The Neon Judgement &#8211; SIDE-LINE

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

Dirk Da Davo releases download single ‘Head Over Heels’ – Out now

Bernard - Side-Line Staff — Fri, 21 Jun 2024 05:58:00 +0000

Out today is the new Dirk Da Davo single “Head Over Heels”.

“Head Over Heels” is a brand new Dirk Da Davo solo recording and the track is out digitally via all streaming and download channels. The song will be scheduled as a part of Dirk Da Davo’s solo album release by the end of this year, beginning 2025 with a release date to be confirmed.

Featured on the single on bass and slide guitars is Jorge Sanchez who also took care of the artwork.

Dirk Da Davo is a Belgian musician and composer, best known as a founding member of the influential electronic band The Neon Judgement. Formed in the early 1980s, The Neon Judgement became pioneers in the EBM (Electronic Body Music) genre, blending dark wave, industrial, and electronic sounds. Dirk’s innovative use of synthesizers and his distinct vocal style played a crucial role in defining the band’s unique sound. Beyond his work with The Neon Judgement, Dirk has pursued solo projects and collaborations, consistently pushing the boundaries of electronic music.

Jean-Marie Aerts, an icon in the Belgian music scene, is dead

Bernard - Side-Line Staff — Sun, 21 Apr 2024 12:25:09 +0000

Musician Jean-Marie Aerts (72) has passed away after a prolonged illness, his wife Miet Ongena has announced. Aerts was best known as the guitarist for T.C. Matic (with the late Arno) and as a producer of over 200 Belgian and international albums.

To our readers he is mostly known for his work with bands such as Elisa Waut, Red Zebra, Luc Van Acker, The Neon Judgement, Arbeid Adelt!, and Jo Lemaire. He also later collaborated with Dirk Da Davo (The Neon Judgement). Below is an interview with Dirk and Jean-Marie in Dutch followed by a few productions he worked on.

Aerts’ first real job as a guitarist came through Vincent Rouffaer at the Royal Flemish Theatre in Brussels. Rouffaer, a classmate from the Rits and son of actor Senne Rouffaer, told Aerts that his father needed a guitarist for the play “As You Like It” by William Shakespeare. Aerts also studied music theory for one year, but admitted later on he couldn’t make much use of it throughout his entire career.

His first band was Split, led by Luk Vankessel. Aerts enjoyed experimenting with sounds and claims to be the first Belgian guitarist to turn his amplifier up to maximum volume, solely for the effect of the distortion.

Aerts achieved his first success as the guitarist for T.C. Matic, the band of the then very young Arno, who died two years ago. The group became one of the first major Belgian rock bands and had hits with classics like “Oh La La La” and “Putain Putain,” with Aerts’ guitar playing significantly contributing to the band’s recognizable and successful sound. However, an international career was not in the cards due to the lack of suitable management in Belgium at the time.

After T.C. Matic, Jean-Marie Aerts began a solo career with the group JMX and also produced music for artists.

An icon. Our sincere condolences to his family and friends.

The Vacant Lots – Interiors (Album – Fuzz Club Records)

Inferno Sound Diaries — Mon, 25 Mar 2024 08:00:00 +0000

Genre/Influences: Dream-Pop, Shoegaze.

Format: Digital, CD, Vinyl.

Background/Info: The Vacant Lots strike back with their fifth studio album to date. The American duo is driven by Jared Artaud and Brian MacFadyen.

Content: “Interiors” sounds diversified but always getting back to a strong Dream-Pop and Shoegaze basis which is reinforced by Cold-Wave elements. This work reminds me of bands like New Order, The Neon Judgement and The Jesus And Mary Chain.

+ + + : I praise this work for its eclectic approach. The songs have been composed with great guitar playing -especially for the Shoegaze cuts, while featuring sexy vocal parts -excelling at “Evacuation”.

– – – : I regret the work is only featuring 8 cuts while I didn’t hear a true, potential hit.

Conclusion: “Interior” is a fully enjoyable work bringing different influences together.

Best songs: “Evacuation”, “Amnesia”, “Endgame”.

Rate: 7½.

Artist: www.thevacantlots.com / www.facebook.com/THEVACANTLOTS

Label: http://fuzzclub.com / www.facebook.com/FuzzClubRecords

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.

The Neon Judgement – Blue Screens 1995-2009 (Album – Je M’En Fish)

Inferno Sound Diaries — Thu, 21 Dec 2023 08:00:00 +0000

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

Format: Digital, Vinyl.

Background/Info: No need to introduce The Neon Judgement belonging to the collective memory of 80s Cold-Wave/EBM fans. Their biggest hits were released in the 80s. This album is a fine selection from tracks originally released in between 1995 and 2009. It features songs from three albums that were released on different labels during the post-Play It Again Sam (PIAS)-era. We get ten songs from the albums “At Devil’s Fork” (1995, Synthetic Symphony), “Dazsoo” (1998, KK Records) and “Smack” (2009, LC Music). These songs have been re-mastered and for the very first time released on vinyl format.

Content: This work is an opportunity to (re)-discover ‘late’ stuff from The Neon Judgement, the band having definitely taken some distance with their early, 80s, sound and becoming more open-minded, like experimenting with new genres and influences. But in the end that’s what the Belgian masters always did. The songs are still driven by icy synths but mixing Minimal-Electro together with Funky vibes, Dance tunes and Technoid influences and even Dubby elements.

+ + + : This selection of tracks aren’t the best exposure from this legendary formation although you easily recognize the Neon Judgement-touch in the icy leads/synths, the vocals and the open-minded style. It was really fun rediscovering “Serve” which evokes to me the Electronic version of Public Enemy but also the Dub vibes emerging at “Turki”. I also like “Shiny Happiness” and the more renowned “The Great Consumer” for the excellent synth lines.

– – – : “TV Treated” remains one of my all-time favorites from the band and 80s Electro-Wave music but the remix/edit from 1995 featured at this album is a true antithesis to the original version.

Conclusion: A cool record for the band’s die-hard fans.

Best songs: “Serve”, “The Great Consumer”, “Turki”, “Shiny Happiness”, “We Are Confused”.

Rate: 7½.

Artist:www.theneonjudgement.com / www.facebook.com/TheNeonJudgeMent

V/A Anthologies 4 (Album – Je M’En Fish)

Inferno Sound Diaries — Wed, 13 Dec 2023 08:00:00 +0000

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

Format: Digital, Vinyl.

Background/Info: Brussels (Belgium) based Je M’En Fish strikes back with the fourth installment of their “Anthologies”-compilation series.

Artists: The Frozen Autumn, Noemi Aurora, Helalyn Flowers, The Dreamside, The Neon Judgement, Flesh & Fell, Imjudas, Am Tierpark, M73.

Content: The compilation features a few artists which are already familiar with Je M’En Fish, Alfa Matrix-artists (Italian formation Helalyn Flowers and the band members’ side-projects Noemi Aurora and Imjudas) plus a few other names. The content is quite diversified and features songs from the 80s, 90s and 00”.

+ + + : Diversified compilation covering songs from very different and sometimes distant eras; from the very 80s Flesh & Fell Electro-Experiment (1985) to Ethereal-Pop of The Dreamside (1994) to the melancholic Dark/Cold-Wave of The Frozen Autumn (1996) to 80s inspired Electro-Pop from Danish Am Tierpark to contemporary Electro-Metal-Pop of Helalyn Flowers. There also is a live version from The Neon Judgement’s “Tomorrow In The Papers” from 1984 revealing the band during their early, glorious, days.

– – – : This compilation series sounds to me more as an item for collectors instead of DJ’s. No bad thing but maybe a reason why this compilation will remain under the radar.

Conclusion: Diversified Electro-underground music and related genres throughout the years.

Best bands: The Neon Judgement, Imjudas, Noemi Aurora, Am Tierpark, Flesh & Fell.

Rate: 7.

The Neon Judgement presents brand new ‘Blue Screens’ vinyl compilation

Bernard - Side-Line Staff — Tue, 10 Oct 2023 09:14:06 +0000

In 2023, Dancedelicd collaborated with Brussels-based Je M’en Fish Records on three vinyl releases. Among these, The Neon Judgement’s compilation “Blue Screens” is scheduled for November 5th. This release will be on a 180-gram vinyl format and will come in three different colors.

In the early 1980s, Dirk Timmermans, also known as Dirk Da Davo, and Frank Vloeberghs, known as TB Frank, founded The Neon Judgement. They initially gained attention for their unique blend of stark industrial elements with intricate guitar and synthesizer work.

During the 1990s, the duo shifted their musical direction and also changed labels. They released Dazsoo under KK Records, known for artists like Bauhaus and Frontline Assembly; At Devil’s Fork with Synthetic Symphony, home to Die Krupps and Welle: Erdball; and Smack on LC Music/Dancedelic-D, Dirk Da Davo’s own label.

This 10-track compilation features a curated selection from these latter three albums, all of which have been fully remastered and are making their debut on vinyl.

Earlier this year Dirk Da Davo’s album “Retrospective 1987 – 2023” album was released in April. Additionally, June saw a reissue of The Neon Judgement’s “PIAS 40” vinyl, which includes several tracks from the 1980s.

A digital EP is planned for November 20th, involving Dirk’s side project DDDJMX and Jean-Marie Aerts (JMX). The EP is titled “23”.

Interview with Dirk Da Davo: ‘The Music You Listen To When You Are A Kid, Stays Forever In The Back Of Your Head’

Inferno Sound Diaries — Sat, 29 Apr 2023 17:00:00 +0000

Who says Dirk Da Davo thinks The Neon Judgement! Even if this band remains one of the pioneers and true references in the Electro-Underground scene, Dirk has been involved with numerous other projects. The recently released album “Retrospective 1987-2023” is an opportunity to discover those projects; a fine selection from Dirk Timmermans’ (he’s real name) work over the thirty six past years aside from The Neon Judgement. The album has been released on vinyl format by Je M’En Fish and features ten songs. Each title of the work inspired me to ask a questions to Dirk. This is a short story of this Belgian living legend of Electronic music… and more…

(Courtesy by Inferno Sound Diaries)

Q: The album takes off with “King Of Fools” which is probably the most surprising song from the album. It sounds sexy while the slide guitar has something pretty American-like. What is this song all about and what does it say about the music you’re listening to?

