin at the mixing desk. The album combined melancholic pop with elements of trip hop. Shortly after, Mauroy departed the band, and Didier Czepczyk took over on guitars.

With the albums “Everlasting Souls” (2005) and “Whispering Fields” (2012), the band returned to their gothic roots and introduced a real drummer, Marc Haerden. Benoît Sokay, the bassist since the band’s inception, left in 2014, and in January 2015, Philippe Mauroy rejoined the band, almost 15 years after his departure.

In May 2017, the album “Under The Falling Stars” was released, marking the return of Gilles Martin as the producer. In 2020, amidst the COVID-19 pandemic and while Belgium was still under lockdown, the band decided to record their 10th album. Each member recorded their respective parts at home and shared the files using WeTransfer. However, when COVID-19 restrictions allowed, two band members traveled to France and met with Gilles Martin for the final mixing process. The resulting album, titled “Spark Around Us,” was released in November 2020.

During the lockdown in Belgium, the band recorded three cover songs: “Winning” by The Sound, “Ashes To Ashes” by David Bowie, and “Inner Station” by Minimal Compact. These covers were exclusively released on Bandcamp. In 2022, they were approached by the Belgian record label Alfa Matrix for various compilation projects. The band was asked to cover a song from the Belgian electro project Implant, a song from the electro-pop band Psy’Aviah, and a song from the Italian project Imjudas.

As one thing led to another, the band was soon approached to join Alfa Matrix’s post-punk sublabel, Spleen+.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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Depeche Mode announces support acts for their 2023 European tour

Bernard - Side-Line Staff — Wed, 12 Apr 2023 12:24:20 +0000

Depeche Mode has unveiled the lineup of support acts for their highly anticipated ‘Memento Mori’ European tour, set to begin next month. The iconic duo, comprising Martin Gore and Dave Gahan, took to Instagram on April 12 to share the names of the five acts accompanying them during their 34-show run across Europe and the UK.

Cold Cave and Young Fathers are among the artists slated to join Depeche Mode on tour, along with Berlin-based band Hope, former Savages vocalist Jehnny Beth, and British trip-hop outfit Haelos (or Hælos).

The support acts for Depeche Mode

Here’s a short roundup of who these artists are. Cold Cave is a project by Wesley Eisold and blends darkwave, noise, and synthpop, drawing comparisons to Joy Division and New Order. Young Fathers is a Scottish group formed in 2008, who has won the Scottish Album of the Year Award twice and released a fourth album, “Heavy Heavy”, in 2023. Berlin-based band Hope, formerly Mamsell Zazou, creates dark, dystopian music influenced by their city’s art scene. Jehnny Beth, a French musician and former Savages frontwoman, has released solo albums and collaborated with numerous artists, including Trentemøller, Julian Casablancas, and Gorillaz. British trip-hop band Hælos, from London, released their second album, “Any Random Kindness”, in May 2019, showcasing their ‘dark euphoria’ sound.

The European leg of the tour will commence with two shows in the Netherlands on May 16 and 18. Following these performances, Depeche Mode will visit countries such as Sweden, Germany, France, Italy, the UK, and Austria before concluding the tour in Norway on August 11.

These tour dates promote the band’s 15th studio album, ‘Memento Mori’, which was released last month.

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Click Interview with Die Robo Sapiens: ‘Don’t Follow Trends, Spearhead Them!’

Inferno Sound Diaries — Sun, 12 Feb 2023 18:00:00 +0000

What comes in mind when hearing the names Jürgen Engler, Marcel Zürcher and Ralf Dörper? Die Krupps! Right; but since a few years they also started a new side-project called Die Robo Sapiens. This new band moves back to pure Electronic music and will mainly appeal for EBM fans. The German project signed to Alfa Matrix unleashing a debut EP in 2018. We next had to wait four years till by the end of 2022 they released the debut album “Robo Sapien Race”. This work is one of the best EBM albums from the past year which is clearly featuring explicit retro elements. An album filled with power and still a part of fun… and that’s what Die Robo Sapiens is all about. I asked Jürgen Engler a few questions for the interview.

Robo Sapien Race (Bonus Tracks Edition) by DIE ROBO SAPIENS

(Courtesy by Inferno Sound Diaries)

Q: You guys have been next to Die Krupps involved in multiple other side-projects but what does Die Robo Sapiens stand for? How did the project come to life and how does it feel to start a new ‘band’ when you’ve been involved in a successful formation like DIE KRUPPS for so long?