DDD: The song is about the feeling that got created during the lockdown and the absurdity of certain measures taken which oppressed the people like never before. And I am questioning that in the song. ‘Will you obey the king of fools? Is there a way to neglect his rules? In a way he seems modified… Do you think he is justified?’ It is about this new created normality which I can’t get used to.

Musicaly it is not that far away for me. As a young kid I grew up with my father’s western music compilation records. And the music you listen to when you are a kid, stays forever in the back of your head… It’s a bit American/Western. It’s not the first time that it shows up. With The Neon Judgement we did the albums “Blood And Thunder” (1989) and “The Insult” (1991)who also have a American Tex Mex vibe in some album tracks.

Q: “Ozz” is a track you composed together with Jean-Marie Aerts. I didn’t exactly expect you both composing music together. How did you get in touch and how was it working together?

DDD: I know Jean-Marie already for a long time. He produced some album tracks for The Neon Judgement’s “Blood And Thunder”-album in 1989. He played the bass on The Neon Judgement’s “Jazzbox”-single in 1998 and we even did some experimental dub vinyl releases together in the 90s. And in a way we stayed connected. I live in Spain and Jean-Marie and his wife decided to come over for a vacation. I have a recording studio in the place where I live. It took exactly 2 days after his arrival and we started recording jam sessions. We finalized an EP and we decided to call our project DDDJMX. We released the digital EP in 2017 by the same title: “DDDJMX”. At the end he visited me 3 times which resulted in 10 recordings we digitally released in 2020 as the “Oceaned”-album. It was interesting. Jean–Marie left me completely free in production , arrangements and all regarding the tracks. An honor for me that he gave me his confidence! I feel flattered.

Q: “The Unreal” sounds to me as ‘modern’ The Neon Judgement. Are you sometimes nostalgic when evoking The Neon Judgement and do you think it’s really over now -especially because you went back on stage again since the so-called farewell concert in the A.B.?

DDD: Oh really? It was not intended like that. No, I am not a nostalgic person at all or it must be about my childhood. I always prefer to look ahead and try to find new challenges. That is where the oxygen is! We had a fantastic trip with The Neon Judgement; I’m grateful to the fans but one day you have to call it a day. But never say never, I like to keep these things open… What I enjoy now is recording new music and develop myself further as a musician, not to play the same tracks over and over again.

Q: “Where Even Angels Fall” sounds definitely 80s like. How much of the young Dirk Da Davo from the 80s do you still recognize in your music and approach today?

DDD: That is a difficult question. I think through all my career I kept my personal touch, but it might have been influenced with the musical surroundings at certain periods… But I still carry the DDD label over all I think. No compromises for better business.

Q: “Sexhead” definitely is my favorite song from the album which reminds me of Cabaret Voltaire. I think to know Cabaret Voltaire have been one of your influences. What did you like in their sound and did you ever got the chance to get in touch with Richard H. Kirk -who passed away in 2021?

DDD: An influence is perhaps a big word. We felt more like-minded. I liked the way they approached music from their first album on. The sound –experiments, the search for something new and with that sound they represented the times in which we lived. I met Richard once yes; I think that was during the first half of the 80s. We shared a venue in our hometown, Leuven, a venue named Lido with as line-up: The Neon Judgement, Cabaret Voltaire and 23 Skidoo. Oh what a night full of impressive music! ! 😉

Q: “Meat Cathedral” is another 80s song which was released by your side-project If It Moves. It’s a project you set up with Glenn Frank -who also contributed to songs of The Neon Judgement right? What was this project all about?

DDD: The project happened by coincidence. I joined Glenn’s band Street Ducks at the time as an extra guitar player. We shared a rehearsal room and one evening I was there alone with him. We started to program some industrial beats, I took a guitar and Glenn a microphone and what you hear happened on the spot. A week later we were recording the track together with Ludo Camberlin in his studio and it got released on vinyl. Glenn was part of The Neon Judgement for a short period as a bass player, but not as a song writer.

Q: “157” reminds me of the early minimalism from Front 242. I can’t remember you ever did something together with the guys of ‘242’. Was there a connection or friendship? Rivalry? Just respect?

DDD: There was an undercooled friendship, for sure no rivalry no. I remember a big party we had together in the 80s in Sweden, were we shared the stage in a double bill. We ended up throwing tables to each other during the after party, but it was just for fun! 🙂 Tour stress that is! 😉

Patrick Codenys also helped me out preparing the recordings of The Neon Judgement’s “Mafu Cage”-album. We were getting into sampling, but we didn’t have a sampler ourselves. That is when Patrick proposed that I could come over to his house to prepare samples for the “Mafu Cage”-sessions because they had a sampling machine.

“157”is one of my favorite Neon Electronics recordings produced by Glenn Keteleer (Radical G) who is my partner in the project now since 10 years.

Q: “Strive” is one of your ‘new’ songs but what are you actually busy doing? And who are you working with? And is there an artist you really would like to work with?

DDD: I am busy doing what a musician does: making music and enjoying it. And I try to run my digital label as good as I can.

I am all the time working on songs and demos with Sanchez (the Mexican) under DD Sanchez, solo etc… Hopefully after summer we can produce new Neon Electronics music.. After summer I will release a digi-EP with new DDDJMX music. There is always something going! There’s not really a musician that I can directly think of , but for sure I would like to deliver music for a Quentin Tarantino movie if that counts also!

Q: Talking about Sanchez, “Cities In Dust” is a song from your project together with him. The project DD Sanchez remains one of the most surprising ones and I dare to say a kind of antidote to your involvement with The Neon Judgement. What’s the ‘bonus’ in your career of DD Sanchez?

DDD: It’s a challenge for myself. From the beginning of the project (first release 2019 “Z”-EP) I had the intention with DD Sanchez to write and create a less dark kind of music. A real challenge when you are mostly known in a darker scene and maybe not so wise but a musician should always follow his instinct and his heart . We released a full digi-album October 2022 and it got titled “HappyGrey” The title carries the load: it not really happy Pop music and neither very dark music. So it is “HappyGrey” music.

Q: “In Dreams” was originally written in the early 90s and sounds to me as The Neon Judgement injected with Techno. What did you keep in mind from this (r)evolution in sound called Techno?

DDD: “In Dreams” was recorded and released on vinyl format under DDD Program in 1992. During those times I was into club music and Techno. I think the Techno scene took over the thing that we started as the next generation. They distilled it down to its essence. Nowadays I still enjoy quality Techno music. I am a secret fan of Amelie Lens, also a Belgian DJ artist, but don’t tell anyone !

Dirk Da Davo releases new single and video for ‘Strive’

Bernard - Side-Line Staff — Tue, 11 Apr 2023 07:45:58 +0000

Out on April 17th is the official release of the Dirk Da Davo “Retrospective 1987-2023” vinyl album in co-production with Je m’en Fish. The release will NOT be available on the streaming channels for the time being. However it will be available on DDD’s Bandcamp page from the 10th of April on, today that is.

Only the new album track “Strive” will be made available for streaming platforms from april 17th on. You can watch the brand new video for “Strive” right below.

And here is the album on Bandcamp.

Retrospective 1987-2023 by Dirk Da Davo

In the early 1980s, Dirk Da Davo was a driving force in the Belgian (and European) electronic music scene with his initial project, The Neon Judgement. From the late 1980s onward, he started to diversify, beginning with the release of a solo EP, “Where Even Angels Fall,” and later reinventing himself as Neon Electronics while also establishing a record label (Dancedelic-D). Nowadays, having relocated to Spain, he collaborates with Mexican bass and slide guitarist Sanchez (under the DD Sanchez moniker) and Jean-Marie Aerts (under the DDDJMX alias).

This retrospective album provides a glimpse into his work, spanning from the early solo sessions of the 80s to present-day material.

Dirk Da Davo – Retrospective 1987 – 2023 (Album – Je M’En Fish)

Inferno Sound Diaries — Thu, 06 Apr 2023 07:00:00 +0000

Genre/Influences: Electronic, Cold-Wave, Dark-Wave, Dark-Techno.

Format: Digital, Vinyl.

Background/Info: Dirk Da Davo will be always connected to one of the most legendary and influential Electro bands in history: The Neon Judgement. From both members Dirk Timmermans aka ‘Dirk Da Davo’ has been the most creative and prolific one. Next to The Neon Judgement he also released solo-material working under his own nickname but also as Neon Electronics and collaborating with other artists like Glenn Keteleer (Radical G), Jean-Marie Aerts (formerly involved with TC Matic), Glenn Frank, The Hacker, Sanchez ao. This compilation is a selection of familiar, rare and unreleased tracks that were released between 1987 and 2023.

Content: This is a very diversified record where it sometimes is nearly impossible to recognize the sound of The Neon Judgement -as DDD will be always linked to this band. But Dirk feels clearly comfortable dealing and experimenting with different influences. “King Of Fools” is one of these cuts which has something like an American sound carried by this heavy, guitar play. Other tracks are reminding me of early Neon Judgement experiments which are mainly coming through in the Electronic sound treatments and rhythm box patterns. Other cuts are into Dark-Techno and that’s what Neon Electronics stands for -especially during the early years of the project. You’ll also discover two previously unreleased songs; one featuring Mexican artist Sanchez.

+ + + : I didn’t know what to expect when holding this vinyl in my hands but I was more than positively surprised. This album sounds somewhere in between a ‘best of’ from Da Davo’s work next to The Neon Judgement and a summary of all different kinds of productions and styles he has explored. I like the opening cut “King Of Fools” which has something sexy and pretty addictive in the guitar play and vocal lines. “Ozz” featuring Jean-Marie Aerts aka ‘JMX’ sounds as an instrumental from Neon Judgement with extra guitar on top. I also want to mention “Where Even Angels Fall” for its old-school Electro style and “Sexhead” originally written in 1987 and reminding me of Cabaret Voltaire. “1987” written together with Glenn Keteleer reminds me of early Front 242 minimalism. Last but not least I also recommend “In Dreams” sounding as Neon Judgement infected by Techno music.

– – – : I’ve just one regret -which has nothing to do with the content of the vinyl; but it would have been cool for this retrospective to get some inside information, pictures etc… featured as a booklet.

Conclusion: A great retrospective from a living legend of Electronic music.

Best songs: “Sexhead”, “In Dreams”, “King Of Fools”, “Where Even Angels Fall”, “157”.

Rate: 8.