Jürgen: The idea for Die Robo Sapiens came to me when I didn’t get the budget from the record company that I needed to produce an Industrial-Metal album. I also realized that I always ended up writing songs from time to time that didn’t quite fit that Die Krupps Industrial-Metal concept. So I decided to leave those songs purely Electronic. I know we also have fans who are more into the Die Krupps-EBM style tracks, so why not cater to them and give them something they will enjoy? It is a fun project for me as well, I can really play around with all my analog synths!

Q: Listening to your music and the debut album I got the sensation Die Robo Sapiens move on there where Die Krupps started to play with guitars. Is this what you mean?

Jürgen: The concept picks up there, but isn’t restricted to staying within that framework. I wanted to create somewhat of a niche for us, merging hard Die Krupps EBM with the sound of Düsseldorf-Electro, and with that I mean the roots. Kraftwerk and Die Krupps may stem from the same city and we know each other quite well, but they were never a direct influence on me. But I understand that Düsseldorf will forever be associated with Kraftwerk, and their music breathes Düsseldorf. So it was a logical progression for me to combine these musical styles. It sounds unique, and expands the genres. Niemals stillstehen!

Q: While your debut EP was already released in 2018 it took a few more years to achieve the debut album “Robo Sapien Race”. Tell us a bit more about the writing and accomplishment of “Robo Sapien Race”? What have been the different stages in the writing and production of the work and what’s the input of each member?

Jürgen:At the time of the EP, I was ready to continue with the project, but the former record company threatened not to release the album if it was an all Electro album. They insisted on getting an Industrial-Metal album, so I was forced to move ahead and finish the new Die Krupps-album first. When that album was completed and the following tour, we continued working on the tracks that fit the concept. During the process it became more and more clear to me what the music needed to give Die Robo Sapiens a sound of its own. To me it’s always important to find your own style and niche. That’s how we did it since the beginning, don’t follow trends, spearhead them!

Teufelskreis – Tanz Mit Dem Roboter EP by DIE ROBO SAPIENS

Q: It seems there’s a kind of concept behind this album dealing with ‘the dehumanization and technological dependency of mankind… without it you are nothing…’ How do you face this fact and how do you see the pros and cons of technology in the evolution of Electronic music -especially when compared to the 80s analog era?

Jürgen: I am fascinated by new technology, but I won’t let it dominate my life unless it is useful and making my life easier. Unfortunately, most people let technology dominate their life nowadays, and the balance seems off. We cannot make ourselves completely dependent on computers and machines, I personally refuse to becoming a Robo Sapien in my lifetime! We are the human race and should resist becoming one with the machinery. Although it’s a fascinating thought, it will be the end of humanity. I think the time will come sooner or later that man will be replaced by robo sapiens. I know I won’t be around anymore, and I have a feeling that’s a good thing.

Q: Soundwise you already mentioned the Kraftwerk-touch which is easily noticeable for the sound color and atmospheres but there also is the hard EBM side of DAF… and Die Krupps as well;-). How do you perceive it and was there something as a ‘Düsseldorfer’ scene?

Jürgen: DAF are not a Düsseldorf-band, they were from Wuppertal and part Austrian. But Gabi did start his musical career in Düsseldorf, that’s true. I was friends with him before he even started a band. Ralf and I knew Kraftwerk because we all used to hang out in the same clubs and movie theatres around town back in the 70s. I later became friends with Karl and also Wolfgang. I didn’t get in touch with them regarding guesting on the album, but it’s a nice thought and I will keep it in mind. Regarding the so called Düsseldorf-scene, sure there was a scene, and it was transitional when Punk happened. Kraftwerk, Neu, La Duesseldorf were the first wave, then came DAF, Die Krupps and Propaganda. We had our background in Punk, and not in the late 60s experimental strain of the Hippy scene. Although it produced very interesting bands, the two scenes never really crossed paths musically, until I tried to unite them in the mid 90s, when I brought members of Cluster, Guru Guru, Amon Duul, Faust and Die Krupps together to produce the album “Space Explosion”. It was an eye opening experience.