Artist: www.facebook.com/dirk.dadavo

Brand new Dirk Da Davo song / video ‘Strive’ out now, taken from ‘Retrospective 1987-2023’ vinyl album out on April 10th

Bernard - Side-Line Staff — Wed, 22 Mar 2023 17:07:02 +0000

The brand new Dirk Da Davo song and video, “Strive” – featured on the upcoming vinyl album “Retrospective 1987-2023” set for release on April 10th – is available now.

Watch the video for “Strive”.

“Retrospective 1987-2023” is a co-production between Dirk Da Davo and the Brussels-based Je M’en Fish label. The 180g high-quality vinyl album will be available in two editions: black with a red center blob, and red vinyl with a black marbled effect. The album also includes another previously unreleased track, “Cities In Dust”, featuring DD Sanchez.

Dirk Da Davo was a key figure in the Belgian and European electronic scene in the early 1980s with his first project, The Neon Judgement. He began branching out in the late 1980s, starting with the solo EP “Where Even Angels Fall,” later reinventing himself with Neon Electronics and founding the record label Dancedelic-D. Now based in Spain, he collaborates with Mexican bass and slide guitarist Sanchez (under the DD Sanchez moniker) and Jean-Marie Aerts (under the DDDJMX alias).

This retrospective album showcases Dirk Da Davo’s work, spanning from his early solo sessions in the 80s to his recent material.

Preview all tracks on the compilation below.

V/A Anthologies 3 (Album – Je M’En Fish)

Inferno Sound Diaries — Sun, 26 Feb 2023 08:00:00 +0000

Genre/Influences: Dark-Wave, Cold-Wave, Electro, Minimal-Electro.

Format: Vinyl.

Background/Info: This is the third “Anthologies”-compilation released by Brussels (Belgium) based label Je M’n Fish. Nine formations have been selected.

Artists: Dirk Da Davo, Your Life On Hold, The Breath Of Life, This Vale Of Tears, NU:N, Implant, Psy’Aviah, The Neon Judgement, Mirland.

Content: Seven Belgian bands plus one from Portugal and another one from Denmark have been featured. The compilation is mainly featuring ‘familiar’ artists from the Brussels label while the music genres they’re dealing with are mainly driven by Dark/Cold-Wave influences but still by Electronic and Minimal-Electronic elements.

+ + + : I truly respect and support this small Belgian label which is mainly releasing vinyl productions. This compilation reveals a diversified tracklist mixing familiar artists together with a legendary name like The Neon Judgement. I like the “Early Tapes Version – Remastered” of Neon Judgement’s great “Sister Sue” but I also recommend Dirk Da Davo and his very American-sounding “King Of Fools”, the dreamy Dark-Wave “The Dark Side” by The Breath Of Life and the Minimal-Electro sound of “Wolf Among Sheep” by Mirland.

– – – : No absolute hits featured.

Conclusion: This vinyl is a perfect opportunity to discover the open-minded sound canvas of Je M’En Fish.

Best bands: The Neon Judgement, Dirk Da Davo, Mirland, The Breath Of Life, NU:N.

Rate: 7½.

Dirk Da Davo gets ‘Retrospective 1987-2023’ vinyl album released in April

Bernard - Side-Line Staff — Fri, 24 Feb 2023 10:28:04 +0000

Dirk Da Davo’s “Retrospective 1987-2023” vinyl album release will be out on April 10th. The release is a co-production with the Brussels (Belgium) based Je M’en Fish label.

“Retrospective 1987-2023” will be available as a high quality 180g vinyl record in black with a red center blob, or in red vinyl with a black ‘marbled’ effect. The album also contains 1 previously unreleased new track, “Cities In Dust” (featuring DD Sanchez).

In the early eighties Dirk Da Davo was the driving force in the Belgian (and European) electronic scene with his first project The Neon Judgement. Starting from the late 1980s, he also began to branch out, starting with the release of a solo EP “Where Even Angels Fall” and later revamping himself under the guise of Neon Electronics, as well as starting a record label (Dancedelic- D). Nowadays relocated to Spain he is now collaborating with the Mexican bass and slide guitarist Sanchez (under the DD Sanchez flag) and Jean-Marie Aerts (under the DDDJMX flag).

This retrospective album gives an idea of his work, from the early solo sessions of the 80s to current material.

You can check out the tracks below.

Peter Renkens, original frontman of the New Beat cult act The Confetti’s, has passed away

Bernard - Side-Line Staff — Tue, 14 Feb 2023 14:27:38 +0000

Sad news, as the news reached us that Peter Renkens, frontman of The Confetti’s, has passed away. He was just 55 years old, the news was confirmed by his former producer Serge Ramaekers.

The Belgian New Beat group The Confetti’s had a massive hit in the late eighties with the song “The Sound of C”, with the band performing on stage with Renkens as singer and frontman accompanied by 4 dancers. Renkens was inspired for the group’s name by the discotheque “Confetti’s” where he worked as a waiter at the time. The song “The Sound of C” was originally created as a publicity stunt for this Antwerp discotheque. But the song became a real hit in the early 1990s.

Their crazy approach, and the long singer’s red Canadian costume, did their work. The brain behind the Confetti’s, the producers, were Serge Ramaekers and Dominic Sas.

The band existed from 1988 until its disbandment in 1992. During that period, The Confetti’s achieved international success with songs like “The Sound of C,” “C’ day,” “C in China,” and “Put ‘m Up”. After the split of the group, Peter Renkens became Mister X (actor/dancer) for a while in a discotheque in Wuustwezel and spent some time in psychiatry.

With the resurgence of 80s and 90s music, the project was revived in 2009. As of 2019, the group had a new show concept, The Confettis 2.0.

What was New Beat?

New Beat was a Belgian electronic dance music genre that fuses elements of new wave, hi-NRG, EBM and hip hop (e.g. scratching). It flourished in Western Europe during the late-1980s and early nineties. New beat spawned a subgenre called “hard beat” (a blend of EBM, new beat and acid house) and became a key influence on the evolution of European electronic dance music styles such as hardcore techno and gabber.

The genre was “accidentally invented” in the nightclub Ancienne Belgique (AB) in Antwerp when DJ Dikke Ronny (literally “Fat Ronny”) played the 45 rpm EBM record “Flesh” by A Split-Second at 33 rpm, with the pitch control set to +8. In addition to A Split-Second, new beat was also heavily influenced by other EBM acts such as Front 242, Signal Aout 42 and The Neon Judgement, as well as new wave acts such as Fad Gadget, Gary Numan, New Order, Nitzer Ebb, Boytronic and Anne Clark.

DD Sanchez (The Neon Judgement’s Dirk Da Davo with the Mexican Sanchez) releases all new video ‘Cities in dust’

Bernard - Side-Line Staff — Tue, 20 Sep 2022 11:27:55 +0000

To tease the upcoming DD Sanchez (a project from Dirk Da Davo with the Mexican Sanchez) digi album release “HappyGrey”, a third video single has been released for the track “Cities in dust”. The full album will be out on october 17th 2022.

With his usual dark sense of humor Dirk Da Davo comments: “So, enter the year 2022 with my good baseman friend Sanchez. I was really surprised to see Sanchez arriving in Spain 6 months ago, completely unexpected and for reasons, oh boy!!! His immense popularity in Mexico as a musician led him to high places in the Mexican hierarchy, such as people from the Escobar clan! There he started an affair with a niece from Pablo Escobar which did not make the family happy at all. On top, the cousin , we will not mention her name here, got pregnant from the fabulous baseman! And that surely was just too much for the Escobar family! So they decided to sent a hitman after him… (to be continued!)”

The video can be viewed below.

Click Interview with BySenses: ‘Music Has To Be Able To Take You Along’

Inferno Sound Diaries — Tue, 05 Jul 2022 17:00:00 +0000

I already interviewed BySenses four years ago right after the release of the third album “People”. This Belgian solo-project driven by Didier Dewachtere took me by surprise dealing with an intelligent Electro-Ambient style which is clearly inspired by the ‘Berliner School’. The artist this year self-released his fifth opus “MonoCHROOM” on which he confirmed to have a talent for sophisticated Ambient music. This is an album appealing for fans of Tangerine Dream but more than simply an emulation BySenses is a project with an own approach and a fascinating sound.

(Courtesy by Inferno Sound Diaries)

Q: Tell us a bit more about your musical background and roots? How did you finally come to set up BySenses?

Didier:As a little boy, at home I was mainly brought into contact with French chansons, Charles Aznavour or American artists, such as Nat King Cole, Dean Martin or Orchestral melodic music. The time on the radio is still in my head today, and yes, I did like that. As a child, you develop naturally and you end up in your own world. A world of New-Wave, Front 242, The Neon Judgement, Simple Minds etc… New-Wave pubs were the place where a lot of my music started. In Ghent, there was no shortage of such nice bars either, The Fifty Five for instance.

At one point I heard the opening tune “Equinoxe 5” by Jean-Michel Jarre on the “Musique de France” broadcast on the radio, presented by Zaki, father of, father of the Soulwax-brothers. It was a bit of a surprise, because the opening tune really didn’t match the French chansons that were presented, but it was a start. “Equinoxe 5” did catch my attention. I went looking for that music and finally bought the single. Later, the LP-version was added, so my parents were obliged to buy me a record player. But actually, my first distant contact with Electronic music was at the Bargee’s institute in Wetteren, where the catholic brother played Vangelis’ music at night, while the lights were off… very special, but I think that has stuck. He then played “To The Unknown Man”. It was only when I bought “Spiral” that I recognized it.

In Sluis (Holland) I came across an album with a purple background and a big X sign. I didn’t know what and who it was, but I had the album played on the turntable in that shop. I was overwhelmed. After a long time of sawing, my parents let me buy it… and then the purchase of many albums by Klaus Schulze.

Also the album “Live” came up and if it would just happen that the song “Sense” is on it and that’s how I came to the name BySenses. I thought it was a nice pun on one of my great examples

Q: Your work is clearly inspired by Ambient music. Does this label fit with what you’re doing and what means Ambient music to you?

Didier: I can imagine that people place my music in that genre. Just putting together different sounds, looking for a setting, atmosphere is very important to me. Music has to be able to take you along, whether it’s Rock, Jazz, Hard-Rock or House or Classical music, if it takes you along, I think you’re on the right track.