Q: What brings the future for Die Robo Sapiens? Is the album just a ‘one shot’ project or should we expect more stuff and eventually live shows, remixes etc?

Jürgen:This album is not supposed to be a one off, the project will continue. I am open to all kinds of adventures, even live shows, and I know Ralf is too, if we can find the time to do it. Die Krupps is and will always be our number one, but it feels good to have another outlet for the purely Electro tracks. I enjoy the different approach, and I’m also interested in defining the Robo Sapiens sound even more. The deeper you delve into a musical project, the more you understand its own mechanisms. And I believe Die Robo Sapiens has a lot more potential. Time will prove my point. Die Zukunft hat begonnen!

Inferno Sound Diaries

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n5MD owner-operator and ex-Gridlock member Mike Cadoo aka Dryft returns with ‘From Stasis’

Bernard - Side-Line Staff — Wed, 22 Sep 2021 16:58:06 +0000

Excellent news from Oakland, California as n5MD owner-operator and ex-Gridlock member Mike Cadoo returns as Dryft by way of the forthcoming album “From Stasis”. The release was mastered by Blau Studio’s E.Pozzolini.

The 5-track album “From Stasis” is out on October 22nd and can be preordered on grey with black marble vinyl now at n5MD’s Bandcamp.

Mike: “‘From Stasis’ is a deep dive into post-industrial soundscapes and grittily compressed beat work, which I hinted at via my previous Dryft albums.”

n5MD is an independent record label based in Oakland, California . The label primarily releases electronic music which focuses more on melody and emotion but also now releases music in compatible genres such as shoegaze, post-rock, IDM and electro-acoustic. Mike Cadoo has been recording under the names Bitcrush and Dryft and was a member of Gridlock and Under.

You can check the opening track of the release below.

From Stasis by Dryft

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V/A A Human Scan(ner) – The 20th Anniversary Compilation (Album – Scanner / Dark Dimensions)

Inferno Sound Diaries — Fri, 08 Jan 2021 20:30:00 +0000

Genre/Influences: EBM, Dark-Electro, Electro-Pop, Body-Pop, Electro-Wave.

Format: Digital, 2 CD.

Background/Info: Scanner is a subdivision of Dark Dimensions, which this year celebrates its twentieth anniversary. Set up by Francesco D’Angelo, Scanner has been always and mainly devoted to Electronic genres like EBM, Dark-Electro and Electro-Pop. The compilation features twenty six artists and songs reminding us of the great artists from this label.

Artists: Gin Devo, BhamBhamHara, Autodafeh, Kreign, DSTR, Fractal Age, Destin Fragile, Blue Images, Twins In Fear, Cyan Inc, Vomito Negro, [:SITD:], Eden Synthetic Corps, Mechanical Moth, Centhron, Intent:Outtake, Disorder:Mankind, Das Werk, X-Fusion, Spetsnaz, Grausame Töchter, Epinephrin, Black Heaven, A Spell Inside, Absurd Minds, Straftanz.

Content: This sampler is a perfect way to (re)discover the Scanner label roaster, which features some great EBM names such as Autodafeh and Spetsnaz while other names such as [:SITD:], Vomito Negro + Gin Devo, Eden Synthetic Corps and Absurd Minds were more active in a darker EBM format, getting pretty close with pure Dark-Electro. Centhron and X-Fusion are for sure Dark-Electro! Other bands like BhamBhamHara and Straftanz are more representative of the progressive (Techno)-EBM format. A Spell Inside remains one of the ‘oldest’ bands from the roster and still one of the few to deal with Electro-Pop. And then there’s Grausame Töchter, which remains a very unique experience in sound. The compilation also features a few bands we’ve a bit forgotten like Fractal Age, Destin Fragile, Epinephrin. It’s also a while ago we’ve heard something from Cyan Inc. And there’re new signatures like the promising EBM formation Kreign and the Experimental-Electro Twins In Fear plus a few totally unknown names like Das Werk and Disorder:Mankind.

+ + + : When you take a brief look at the names featured at this compilation you can only, but agree Scanner has been for numerous years one of the leading labels from the Dark-Electro scene. But this compilation becomes really interesting when you’ll know that nearly all of the tracks are exclusive ones and/or rare edits. Frank D’Angelo always has had a nose to sign great artists, Kreign being the new sensation! My favorite cuts from the album are the ones by X-Fusion and Grausame Töchter remixed by And One.

– – – : This compilation doesn’t cover the entire Scanner roster, which says something about the Electronic welfare from the label. Some artists that haven’t been featured (because they’re no longer part of the label) are Amnistia, Stromkern, Distorted Reality, Sleepwalk, Page 12, The Eternal Afflict, Cycloon, Sara Noxx, Re:Work, Spiritual Reality, Inside, Das Präparat.. More than enough to fill an extra disc and they all are still part of this great label’s history.

Conclusion: This compilation is a part of history; 20 years of great underground music by Scanner!

Best bands: X-Fusion, Grausame Töchter, Autodafeh, Straftanz, BhamBhamHara, [:SITD:].

Rate: (8½).

Label: www.darkdimensions.de / www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

Inferno Sound Diaries

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Forma Tadre releases ‘P-Songx, the hidden path’ – the songs that almost never had seen the light of day

Bernard - Side-Line Staff — Tue, 08 Sep 2020 15:58:45 +0000

Out now is “P-Songx, the hidden path”, an album that was recorded & mixed back in 1989-1993 (except for the track “M15 – She a threat?” which was re-recorded in June 2020) by Andreas Meyer we all know from Forma Tadre.

The genesis of the songs on this release is quite an interesting one as the musician explains.

Andreas Meyer: “Until the early 90s everything Forma Tadre did was recorded and mixed on tape. The very common analogue cassette tape to be precise, cause we had no money to buy better stuff. The tapes were numbered (50-60 still exist), but there have always been, right from the start, two different kinds of tapes. One type was labeled “Forma Tadre”, the other one was labeled “P-Songs”. P-Songs stands for “personal songs”, songs that I wrote and recorded without the help of the other two band members. These songs were set apart from the regular recordings and they also differed stylistically from the official Forma Tadre output – they were much more electronic in nature than what we did as a trio (or later, until 1994, as a duo).”

The band’s earliest recordings (like “Brightful Times”) had been post-punk, dark wave and NDW, while the P-Songx tracks were mainly EBM, electro-industrial, soundtrack and experimental electronica.

Andreas: “The two kinds of recordings were like two paths leading through a forest (this is a crooked analogy but I can’t think of a better one right now). Both paths went into the same direction. They were parallel, but only one was open to the public – the other one was hidden. That hidden path was the P-Songx path.”

The electronic tapes never saw the light of day. Back then, Forma Tadre was ruled by a certain formula as Andreas puts it: “Me writing the songs plus at least one other band member performing the vocals and/or writing the lyrics and/or playing the guitar. As a result, solo works or P-Songx could not become part of Forma Tadre. I could have, of course, released the P-Songs under a different band name. But that idea somehow never occured to me.”

When in 1994 Forma Tadre split up, with the last remaining member of the original trio leaving the band, it was “Plasmasleep” (the demo version published on “Travelogue”) that had been the turning point in all this.

Andreas: “Despite its definition as a solo work and therefore originally filed under “P-Songx”, I released the song on a local tape compilation as “written by Forma Tadre”. This eventually led to the final break-up – but it also led to a record deal, because the German record label Offbeat became aware of the compilation and contacted me.”

Golem 100 luckily didn’t make it as a band name

After the break-up Meyer started to work on “Navigator” – using a lot of the P-Songs he had written before. He signed the contract with OffBeat and thought about renaming the project – to mark a fresh start. The alternative and brandnew band name would have been “Golem 100” (after a science fiction novel by American writer Alfred Bester).

Andreas: “I thought about this for a very long time but finally dismissed the idea – at the last moment – before the official release of “Navigator”. Everybody at OffBeat was relieved, I still remember their faces. After all, “Forma Tadre” (the original band name) was my own creation: I remember having read Pink Floyd’s biography years before. Until then I had always thought that “pink” stood for the colour only but found out, that Pink was the just the given name of a blues musician called Pink Anderson. And Floyd was the given name of another blues musician called Floyd Council. So, Syd Barrett created the name “Pink Floyd” by combining two names of musicians he adored. This idea appealed to me. But instead of taking the names of two other musicians I took just one name of another band (Tangerine Dream) and an album I adored at that time (Force Majeure). To make it even more complicated and to give the name a little bit of mystery I dissected the words. The result was “Forma Tadre”. I still think that this is the way the name was created, but to be fair – a former band member claims otherwise.”