You can’t compare Klaus Schulze’s music with VANGELIS’ music. These are two different environments, two different atmospheres, two different worlds. Where Vangelis mainly feeds on his fantastic melodies, Klaus Schulze feeds more on his Soundscapes, composer of different tones, sounds. I find that an incredible thing. Am I influenced by it, certainly, and that’s no problem, they will have been influenced by other artists as well. “Le Grand Petit”, from the digital album “5 Jours De Liberté” tends much more towards the melodic, while on the same album there are pieces where I try to create an atmosphere with pure sounds. It’s the same on “MonoCHROOM”. The album “People” tends more towards sequencer work and more Techno-like rhythms.

Q: You already mentioned Klaus Schulze and Vangelis who both passed away quite recently. You already talked about it but in which way do you feel connected with their work and what made both artists and their work that special?

Didier: It is indeed terrible, Electronic music is losing its founding fathers. Let’s not forget Edgar Froese of Tangerine Dream.

Both are absolute founding fathers of Electronic music, each in their style the synthesizer was used in a totally different way.

Klaus Schulze in his own style took me into his environment, the build-up, his build-down, his sounds… “Dune” is the biggest example for me, a song that carries me away in all its facets. I feel the same way about Brian Eno’s “Dune”-melody. If you play Frank Herbert from the album “X”, you get sucked into his own way of sequencing. Tangerine Dream on “Rubicon” or “Stratosfear” and “Ricochet” give me that same feeling.

Vangelis, also in his own style, takes me into his melodic music. He manages to play every note in the right way, less experimental, more in the sense of ‘ Here I am, here I present you something to accompany me in my journey through this album’. For a man who hasn’t learned a note and wins an Oscar… hats off. “To The Unknown Man” is a great example of how he manages to change the melody in one song.

To me, both are pioneers of the highest level, both can be placed next to great composers such as Mozart, Beethoven…

Q: Over now to your own work and the newest opus “MonoCHROOM”. How did this work took shape and what kind of album did you want to achieve?

Didier: “MonoCHROOM” has a small history. When I was at boarding school in Wetteren, an educator told me: ‘There are people who only like one colour. White or black’. He gave it a name. I had forgotten that name and actually spent a long time looking for it. A friend of mine, I think it was Johan Depaepe from Owann, my friend in “The Tower Tree”, told me that it might be that word. “MonoCHROOM” was born.

At first I had in mind to make pieces that were separate from each other again, but more and more the album grew into one big whole. Had I been able to make one 60-minute song, I might have done so. But I still wanted to see the differences between black and white and other colors. That’s why the cover is black and white and the inside is colored balls of different sizes (an idea of Alain Wymeels of Midician by the way).

When the album was OK for me… the music goes to the mastering man, Dries De Vreeze. A man who regularly puts me in my place, in the positive sense of course… but he gives it an extra dimension through his mixing and mastering. I can only be grateful to him for the additions he makes.

I wanted to release an album that pushed the monotony aside, and made it like a multi-color festival. There is more than one color in your life, and when you open the book (the CD cover), you see the diversity. It’s the same in everyday life.

Q: Your albums are always composed around a theme or should I say conceptual theme, which is not that different for “MonoCHROOM”. Does the theme and/or concept become the main inspiration to compose your music or how does it happen? And how do you transpose ideas/concepts into notes and songs?

Didier: I like to talk about one subject, because that is what I can focus on best. I then try to further develop the project, the idea. Maybe in the future I will try to make a story CD, spread over several CDs.

In “Monos” (cf. the first track), I wanted to bring out the monotony of color by working very hard on a light build-up, repetitive song, which eventually ends in an uptempo. The Industrial beginning points to how hard it must be to enjoy only one color. “Monos” means one color.

“Chroom” means more colors, which makes me start more rhythmically. I also wanted to add another instrument. I had seen Peter Moorkens playing his experimental guitar solos when we were in Ghent for the Sonic Emissions concert. At the Antenna Festival in Evergem I saw him working on his modular systems and thought, maybe we should do something together. Peter immediately liked the idea of playing guitar on “Chroom”. Because of this mixture, I think that the diversity has come out well.

Most of the ideas grow bit by bit. The melody lines are sometimes done in one night. The rhythmic piece on “Monos”, the solo, was recorded in one take. I like that. You’re in the zone, and … then it comes anyway…

Q: What did you try to express by live performances and how do you transpose the songs on stage?

Didier:I try to draw people into the story. Since live performances are a bit monotonous for EM musicians, we usually bring in some film, so that the movements are more pleasant than watching one person behind a battery of synthesizers. I find film very important in EM. Once I asked Johan De Paepe (Owann) at the concert in Ghent, Sonic Emission 1, when “People” came out, to take pictures of the people who were there. These were then incorporated into the film, directly, and put on the screen. That clicked well, because the CD “People” had just come out and you’re bringing people live. You can imagine that the people who suddenly saw their faces on the screen were shocked, and they liked that. Involving the audience, I find that very important.

I also try to adapt the songs, so that we don’t get the feeling that we are playing a play button. It goes without saying that I can’t manipulate all synthesizers with two hands. Some sequencers and samples are recorded beforehand… the PC is therefore the replacement of the old tape recorders that used to be on stage during live performances.

On Youtube, a 45-minute film called “45 Minutes De Liberté” is circulating, a precursor to the digital CD 5 “Jours De liberté”. There you can also see a film during my concert.

I am very happy when people say to me after the concert, ‘we enjoyed it’. I think that is the intention of all artists.

Dirk Da Davo launches brand new single ‘King Of Fools’

Bernard - Side-Line Staff — Tue, 21 Dec 2021 17:07:00 +0000

Out now is a brand new download single and video from Dirk Da Davo, “King Of Fools”. For now the single is only available on YouTube and Bandcamp with other platforms to follow on January 17th 2022.

For the recording Dirk Da Davo was accompanied by Joerg Schanze on bass and slide guitar. For those who might not know, Dirk is half of the duo that formed The Neon Judgement in 1981 with TB Frank being the other half.

Here’s the video for “King Of Fools”.

’30 Years Of Journalism – Celebration Interview’ with Johan Van Roy (Suicide Commando): ‘I Probably Will Continue Writing Music Till I Drop Dead’

Inferno Sound Diaries — Sun, 02 May 2021 17:00:00 +0000

Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. I met Johan Van Roy even before I wrote my first review. He was busy composing music under the SUICIDE COMMANDO moniker. I liked the dark and tormented atmosphere of his early demos, which were reminding me of THE KLINIK. I got the chance singing on one of his early songs and we even set up together a music project. SUICIDE COMMANDO became one of the absolute leading formations from the Dark-Electro scene, playing as headliner at big festivals, selling thousands of albums and having an impressive word-wide fan base. Beyond the successful career hides an humble person. No star attitude, but an accessible and kind man who simply remains himself.

(Courtesy by Inferno Sound Diaries)

Q: Thirty five years ago now you started experimenting with Electronic music while setting up SUICIDE COMMANDO. What incited you back in 1986 to experiment with electro sounds and noises? How did that happened and what equipment did you use?

Johan: I grew up in the early 80s with the in that time booming New-Wave scene, listening to bands like THE CURE, SISTERS OF MERCY, but also more Electronic sounding bands like DEPECHE MODE or FAD GADGET … It was because of these bands that my love for Electronic music started. Not much later I discovered bands like THE NEON JUDGEMENT, FRONT 242 and THE KLINIK (in those days these bands even got airplay on national radio stations like BRT…).

These bands had such a big impact on me that I also wanted to start making Electronic music. And so I bought my first keyboard back in summer 1986, the now legendary Roland SH101, not much later added with 2 drum machines, the Boss DR110 Dr. Rhythm and the Boss DR220E.

Very limited gear, but in those days very expensive equipment, so it wasn’t that obvious to buy more equipment. For example samplers were extremely expensive and even with a sampler you only could record a few seconds of sound…

Q: People maybe don’t realize it took you years and a lot of patience plus perseverance to get some recognition. I get the impression you couldn’t maybe directly break through because of a lack of equipment. As you said, electronic equipment was very expensive and there weren’t the same facilities as today. How do you look back at this period regarding equipment, the multiple cassettes you released, the first compilation features etc?

Johan: It obviously were totally different times, not just only because of the cost and the lack of equipment, as I already mentioned before. But there also wasn’t any social media, so that means it took way longer to get your music spread around. Everything still had to be done by post, so things took much longer then nowadays.
Today’s possibilities are unlimited, but nonetheless I don’t regret I had to start this way. It gave you much more freedom and time to work on music. You also had to be way more innovative and inventive to create and write music. Today almost everything is already canned, get yourself a PC and some music software and in one day you can write yourself a complete album …

Many bands had to start like I did, writing music with very limited gear and releasing it on tape… bands like FRONT LINE ASSEMBLY, NITZER EBB… all started this way.
It also gave me time to improve and create my own style, something I do lack in today’s music scene.
So I definitely look back at it with pleasure.

Q: You became involved with LESCURE 13, which in a way -and right in the beginning became more recognized than SUICIDE COMMANDO. I was even sure LESCURE 13 would even become the Belgian ‘next big thing’, but it finally didn’t happen that way. How comes and what do you keep in mind from the LESCURE 13 experience?

Johan:I don’t think that SUICIDE COMMANDO was less recognized, but it was much harder to get the same recognition if you don’t do live shows, and I think that was the main reason why LESCURE 13 got picked up faster. Initially I never really planned on doing live shows with SUICIDE COMMANDO, but as our first live show with LESCURE 13 at the legendary Side-Line festival at ‘VK’ in Brussels became such a success, it convinced me to start doing live shows with SUICIDE COMMANDO as well. So in a way Side-Line is to blame for that 🙂

It was fun doing LESCURE 13 with Stefan Bens (STIN SCATZOR), but since SUICIDE COMMANDO got more and more successful in the years after, I got less and less time to focus on LESCURE 13, so on the long run the combination became too difficult and stressful for me. I’ll never forget our very first live show with LESCURE 13 in Brussels.

Q: I got the privilege to start another project with you, which was TOXIC SHOCK SYNDROME. How do you look back at this experience and a few other side-projects like DB.F and KOMBAT UNIT?

Johan:I enjoyed doing them all, but just like with LESCURE 13, time became the biggest problem. The combination of doing music with SUICIDE COMMANDO + work + family just became too time consuming and stressful.

But like I said, I enjoyed doing all these side projects. As SUICIDE COMMANDO was my solo-project I enjoyed working together with others from time to time, even though it requires a different approach.

With LESCURE 13 we still do some live shows now and then, and also KOMBAT UNIT with Jan (NOISUF-X, X-FUSION) never really stopped, but it’s all just a matter of time.