Check out the songs below.

P-SONGX by FORMA TADRE

Bernard - Side-Line Staff

side-line.com

Double interview: Alex Møklebust (Zeromancer/Seigmen) and Stephan Groth (Apoptygma Berzerk) about remixing

Jan Ronald Stange — Tue, 16 Oct 2018 19:38:32 +0000

(By our Norwegian correspondent Jan Ronald Stange) In the aftermath of the Electro Spectre remix contest, I had a chat with one of the remixers about… remixing! SnifferGod, aka Alex Møklebust from Zeromancer and Seigmen, produced one of the best remixes of the 20-something tracks that Electro Spectre received, and I thought it would be interesting to hear what he had to say about remixing in general, the creative process behind, his analogue gear, and other things related to remixing other peoples music.

As I was working on this interview, I was tipped that another fellow Norwegian musician, also probably most known abroad, had recently done a couple of remixes himself. Read what Stephan Groth, the main force behind Apoptygma Berzerk, had to say about remixing after Alex’ part.

Side-Line: What’s your incentive for remixing?

Alex: The main – and fun! – thing about remixing is the freedom to do what you want! And most times there’s no high pressure to deliver, but with everything else going on at the same time one usually ends up feeling there’s little time to do it anyway. On this particular occasion I did it all by myself, often I remix as Zeromancer and are joined by one or two of the other guys, adding a guitar, bass or something else to make a recognizable connection to the Zeromancer sound.

S-L: When starting a remix you are receiving the original version – do you often listen to it and immediately thinks “I would’ve done this and that different”?

A: No, not really, I don’t think as a producer when starting a remix, not thinking about arrangements. Its more about breaking all the rules, but if course there’s one exception to breaking the rules; if its destined for radio there’s considerations to be made. If I’d had more time on this particular remix I’d make it longer. I’m 47 years old, grew up when the 12” singles started arriving with those extended versions and long remixes of songs.

The first thing I do is to listen to the various part of the track, to hear if a verse, refrain, bridge or an interlude triggers something I want to work with and program my own version from. What I kept from the original (except the vocal) is their pad, but made it a bit thinner, and I used a melody line underneath my own too.
Then I started with the bass and drums, and work on a sequence until I need another part to build on. Usually I get an idea from a sound I get a kick off and build on that, sometimes I import all the stems (separate sound files of vocals, bass, drums, etc) and search for ideas there, but that often depends of what I actually receive. Some send all the files of the track, some just the vocal.

S-L: You asked for the vocal stems without any effects for your version of the Electro Spectre remix – why?

A: I wanted to make a hall reverb effect on the vocal myself and pitch it higher, so it was easier for me to that with the raw vocal, and added some vocoder too at the start. I also like it a bit dirty, so there several noisy elements added.
The arrangement comes later; first I have bits and pieces of ideas for verses and refrains, moving them back and forth until I find what’ll move the track forward.

I use a lot of modular synths, and also some soft synths – depending on what’ll fit the track. But of course, working with the modular synth are always more fun, even playful. Sometimes I wish I had an education within low current electricity, maybe still not to late? Then I could’ve fixed synths when they break, and thus be able to spend even more time nerding with them.

S-L: Are there any configurations or settings on your synths that you have kept, thinking “this is for Zeromancer” or something else?

A: No, I mostly use the modular synths for ideas and random stuff to add some mobility to other sounds using filters and so on. Fiddling about with my modular gear is often a big part of getting inspiration, both when doing remixes and getting ideas for new songs, even without a plan you get results.
The most important parts when remixing: don’t assume its to be played on the radio or try to make it that way, don’t lose that boy-in-the-bedroom feeling – and keep it fun!

S-L: You also been busy with producing and mixing Ljungblut recently?

A: Yes, I’ve been recording them during live sessions, did some overdub afterwards and then mixed the upcoming album this summer. Will also be doing some programming for other artists in the coming months. Not yet decided what to do with Zeromancer after Dan have left, started on some new songs, but put them on pause, the same with the announced new single that was supposed to be releases in 2018.

For those who still haven’t heard this gem of a remix – here it is with the rest of the EP:

Sniffergod/Zeromancer remixes available on Spotify right now:

Stephan Groth also had a lot of thoughts about remixing:

S-L: What’s your main driving force for doing remixes?

Stp: I always enjoyed remixing. It is a lot of fun, as well as a great promotion tool. I experiment a lot when remixing, testing out new hardware and software, new styles, grooves, sounds and techniques that I will later integrate in my own songs.

S-L: When starting a remix you are receiving the original version – do you often listen to it and immediately thinks “I would’ve done this and that different”? Or consider other options?

Stp: Yes, I instantly hear If I can make the song “better” or make a different and interesting version or not. If I don’t get ideas right away, after listening to the song once or twice, I rather not remix the track.
My approach to remixing was always trying to make the song “mine” in a way. I`ll try to rearrange the song so that it sounds like it’s an APOP song. I want to leave my vibe/feel all over it, and hopefully create something that is unique and interesting. When remixes are too close to the original it often gets boring, unless it adds something unique that the original version lacked.

S-L: You ever add own voices or other elements instead of or in addition to the original stems/raw material?

Stp: Yes! I try to add as many of my own elements as possible, and try to use as few of the original sounds as possible. Normally I only keep the vocals and other important lead elements. I record my own vocals quite often as well, but most of the time I “cover them up” or bury them in the mix so that no one can really tell. I do this only if
I want to add certain harmonies, or if I feel that the vocal arrangement is lacking something.

S-L: What gear do you use? PC, Mac, software, (modular) synths, other stuff?

Stp: I have always only used Mac, except for in the very beginning when I used Atari. I am using Cubase and a few soft-synths and samplers, but 90% of what you hear in an APOP remix is from my modular synths and from my analog hardware synths. I used to use soft-synths a lot back when they were new and exciting, but I have a very nice collection of vintage synths, so I rather use them.

S-L: Are there any configurations or settings on your gear/synths that you have kept, thinking “this is for an Apop remix”, “this is for an Apop track”, or something else?

Stp: I used to never save my presets, because I did not want to use the same sounds again and again. That has changed over the years, lol!
I guess I have gotten more lazy with age.

S-L: What’s your most recent remixes?

Stp: Mortiis – “Sins of Mine”, Page – “Krasch”, Machinista – “Dark Heart of Me” and Peter Heppner – “All Is Shadow” (all included in the playlist below).

S-L: And what’s your all time favorite remixes, both your own and others?

Stp: I think the remix I did for Tobias Bernstrup, “Moments Lost (Apoptygma Berzerk remix)” turned out really good, and then there is an old remix that I did on an Icon Of Coil song called “Repeat It” that I think really stood the test of time.

One of my all-time favorite remixes is Hardfloor’s remix of Mory Kante’s “Yeke Yeke” – the perfect remix!

While we are on the subject of remixes and collaborations… I would like to mention our upcoming 2xLP/CD/Cassette release “SDGXXV” that will be out spring 2019 via Tatra Records and Artoffact Records. The album is almost done, and it will feature remixes and collaborations with electronic acts and artists that I admire.
As soon as we have a release date planned, we’ll give you all the names of the bands involved, but for now, that’s all I can tell you 🙂

Listen to a lot Apop remixes here – thanx to Per Aksel Lundgreen for adding to my list!

Jan Ronald Stange

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

www.facebook.com/jrstange

Wulfband – Revolter (CD Album – Progress Productions)

Inferno Sound Diaries — Fri, 29 Dec 2017 19:30:42 +0000

Genre/Influences: EBM, electro-punk.

Background/Info: Wulfband is an enigmatic duo for keeping the names and faces of their members secret. Three years ago now they hit the EBM community by surprise, unleashing a violent and successful self-titled debut album. “Revolter” is the second full length of the band.

Content: “Revolter” moves on there where “Wulfband” stopped. The sound remains driven by typical EBM standards (referring to the solid bass lines and linear structures), but empowered by a furious cadence reminding the good-old days of punk- and even hard-core music. “Revolter” stands for rage, which comes through in the sound and the vocal lines. The vocals are mainly sung in German, but you also will hear English passages and even a song featuring indistinctive lyrics.