Doing TOXIC SHOCK SYNDROME was fun too, but in the end you have to make choices and set priorities, but I look back at it with lots of pleasure.

Q: The split-album/compilation “Induktion, Varianz Und Deren Folgen” released by Stefan Herwig on his early label Kugelblitz in 1993 made things change! Suddenly more people were discovering SUICIDE COMMANDO! How important was this compilation in the career and development of SUICIDE COMMANDO? And how important was Stefan Herwig who finally brought you to join his Off Beat label?

Johan: Oh, for sure this was a career changer and I’m sure that without Stefan Herwig, SUICIDE COMMANDO never would have become as big as today. I already knew Stefan Herwig for a few years after he discovered SUICIDE COMMANDO through my tapes released on the German ZNS tapes label, so when Stefan started his own label with Kugelblitz Records he soon invited me to join on his “Induktion, Varianz Und Deren Folgen” split-CD.

Not much later Stefan started working for the rising Off Beat label and so he was able to get me in there as well… and the rest is history I guess.

I’m aware I was pretty lucky, being at the right place at the right time I guess… so yes, without Stefan my career would have looked totally different I guess.

Q: SUICIDE COMMANDO was often compared to THE KLINIK, which has been one of your main sources of inspiration. What has been the real impact of THE KLINIK and eventually other bands –and maybe music genres, in the development and evolution of SUICIDE COMMANDO till today?

Johan:Well, no need to deny that bands like KLINIK or yet FRONT 242 (and others like THE NEON JUDGEMENT, FAD GADGET, SKINNY PUPPY, NITZER EBB…) had a major impact on me and my music throughout the years. They not only were a major source of inspiration, these bands also were THE main reason why I started doing ‘Electronic’ music in the first place. My older brother was playing guitar so my first steps into the music scene were as a bass player, but when I discovered bands like KLINIK, FRONT 242… a whole new world opened before my eyes (and ears).
Still in 2021 a band like KLINIK remains probably my biggest influence.

Q: You last year celebrated the twentieth anniversary of the “Mindstrip”-album. This production probably became the most successful one in the band’s history, but how do you look back at this album and did it make specific things/aspects changing?

Johan: Not sure if it was my most successful album, but it sure had the biggest impact on my career. We already gained some recognition with the huge success of “See You In Hell” and to a lesser extent “Desire” and “Better Off Dead”, but the release of the “Mindstrip”-album and the “Hellraiser”-single taken from this album certainly brought us to the top of the scene. Again I think Stefan Herwig had a big part in this success as he just started his own division with Dependent Records, gathering bands like COVENANT or VNV NATION… I think SUICIDE COMMANDO certainly benefitted from their success as well.

On top of that I think “Mindstrip” filled a gap between the at that time trending Future- and Synth-Pop acts and the more harder side of the Electro scene which was at a decline at that moment, and therefore “Mindstrip” marked an important milestone in the entire scene. All of a sudden bands started to copy SUICIDE COMMANDO and harsh electro was born. In the next years many bands would jump onto the harsh ‘Electro/Endzeit’ train.

So it not only marked the start of a new subgenre in the Electro scene, it also changed the expectations of the media and the crowd.

My follow up album “Axis Of Evil” was 8 weeks at the top of the at that time highly acclaimed German Alternative Charts (DAC).

Q: You’re organizing an interesting annual ‘SUICIDE COMMANDO poll’ where the fans can choose their favorite songs. In which way is it representative for your personal favorites and what are your favorite songs? And do you’ve some songs, which remained underrated?

Johan: It’s a good representation of what the fans consider the best SUICIDE COMMANDO songs, but that’s about all. It surely doesn’t reflect my personal favorites, even though a few of my personal faves are also in the top 10 of this list.

I’ve always enjoyed doing the more slower and atmospheric songs. A few of them like “God Is In The Rain” or “The Devil” also gained club success, but personal favorites like “Euthanasia” (1998), “Body Count proceed” (2000), “Until We Die” (2010), “Severed Head” (2010), “Repent Or Perish” (2013)… remained under the radar.

Q: SUICIDE COMMANDO became the absolute leading formation from the Dark-Electro scene! I can imagine it’s a deserved recognition for hard work, but what does this ‘status’ really mean to you? What has been the impact of this success on the person hiding behind the artist? In which way did it change your life?

Johan: I don’t think it had that much impact on me personally. I always remained (probably too) humble and down to earth. Of course I’m flattered by this recognition, but compared to some others in this scene, I always kept both feet on the ground. And let’s face it, compared with the mainstream Beyoncé’s and Madonna’s of this world we’re just tiny little dwarfs…lol

Q: Do you know how much SUICIDE COMMANDO-albums have been sold today? What have been the best-sellers?

Johan: With the rise of digital downloads and sales I have no idea anymore of actual physical sales. The market completely changed in the last 2 decades. Physical sales of CD’s completely collapsed and the digital market is so diverse that it’s hard to give any concrete numbers.

On platforms like Spotify… people don’t listen to complete albums anymore, they just pick their favorite songs. Not even sure if complete albums still will be released in 10 years from now…

So it’s hard to compare, I know an album like “Mindstrip” sold over 25.000 physical copies, but it never even reached the official album charts, while my latest 2 albums even made it to a position in the top 20 of the official German album charts, even though their physical sales are way less than the original “Mindstrip”-album for example, simply because digital sales totally took over the market.

Q: Is it possible for an underground artist to earn a living with music? How important is money when you’re a renowned artist?

Johan: Yes, (in non-Covid times!) I think it’s possible for the bigger acts in the underground scene, if you do it properly, which means doing regular live touring + releasing music on a regular base.

But it takes a lot of work, time and devotion. I’m still one of the lucky few who can live from music, but since I have a responsibility towards my wife and kid, I deliberately choose to keep doing a half time job to remain financially safe.

Q: SUICIDE COMMANDO is also a live band with a solid reputation. How important is it for you to play live shows and feel the interaction with the fans?

Johan: I find it very important and I realize it even more at times like these today with the pandemic. I do miss this interaction with the fans and the crowd. It gives so much satisfaction and energy to be on stage and interact with your fans.

Q: Torben Schmidt and Mario Vaerewijck are your long-time live mates. How does it happen when you guys are on tour and what makes the chemistry between you all (and the entire crew)?

Johan: I think we all enjoy it very much to be on the road, in a way it’s also our escape from boring daily work ‘eat-sleep’ routine. A big advantage also is that we’re not a conventional band, I mean, basically SUICIDE COMMANDO is just me doing all the music, so Torben and Mario only join in on stage, so we don’t have to sleep with each other (which does happen sometimes being on tour haha…).

Usually it’s all very easy going when we’re on the road and that keeps things pleasant.

Q: You played at numerous festivals and in very different countries all over the world. Do you see noticeable differences between countries and continents and are there some specific places/venues you would ever like to play?

Johan: There certainly are differences. Not specifically because of the crowd, although we do notice a difference between playing in countries where people hardly ever get to see live bands from other continents (like Mexico or Brazil…) or countries where you can watch the same band every 2 weeks (like Germany …).

The gratitude is bigger in countries where you don’t get to play every month or year. I do notice more differences on the technical level. Clubs and venues usually are much better equipped in Europe then across the ocean. It’s a much bigger challenge to do shows in the US for example, but what counts in the end is the response from the crowd. I can be more satisfied playing in front of 100 people in a dirty basement with a crappy sound system then playing in front of 5000 people, as long as the people had fun I’m happy.

Q: What has been your biggest satisfaction and deception so far?

Johan: I’m overall happy that I could make my biggest passion a big part of my job and life. Music has always been my passion, so I feel privileged that I could make my music my (part time) job and life. I feel privileged that I can share my music and my passion with my fans, that’s probably my biggest satisfaction.

My biggest deception? Hard to say, maybe the fact that it also takes a lot of sacrifices to combine all these things (my daily part time job + music + family + …), it already got me into a severe burn-out few years ago, my knee is fucked up after the accident on stage in the US, my ears are fucked up because of the often too loud music on stages …

Q: A lot of things have changed/evolved since you set up SUICIDE COMMANDO in 1985! What’s your perception about it all and how did you see the scene and entire music business evolving throughout the years?

Johan: Oh for sure many things have changed throughout the years, it’s really been a technological revolution… The technological possibilities became endless, maybe not all for the best though.

We’re living in an ever faster society and that’s even reflected in our music. In 1985 a song had to be 120 bpm maximum, today we’re living at a speed of 135 bpm or more… lol

The rise of the digital media totally killed the CD and vinyl market, but also brought new possibilities, so I also try to see the positive effects of it.
Social media became the new normal and brought music & bands closer to their fans, but also gave us a shallow and resentful society.

So it all has it’s pro and cons… and there’s no way back.

Q: Do you sometimes imagine the end of SUICIDE COMMANDO and are there other things in life you would like to accomplish?

Johan: I don’t think SUICIDE COMMANDO will ever stop. I tried to split several times, but it’s so hard being a one man project…lol. No seriously, I can’t imagine my life without music, so I probably will continue writing music till I drop dead.

Q: What might we expect from SUICIDE COMMANDO for the next few months?

Johan: I’m currently working on a new album, but I don’t want to rush things, so no idea when it will be finished.

I certainly do hope we can start doing live shows again sometime this Summer, so I’m really looking forward to that.
And there might be some more surprises coming up, but wait and see…

Die Krupps cover Gang Of Four with new single ‘To Hell With Poverty’

Bernard - Side-Line Staff — Thu, 22 Apr 2021 12:23:55 +0000

Die Krupps have just released a brand new single from their upcoming cover album “Songs from the Dark Side of Heaven”. Out now is their version of Gang Of Four’s “To Hell With Poverty” featuring a special guest appearance from Killing Joke co-founder and drummer Big Paul Ferguson. You can check it out below.

The cover album will be out on May 28th and holds reworks of those tracks that influenced them over the years. Included on this album which sees a vinyl and CD release are covers from Sparks, The Neon Judgement, Devo, Blue Öyster Cult, Gang Of Four, The Stranglers, Queen, B-Movie, Fad Gadget, Herringer & Siciliano.

The album also holds special guest appearances by – as mentioned above – Killing Joke’s Big Paul Ferguson, The Stooges’ James Williamson, The 69 Eyes’ Jyrki 69 and The Dictators’/Manowar’s Ross The Boss.

The artwork is of course a clear reference to Pink Floyd’s 1973 album “The Dark Side of the Moon” as created by George Hardie which depicts the light refracting from a triangular prism.

Tracks (same for CD and Vinyl):

The Number One Song in Heaven (originally by Sparks)
Chinese Black feat. Jyrki 69 (originally by The Neon Judgement)
Whip it (originally by Devo)
(Don’t fear) The Reaper feat. James Williamson (originally by Blue Öyster Cult)
To Hell with Poverty! feat. Big Paul Ferguson (originally by Gang Of Four)
No more Heroes feat. Ross The Boss (originally by The Stranglers)
Another One bites the Dust (originally by Queen)
Marilyn Dreams (originally by B-Movie)
Collapsing New People (originally by Fad Gadget)
New York (Version 9/11) (originally by Herringer & Siciliano)

Die Krupps release cover album ‘Songs from the Dark Side of Heaven’

Bernard - Side-Line Staff — Fri, 26 Mar 2021 12:54:03 +0000

Out on May 28th is the first ever cover album by Die Krupps, well, the second actually since they did the “A Tribute To Metallica” after all. On the album they are reworking those tracks that influenced them over the years. Included on this album which sees a vinyl and CD release are covers from Sparks, The Neon Judgement, Devo, Blue Öyster Cult, Gang Of Four, The Stranglers, Queen, B-Movie, Fad Gadget, Herringer & Siciliano.

The album also holds special guest appearances by Killing Joke’s Big Paul Ferguson, The Stooges’ James Williamson, The 69 Eyes’ Jyrki 69 and The Dictators’/Manowar’s Ross The Boss.

Tracks (same for CD and Vinyl):

The Number One Song in Heaven (originally by Sparks)
Chinese Black feat. Jyrki 69 (originally by The Neon Judgement)
Whip it (originally by Devo)
(Don’t fear) The Reaper feat. James Williamson (originally by Blue Öyster Cult)
To Hell with Poverty! feat. Big Paul Ferguson (originally by Gang Of Four)
No more Heroes feat. Ross The Boss (originally by The Stranglers)
Another One bites the Dust (originally by Queen)
Marilyn Dreams (originally by B-Movie)
Collapsing New People (originally by Fad Gadget)
New York (Version 9/11) (originally by Herringer & Siciliano)

The following 3 singles were already released announcing this release.

DD Sanchez – StRaNgE (Album – DancedelicD)

Inferno Sound Diaries — Thu, 28 Jan 2021 19:30:00 +0000

Genre/Influences: Electro-Rock, Cinematographic, Experimental.

Format: Digital.

Background/Info: “StRaNgE” is the second collaboration between Belgian Dirk Da Davo (Neon Judgement, Neon Electronics) and Mexican bass player Sanchez (El Caballo). After a first EP entitled “Z” they now strike back with a kind of mini-album featuring eight songs. It seems that the restrictions in the artistic life due to Covid-19 incited both protagonists –who recorded the album in Mexico, to meet again.

Content: “StRaNgE” sounds like the meeting between different influences and different worlds. It’s fully represented in the duality between electronic arrangements carried by typical rhythms reminding me of the trademark of Dirk Da Davo at one side and the particular, somewhat Country/Funky guitar playing at the other side. On top of it all you get a deep, vibrating bass play. Two worlds are joining hands to create an entertaining and evasive music style, which even revisited “People Are Strange” from The Doors in a totally new style.

+ + + : Sometimes Experimental, but always accessible, this duo is really surprising. Since the end of The Neon Judgement, Dirk Da Davo seems to be composing very different kinds of music. You can feel that he’s enjoying his work, exploring new paths and sometimes having fun with a good friend –referring to the EP together with Jean-Marie Aerts. DD Sanchez brings music to dance and to dream; music that creates to me the sensation of watching a road movie. It sounds like freedom… artistic freedom, but in the end I simply enjoy the ride! Songs like “When Strangers Pass By” and “Shine The Light” both reveal the true potential of this project.

– – – : Some of the songs are pretty similar, but globally speaking you don’t hear me complaining.

Conclusion: Dirk Da Davo is clearly taking some distance with his past although you will easily recognize some sounds and arrangements that will remind you of The Neon Judgement. This is the kind of work getting people happy.

Best songs: “Shine The Light”, “When Strangers Pass By”, “How Strange Can You Get”.

Rate: (7½).

Artist: www.facebook.com/dirk.dadavo

Label: www.dancedelicd.com / www.facebook.com/ddd.neon.electronics

Mini album for DD Sanchez: ‘StRaNge’ – check out a first track ‘When Strangers Pass By’

Bernard - Side-Line Staff — Tue, 17 Nov 2020 11:03:12 +0000

Out on December 7th is the DD Sanchez mini album “StRaNge”, a side-project by Dirk Da Davo (The Neon Judgement) and Mexican born bassplayer Sanchez.

The release comes after the previous recordings of the “Z” EP and was recorded in Punta Mita (Mexico) at their beach house studio during the COVID 19 crisis. Note that this 8-track mini album also holds a cover of The Doors’ “People Are Strange”.

Out now is the track “When Strangers Pass By”.

DD SANCHEZ: When Strangers Pass By by Dirk Da Davo

A video is also available here.

“StRanGe” EP tracklist:

When Strangers Pass by
People Are Strange
Grow Strange
How Strange Can you Get (instrumental)
When Strangers Pass by (extended instrumental version)
Rainbow (bonus track)
Shine The Light (bonus track)
When Strangers Pass By (radio edit)

DDDJMX – Oceaned (Album – DanceDelic-D)

Inferno Sound Diaries — Wed, 10 Jun 2020 19:30:34 +0000

Genre/Influences: Electro-rock, funky, groovy.

Format: Digital.

Background/Info: DDDJMX is the meeting between two ‘giants’ from the Belgian music scene. DDD stands for Dirk Da Davo (The Neon Judgement, Neon Electronics) and JMX stands for Jean-Marie Aerts (producer, musician and of course involved long time ago with TC Matic). They previously released an EP and now achieved this full length album.

Content: “Oceaned” is a work mixing the influences of both musicians. Dirk Da Davo took care of the electronic loops and grooves while taking the vocals for him. Jean-Marie Aerts is playing guitar and added some bass as well. Most of the songs have something pretty funky, but in the end it all sounds a bit like a free-styled work. Some passages –especially at “New Normality” even have something cinematic-like.

+ + + : This work is quite surprising if you consider Dirk Da Davo is involved. This sound is far away from the coldness of The Neon Judgement, but sounds as the offspring of the groovy side of Neon Electronics mixed with the guitar playing of Jean-Marie Aerts. Some parts of the album make me think of urban-styled music. But it’s not that strange one of my favorite cuts is just a little darker and featuring more explicit electronic part (cf. “Ozz”).

– – – : I had some reservations reviewing this album or not because of its sound/influences. This is not exactly what I would call an underground or alternative release although it’s not commercial like. It might appeal for a very different audience, but I’m missing some of the cold-/darkness in it.

Conclusion: “Oceaned” is probably more an album that has to be seen as two mates making music and having fun together instead of an album that will enter into the Belgian music history… even if both members are already ‘history’!

Best songs: “Ozz”, “Bring It”, “We’re Slipping And Sliding”.

Rate: (6).

Artists: www.facebook.com/dirk.dadavo / www.facebook.com/JMX-Jean-Marie-Aerts-24932259011

Label: www.dancedelicd.com / www.facebook.com/ddd.neon.electronics

Die Krupps return with version of 80’s The Neon Judgement classic ‘Chinese Black’ feat. guest vocalist Jyrki69 (69 Eyes) – watch the video

Bernard - Side-Line Staff — Wed, 01 Apr 2020 17:30:55 +0000

German industrial pioneers Die Krupps return with guest vocalist Jyrki69 (69 Eyes) on a new version of the 80’s underground classic “Chinese Black”, originally released by The Neon Judgement. A video has been released as well, which you can watch below.

For the video the duo teamed up with video director Vicente Cordero (Not My God, Skold, 3Teeth). “Chinese Black” will be available on all digital platforms everywhere starting April 6th. The track will also appear on the forthcoming Die Krupps album for Cleopatra Records.

Here’s the original version.

‘Click Interview’ with Circumpolar: ‘There Is So Much Great New Music Within Our Genre Yet To Discover’

Inferno Sound Diaries — Sun, 29 Mar 2020 17:00:40 +0000

Circumpolar is a Swedish duo driven by Jonas Mattson and Patrik Wallin. They last year self-released their debut-EP “Until The End Of Time” and next got signed on Alfa Matrix, which re-released this work. The second EP “We Will Remain” was released nearly at the same time and revealed a more sophisticated sound approach. The intelligent sound treatments remind me a bit of bands such as Clock DVA, Haujobb and related formations. Circumpolar might be the next new sensation for all of those who like intelligent electronics!

(Courtesy by Inferno Sound Diaries)

We Will Remain EP by CIRCUMPOLAR

Q: Circumpolar is a rather unknown name at the wider fields of electro-underground music so can you briefly introduce the band, the way you get contaminated by the ‘electronic virus’ and what were the original purposes when setting up Circumpolar?

Circumpolar: Circumpolar is a new Swedish dark-electro/wave act that consists of Jonas Mattsson and Patrik Wallin. We are old friends since way back in time. We started to make music together when we were about 18 years old, and then played in different bands for some years in the Northern part of Sweden. However, we never released any of that material on record. For years now we have been talking about getting back together again, and about two years ago we decided trying to make electronic music together again.

The purpose behind Circumpolar is to create interesting electronic music within our own conceptual format and sound, which hopefully will be enjoyed by people all over the world.

Q: The name of your band refers to astrology, but can you tell us a bit more about this name and the possible links with lyrical content and music style?

Patrik: The stars that circle around the celestial pole and never set below the horizon are called ‘circumpolarstars’. In ancient Egypt, the circumpolar stars in the Northern sky were called ‘jhmw-sk’, ‘the ones not knowing destruction’. The astronomical characteristics of these specific stars were used in numerous religious texts to express immortality and eternity, for example:

‘O uplifted one (i.e. the Pharaoh), being great among the circumpolar stars. You have not perished, you star of eternity’ (a citation from the so-called Pyramid Texts, 2300 BC)

I studied a lot of ancient history at university, and I have a PhD degree in Egyptology. Sometimes I use the imagery and concepts of life/death and space/time from ancient Egyptian religion in my lyrics.