+ + + : Wulfband is much more than traditional old-school EBM. Next to a classical basis, which sometimes might remind you of bands like Orange Sector and DAF, they put a huge load of punk music in the composition. It’s violent, a bit sounding like controlled chaos, but more important, a band that has created its own sound. And the least I can say is that this new opus already features a few cool songs like “Mann An Mann An Mann” (previously released as digital single), “Platzmachen”, “Das Ist Musik” and “Liebe Offensive”. The bass lines are quite predictable, but simply great while some industrial sound treatments are only accentuating the dark and violent side of the band. The album reveals 12 songs full of energy and which never go over the 3 minute mark.

– – – : Speaking for myself I definitely prefer their first album, which was hard and powerful, but less chaotic and less hard-core driven. It now sometimes become a little less predictable and repetitive.

Conclusion: Wanted! Who’re the guys behind Wulfband? They’re like the Daft Punk’s of EBM, but one thing is for sure, they don’t compose music for sissies; this is pure hard-core!

Best songs: “Mann An Mann An Mann”, “Platzmachen”, “Das Ist Musik”, “Liebe Offensive”.

Rate: (7).

Band: www .facebook .com /Wulfband -684108748299493

Label: www .progress –productions .com / www .facebook .com /progresspro

Inferno Sound Diaries

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‘Click Interview’ with Golden Apes: ‘We Never Cared About Stylistic Drawers And Templates’

Inferno Sound Diaries — Wed, 03 May 2017 18:15:01 +0000

Berliner formation Golden Apes saw the daylight in 1998. Nearly 20 years after their creation the band has released an impressive number of productions on labels such as Shadowplay Release, Echozone and AFmusic. They recently released their newest opus “MALVS”, which according to me maybe sounds as their best work in history. The sound of the band is hard to define, but clearly inspired by darker new-wave and rock influences from the 80s. I’ve been in touch with singer Peer Lebrecht for an interesting chat.

(by Inferno Sound Diaries)

Q: Do you see main changes/evolutions in the original goal of Golden Apes and today?

Peer: So what was our goal when we started the band some 20 years ago? I think it was about making music, which had to be ‘absorber’ and ‘reflector’ at the same time. That mixture of external musical influences and passions, and internal creative impulses and restless unsubduedness. We started with no template, no route, neither musically nor conceptually and I think this was and is the best condition for doing something substantial (at least in your own perception, what is the only one important).

We´ve never intended to do this whole Goth/Wave thing without objection, we just came all from that musical background. We´ve never thought about the idea to become a part of something like an economical machinery, roaring and disgorging rates and decimal places (and we failed in that moment when we got close to this), we just wanted to do songs, play them and stick them in a sonic diary now and then.

And we never wanted to fit any schemes or serve expectations. From the very first tune on that left our amplifiers, we created music with gut instincts, guided by the aspiration to feel right with it, to have it stirring the own soul.

And in this light it seems that there was no change at all during the years. It is still the same (maybe naïve) fervent idealism that keeps us running, that keeps us curious and restless.

Q: It’s maybe because of this thought to ‘never become a part of something’ that it has been always difficult to define your music as a particular genre! Can you give me a definition and tell me something more about potential sources of inspiration throughout the years?

Peer: You are so right; defining music is always a hell of job, especially if it´s your own. As mentioned above we all have a similar socializing musical background, lined with names like Joy Division, The Cure, The Psychedelic Furs, Fields, Sisters, Nick Cave and so on and consequently you can find traces of those all over our work. But apart from this common nucleus our musical passions are widely scattered, linking Bowie to Beethoven, New Model Army to Amon Düül and Pink Floyd to John Cage. And those with eyes to see can find shades of these too.

So how to frame all this? And why? In the end we never cared about stylistic drawers and templates and for a flawless classification we don’t possess enough historico-cultural knowledge. For us it was and is important how it feels, how close it comes and how well we feel in its waters.

Q: Referring to your influences, I experienced your new work as a move back to the 80s for the new-wave inspiration while mixed with darker rock elements. What is it all about?

Peer: As I said – there is no conceptual layout we muse about before we start writing music and I would be a liar if I would say “MALVS” sounds the way we intended it to sound – because there was no intention! Between the albums first finished song (“Verity”) and the last one (“Halving Moons”) are stylistic light years and every incident, every condition and every mood swing has an influence on the atmosphere under which the things inside your head are coming into life. And how many mood swings you may face in a period of four years! So there was no way to presage the albums final atmosphere and to be honest –it is always so exciting to see it grow, changing shapes and colors, names and places. I think we even would get bored quickly if everything would be predictable.