Q: Referring to the music style and/or the ‘sound’ properly speaking, I experienced your work as a fusion between different genres and influences; EBM, IDM, ambient, dark-electro… How do you perceive your own sound? Can you tell us a bit more about potential sources of inspiration? References? And how did the song writing happened?

Circumpolar: Bands like Skinny Puppy, Front 242, The Klinik, Twice A Man, Kraftwerk, The Neon Judgement and Portion Control have always been sources of inspiration to us. Further, The Fields Of The Nephilim, The Sisters Of Mercy, Swans, The Cure, Joy Division, Rome and Dead Can Dance are bands that we both like a lot.

Both of us are still buying lots of records and we constantly discover new electronic and dark-electro artists. There is so much great new music within our genre yet to discover.

We like to think that we somehow have created mix between EBM, dark-electro and dark wave/goth. However, this was not the intention when we started the band, it just happened.

The process of creating new songs usually starts with an instrumental loop or just single sample, which we successively develop into a song.

Q: You last year self-released the debut EP “Until The End Of Times” -which got next re-released on Alfa Matrix, plus another EP “We Will Remain”. Can you briefly analyze both EP’s? Was there a particular focus in writing and production? And how did you get the deal with Alfa Matrix?

Circumpolar: The first song we recorded as Circumpolar was “The Rain Will Burn” from the first EP, and then we realized that we had created a musical concept and sound that we really liked. After that moment, it was very easy to continuing writing new songs.

On the “Until The End Of Time”-EP the foundation of our sound was built, whereas on the “We Will Remain”-EP the sound and concept evolved into something that will be even more present on our future releases.

We sent the songs from our first EP along with the songs to the “We Will Remain”-EP to about 15 different record labels. We got some offers, but when we got a positive response from Alfa Matrix we were overwhelmed.

Until The End Of Time EP by CIRCUMPOLAR

Q: I think there’s an interesting evolution in writing and production between both EP’s; “We Will Remain” being definitely more elaborated and subtle, reminding me to bands such as Haujobb, Mentallo & The Fixer and Clock DVA. What does it say about your approach, studio equipment and your own evolution as musicians?

Circumpolar: On the second EP we have worked more with the vocals, and experimented a bit more with reverb, delay and other effects, trying to create a more dynamic and atmospheric experience. The structures of the songs are also a bit different compared to the first EP. Further, we spent much more time on mixing and mastering.

We have bought a lot of new gear since we recorded the first EP, for example a Korg Minilouge XD, the fantastic Strymon Big Sky Reverb, and some Roland drum machines.

Q: I think you’re back again in studio, so I can imagine there’s an album in the pipeline? What brings the future and what might we expect regarding topics such as image, social media activity and live performances?

Circumpolar: For the moment, we are recording new songs for a forthcoming album release. We are constantly producing loads of loops and outtakes, but now we have selected about nine songs out of that material to be finalized for an album.

It is quite possible that there will be some social media activities prior to our next releases, perhaps some live performances from the studio…

Yes, we will definitely play live in the future.

INDUSTRIAL ACCIDENT: The Story Of Wax Trax! Records (DVD – Wax Trax! Records)

Filip Wildhoney — Tue, 11 Feb 2020 07:43:23 +0000

Genre/Influences: Industrial-metal, industrial-rock, EBM

Background/Info: The famous Wax Trax! Records label was originally much into new wave and punk music and was founded by Jim Nash and his partner Dannie Flesher in Denver in 1975. In 1978 the independent label moved to Chicago and became the most important record label and store/boutique for industrial music in the US that served as the headquarters of underground electronic and industrial bands in the eighties and nineties. The strong brand Wax Trax! offered record deals to the artists they liked (as fans) and also licensed European artists in America. The very impressive Wax Trax! catalogue featured well-known bands like Ministry, Front 242, Revolting Cocks, KMFDM, Front Line Assembly, Coil, Chris & Cosey and more!

Content: Industrial Accident has contributions of Al Jourgensen (Ministry/Revolting Cocks), Paul Barker (Ministry/Revolting Cocks), Chris Connelly (Ministry/Revolting Cocks), Luc Van Acker (Ministry/Revolting Cocks), Richard23 (Front 242/Revolting Cocks), Patrick Codenys (Front 242), Trent Reznor (Nine Inch Nails), Bill Leeb (Front Line Assembly), Groovie Mann (Thrill Kill Kult), David J. Haskins (Bauhaus), Sascha Konietzko (KMFDM), En Esch (KMFDM), Dave Grohl (Foo Fighters, Nirvana), Jello Biafra (Dead Kennedys), Steve Albini (Big Black), Cosey Fanni Tutti (Throbbing Gristle), Ian MacKaye (Minor Threat, Fugazi) and more. It explains the rise and fall of an important musical movement as well as the details and artifacts of this entire Wax Trax! Records history that was nearly lost forever.

A lot of hilarious anecdotes are explained by the contributing artists which makes it fun to watch! Al Jourgensen: “I played in Divine’s band by the way, playing guitar for Divine was … bizarre!”. Luc Van Acker, when speaking about Laibach: “How provocative can you be? It takes intelligent people to understand that! Wax Trax! created a space where we could do whatever we wanted!”. Unfortunately the label without business model (operating on trust, without contracts with their artists) declared bankruptcy in 1992 and Jim and Danny sold it to TVT Records. Jim Nash passed away on October 10, 1995 and Dannie Flesher deceased on January 10th, 2010.

+ + + : This 94 minutes (+ 75 extra minutes bonus material) documentary was directed by Julia Nash (daughter of Jim Nash) and won awards on the Santa Cruz Film Festival and Chicago Underground Film Festival. It is also available on Blu-Ray and as download on AppleTV, Amazon Prime and Google Play/YouTube Streaming.

– – – : Just one minor point: to make the circle complete, maybe an interview with some licensed European bands that were released by Wax Trax! (The Neon Judgement, The Young Gods, A Split Second, Laibach and more) would have been interesting, to hear their point of view.

Conclusion: Although it’s a huge story to tell the complete Wax Trax! history, this documentary gives a pretty good overview of what happened in the old days. Jim and Dannie “accidentally” built up the industrial scene in the US due to their passion and love for this music and bands and will never be forgotten!

Label: www.waxtraxchicago.com / www.facebook.com/WaxTraxRecords.Chicago/

Dirk Da Davo (The Neon Judgement) and Jean-Marie Aerts (TC Matic) join hands for new album

Bernard - Side-Line Staff — Tue, 07 Jan 2020 14:20:56 +0000

The Dancedelicd label announces that Dirk Da Davo (former The Neon Judgement) and Jean-Marie Aerts (a.k.a. JMX) (former TC Matic and producer of Luc Van Acker, Urban Dance Squad and many more) have finished a new digital album titled “Oceaned”. The album was mixed by Michel ‘Shelle’ Dierickx, enigneer of The Neon Judgement’s 1989 album “Blood and Thunder” which Jean-Marie Aert also partially produced.

It’s not the first time the duo work together on a project, a few years ago they also released the “DDD JMX” EP.

The digital release of “Oceaned” is scheduled for April 6th 2020. Prior to the album release 2 single releases will hit the stores. February 3th will see the release of “All is said” and March 2nd you can expect “Pray for rain”.

Here’s already a preview of “All is said”.

Schultz – Shot Of Pain (CD Album – BLC Productions)

Inferno Sound Diaries — Sun, 03 Nov 2019 19:30:24 +0000

Genre/Influences: Industrial, electro & metal.

Background/Info: Schultz is a French solo-project which saw the light of day in 2002. Later on Franz Schultz joined hands together with painter and stage performer VDREY. Several albums have been released on different labels, but “Shot Of Pain” is the first new opus since the self-titled album released in 2011!

Content: I can’t say that Schultz reinvented its sound, but there’s more harmony between guitar parts and electronic treatments. The result is an extremely powerful opus, which sometimes makes me think of an imaginary fusion between Cubanate and Birmingham 6. Electro vintage sounds (sometimes evoking The Neon Judgement) and heavy metal guitar riffs are the essence of this work.

Some guests have been invited to achieve a few songs, but the most surprising feature is for sure the legendary French punk formation Ludwig von 88 contributing on 2 songs.

+ + + : Schultz has gained an impressive maturity resulting in a brilliant and totally accomplished piece of work. There’s a genius harmony between guitar and electronics. This is a crossover sound evoking some pioneers in the genre. I also like the production of the vocals; they’ve been used more like an extra effect while sampled passages are still featured. There are several noticeable songs on this album. I have a preference for the body-industrial like “Fuck Buddy” and “Drugs Are Sins” featuring VDREY and Ludwig von 88.

– – – : I don’t see real minus points about this work!

Conclusion: “Shot Of Pain” sounds as great industrial-body music; a sexy fusion between metal and electronics and definitely an album that has to put Schultz back on the industrial music map.

Best songs: “Fuck Buddy”, “Drugs Are Sins”, “My Wish”, “House Of Misery”, “La Musique Me Rend Sourd”.

Rate: (9).

Artist: www .facebook .com /SchultzIndustrialMetal

Label: www .facebook .com /BLC –Productions -1534826426812404

Neon Electronics – Apollo (CD Album – DanceDelic-D / Wool-E Discs)

Inferno Sound Diaries — Wed, 14 Aug 2019 18:30:05 +0000

Genre/Influences: EBM, electro-wave.

Background/Info: Dirk Da Davo entered into history as one of the Neon Judgement core-members. We also know Dirk for his originally solo-project Neon Electronics, which released its first self-titled album in 1999. The influences have been often pretty technoid-like. For this new opus Dirk Da Davo joined hands again with Glenn Keteleer (Radical G, The Juggernauts) and Pieter-Jan Theunis (bass guitar).

Content: The sound and influences on “Apollo” are pretty different from what I’ve been used to hearing from Neon Electronics. The technoid input has been (voluntary) lost and replaced by an eclectic sound, which is covering electro-wave and EBM influences. Electronics and guitar playing (sometimes a bit psychedelic-like) are in perfect harmony. The most surprising songs are two ‘covers’ from The Neon Judgement, which both were hits (cf. a live version of “TV Treated” and “Schizofrenic Freddy”).

+ + + : The main strength of “Apollo” is its diversity. There clearly is a vintage aspect reminding The Neon Judgement (and not only for the cover versions) but still a kind of wink to one of Liaisons Dangereuses’ hits (cf. “Être Assis Ou Danser”) entitled “Energy X” sung in French. Both Neon Judgement cover versions or adaptations make sense and remain great cuts. I’m still a huge fan of the synth line running to “TV Treated”, which is one of the iciest leads I’ve ever heard.