And of course it is no surprise that there are palpable traces of the 80s sprinkled on our songs. That was the decade that saw us grew up, that shaped us musically and culturally. Take a look above at some of our musical influences! We can´t hide them and we never tried to do. One dogma while doing the record was to let “MALVS” become what it wants to be, to let it be the sum of our sentiments, perceptions, experiences and souls. And finally we all are not much more –the sum of our sentiments, perceptions and experiences

Q: What else can you tell us about the new album “MALVS”, which I think has been written and conceived far away from external involvement? How comes?

Peer: ‘MALVS was the moment when we stopped our way down the ladder for the first time for realizing the mirrored surfaces below, the grandeur of a hollowed veracity and the echoing falsities hidden under sticky clouds so far…

MALVS was the wrong word in our mouths, the huge, black stone, blocking our throats from swallowing the poison of a rushing moment, the toxic essence of a creed that brushed our eyes…

MALVS was the page we tore apart when the anvil hit the ground, the cloth of skin inscribed with the names of lovers and deities, with histories and heresies…with all the atrocities we failed to forget…memories of days bygone…

MALVS was the bundle of bones we danced around on open fields. Disengaged from leaden verities and the burden of doubts. Snow-white smoke and the cathartic fires of a past contrived…

MALVS was the desert we wandered through with our hearts full of hope and our faces turned away from heaven. And we ate the dark and we drank the ignorance, welling from a shiny moment, when we stopped our way down the ladder for the very first time…’

These were my thoughts when I was listening to the album in its entirety for the first time and even if this sounds quite confusing, it bears the core of the meaning for me. “MALVS” is the album we worked towards for 4 years, without any pressure, without any need to do something by anything else than the own intuition, waiting for the moments that just feel right. And so “MALVS” became not just an collection of 13 songs, but a fabric of all the things that left an imprint on us. Musically, emotionally, intellectually.

But it was not only a musical unleashing, because its creating was also a kind of a ritual, binding together interpersonally. After the release of “Riot”, our last studio album in 2012, there was an odd figure of changes within the bands structure. Our drummer left, our guitar player Eric, one of the founding members left and with Aris Zarakas we found a guy, who was more than a substitute, for he contributed new impulses and new ways of dealing with sounds and textures. And when the “Langsyne Litanies”, our acoustic album from 2014, became a kind of musically getting acquainted, then it was “MALVS”, what was our fire ordeal. And the time in the rehearsal room and in the studio makes me confidently state that at no time before the band was more bound together, had more self-conception of the things we do and more creative output that in the here and now.

And so “MALVS” was a catharsis also – the first five letters on a blank page.

Q: what can you tell us about the artwork of “MALVS”, which sounds a bit different from past releases?

Peer: The artwork is closely related to the album’s title, what is a pity now because I had and have no intention to reveal the meaning of it. ´Asshole´ you may think, but I like the fact when not every possible semantic level is unveiled for free, when some veils may be lifted by help of the context, by coincidence or even never. Maybe it is no random choice then that the title track is an instrumental! Or that there are these 5 pieces of wood on the cover.

By doing the artwork, I enjoyed to play with metaphors and ciphers, reflecting the lyrical landscape visually. I just want to say that the riddles solution is not that complicated, but will cast light on some contextual meanings. But this is just one of the keys….

Q: How will you transpose the songs of the album on stage and what do you expect from the new performances and places you’ll play?

Peer: We were never one of those bands who felt comfortable with a certain kind of studied show on stage. I think the main ingredient is the music and this is where our focus rests, but I agree that a proper atmospheric habitat can support the effect of the music. That´s why we like to play with the setting now and then, adding details, softening the topography of the stage. Recently we worked on some projections, some visual subtitles, which act as an additional layer of perception.

But the last shows have proved that the new songs are strong enough to work on stage, to keep some of your senses busy for a while.

According to the upcoming shows we hope that the well-being continues that we feel on playing “MALVS”. It is really special to invoke the songs on stage, to feel them blazing their trail through our veins every time anew. In other words -it just feels good!

And we hope of course that the people will like what they get. It is always the biggest reward to reach places beyond the edge of the stage and getting echoes from there is more than just a touching experience…

Courtesy by Inferno Sound Diaries

Inferno Sound Diaries