– – – : Generally speaking I like this work, but it’s a kind of ‘melting pot’ bringing different influences –and even Neon Judgement songs together. This album has less in common with previous works of this project and that’s maybe a pity!

Conclusion: Neon Electronics has never been so close to The Neon Judgement! It will be fine for the fans of Neon Judgement, but where’s the challenge for Neon Electronic lovers?! Don’t get me wrong; “Apollo” is a cool, but a bit unexpected work!

Best songs: “Energy X”, “TV Treated – Live 2018”, “Schizofrenic Freddy”, “Invisible Man”.

Rate: (7).

Artist: www .facebook .com /ddd .neon .electronics

Labels: www.dancedelicd.com / www .wool –e –discs .be / www .facebook .com /woolediscs

Neon Judgement’s Dirk Da Davo launches project with Sanchez: DD Sanchez – 4 track EP out on july 15th

Bernard - Side-Line Staff — Fri, 12 Jul 2019 11:43:05 +0000

In Summer 2018 Neon Judgement’s Dirk Da Davo was traveling trough the USA when he came across Mexico-born Sanchez, a bassplayer, at the Burning Man festival. A few days later they jammed some acoustic sessions in the outland of Mexico City and Dirk Da Davo worked out the electronic arrangements and he added vocals and finalized the tracks.

DD Sanchez was born and their first creation was simply named “Z”.

The digital 4 track EP will be released on July 15th. You can already listen to a preview below!

ACTORS – Reanimated (Digipak EP – Self Released)

Filip Wildhoney — Sat, 12 Jan 2019 13:29:08 +0000

Genre/Influences: Dark wave, post-punk

Background/Info: This limited edition digipak EP (300 copies) contains 7 remastered tracks that were already earlier released.

Content: “XYX” is a very good opener, a cold uptempo rhythmic song that reminded me a bit on the early noises of The Neon Judgement. “It Goes Away” is more typical “post-punk” with a deep monotone bass, melancholic guitars and the Bowie-like voice of singer Jason Corbett. The best song of this EP is definitely “How Deep Is The Hole”, a very catchy bassline driven song that has everything to become a huge club-hit. More typical post-punk on “Like U Want 2”, while the comparison with the voice of David Bowie is now really overclear on “Jacknife”. “Flesh & Bone” is a dark song with a nice repeating western-rock riff, an ideal soundtrack when driving at night on a lonely highway. “Forever” is the last song that will take you away on a dreamy and melancholic trip.

+ + + : This band knows very well how to bring post-punk in an old-school way but with its own modern touch. A very well produced EP that should not be missing in your collection!

– – – : The song “PTL (Post Traumatic Love)” should also have been on this EP to make things complete.

Conclusion: ACTORS from Vancouver (Canada) are a post-punk band you have to check out if you’re into goth/new wave music nowadays!

Best songs: “XYX”, “It Goes Away”, “How Deep Is The Hole”, “Flesh & Bone”.

Rate: (9) WH.

Band: www.actorstheband.com / www.facebook.com/actors1984

Label: actors.bandcamp.com

Formshift joins with Dirk Da Davo for 4-track EP ‘E Society’

Bernard - Side-Line Staff — Wed, 31 Oct 2018 09:44:02 +0000

Its been a while since Gavin (Formshift) and Dirk Da Davo did a collaboration after the “Crash/Overtime” release (2016). Out now is a 5-track digital EP “E Society” containing various reworks including Frank Noseda’s remix of “What we want”.

Check it out for yourself:

You can view the video for the track “E Society” below.

In further news, a new Neon Electronics EP is also in the making: “Mondriaan”. The EP will be released as a 4 track vinyl.

Dave Inox – The Computer And The Brain (CD Album – Unknown Pleasures Records)

Inferno Sound Diaries — Fri, 28 Sep 2018 19:30:01 +0000

Genre/Influences: Minimal-electronics, EBM.

Background/Info: Operating from Barcelona, David Hinojosa aka Dave Inox, has launched his debut full length album. After the promising EP “Danger Signal/MissConceptual” I was eagerly awaiting this first opus.

Content: The main sources of inspiration running through this work bring us back to the magic of early EBM with a more contemporary, dark and minimal touch on top. The songs are carried by solid and dry bass lines. This is the basis of each song, which has been next accomplished with different elements such as cold bleeps, loops and even acid passages.

The album gets back to the previously released EP featuring vocals by HIV+ on one of the cuts. But other artists such as Dirk Da Davo (The Neon Judgement, Neon Electronics) and Vogue Noir are each singing on one song.

+ + + : Dave Inox belongs to this new generation of EBM-wizards, transposing the original body-sound into something minimal and refreshing. I however like the vintage sound treatments running through this work while the bass lines are simply sensational. The familiar “MissConceptual” feat. HIV+ remains the absolute attention grabber. The half spoken half sung Spanish vocals by Pedro Peñas y Robles inject something extra to the song. There also is a great remix of this song by Raul Parra b(another promising Spanish producer). Another essential song is “Quiet Room”.

– – – : I expected a bit more power on a few songs, but globally speaking this is an interesting discovery. I also expected a bit more out of the songs with Dirk Da Davo and Vogue Noir.

Conclusion: Dave Inox is not reinventing EBM, but definitely appears to be a talented artist in the newest generation of minimal-electronics.

Best songs: “MissConceptual feat. HIV+”, “MissConceptual feat. HIV+ – Raul Parra Remix”, “Quiet Room”, “Retro Machine”, “Danger Signal”, “No Vision”.

Rate: (8).

Artist: www .facebook .com /daveinox

Label: www .unknown –pleasures –records .com / www .facebook .com /Unknown –Pleasures –Records -566180440115465

Dirk Da Davo back with ‘MOODS’ album – limited to 200 copies!

Bernard - Side-Line Staff — Thu, 16 Aug 2018 17:04:07 +0000

Released in digipak – strictly limited to 200 copies only and available here – is the newest album by Dirk Da Davo, mostly known from his past with the Belgian cult band The Neon Judgement.

For the past 2 years Dirk focused on digital EP releases trough his own digital label DanceDelic D. As a physical copy is still the main thing for him, he decided to compile his recent EP releases on the limited cd titled “MOODS”.

Included on this CD you’ll find the following EPs: “Protest” (2017) and “DDDJMX” (2017) and the “3dfly” EP (2018). The MOODS compilation will be comprised of 12 recent recordings for the first time on cd and, two bonus ghost tracks, so 14 tracks in total.

Story Off – Facing Forward (CD Album – Wool-E-Discs)

Inferno Sound Diaries — Sun, 05 Aug 2018 19:30:16 +0000

Genre/Influences: Cold-wave, electro-wave.

Background/Info: Belgian formation Story Off has been set up in 2011 by Geert Vandekerkhof aka DJ Chesko. He gained some name as front man of the gothic formation Der Klinke while he’s also performing together with The Bollock Brothers. “Facing Forward” is the second album from the band. Next to Geert Vandekerkhof the band has been completed by Marco Varotta and Manu Coulier.

Content: The album takes off with a magic piece of dark- & minimal electronics reminding me of The Neon Judgement’s early years. Quite progressively Story Off reveals its true face made of darkness, minimal electro treatments, icy synths, low bass lines and the singer’s cavernous timbre of voice. A few songs are featuring female backing vocals injecting an angelic touch to this obscure sonic world.

+ + + : The title song, which also is the opener of the album, sounds magic and vintage-like, but it first of all is a real highight. The retro-touch running through the songs is cool and I especially like the minimalism of the songs and great synth leads. The cavernous vocals of Vandekerkhof are totally matching with the cold atmospheres, but I also like the female backing vocals for the diversity they add. “Facing Forward” is definitely old-school like, but it’s not a copy and that’s especially what I appreciate on this work.

– – – : Taking off with the title song is a choice, but you’ve to realize it’s the absolute highlight so the songs coming next are never reaching a similar level. That’s just a little bit disappointing, but globally speaking you don’t hear me complaining.

Conclusion: If you don’t know yet Story Off and you’re into dark-vintage electronics, this is a band to discover. The album is not groundbreaking, but really enjoyable.

Best songs: “Facing Forward”, “Life On Other Planets”, “Humanoid”.

Rate: (7½).

Artist: www .facebook .com /STORYOFF

Label: www .wool –e –shop .be / www .facebook .com /woolediscs

Vague Scare – Classified (CD Album – Scarsquare Recordings)

Inferno Sound Diaries — Wed, 07 Feb 2018 19:30:51 +0000

Genre/Influences: New-Wave, wave-pop.

Background/Info: Vague Scare is a French duo set up in 2014 and having achieved their debut work “Classified” in 2017. The band work sin the purest DIY format.

Content: Vague Scare clearly sounds inspired by new-melancholia. The 80s influence recovers most of the album, which takes off with a cool song reminding me of Suicide mixed with The Neon Judgement. The songs are dark and recovered with synth lines expressing a taste of sorrow.

+ + + : “Classified” has this magic 80s spirit, which you can hear in the dark atmospheres, the new-wave inspiration, but also the rather short cuts. I like the electronic side of the album, which mainly comes through on a few cool choruses. “Empty Your Heart” is a song featuring a noticeable chorus. The mix and global sound production both reflect a real maturity and professionalism, which is not that easy for bands who are debuting and into the DIY spirit.

– – – : I’m missing a bit more diversity between the songs, which sound pretty similar to each other. There also is no real climax except on the already mentioned “Empty Your Heart”.

Conclusion: Vague Scare invites you to join in for a sweet and pure vintage sonic travel getting you back somewhere in the midst of the 80s. This is a band to keep an eye on and I’m really looking forward to discover their next work.

Best songs: “Empty Your Heart”, “What Happened To You”.

Rate: (7).

Band & Label: www .vaguescare .com / www .facebook .com /VagueScare

Lightflare (Bonus Tracks Version) by PSY’AVIAH

Exclusive streaming upcoming Psy’Aviah album ‘Lightflare’ + interview

Bernard - Side-Line Staff — Wed, 07 Feb 2018 17:00:08 +0000

Coming out this Friday is the brand new Psy’Aviah album “Lightflare”, and as announced a while back, we are today offering you an exclusive insight in the deluxe version of the album itself (with the exception of 3 tracks thanks to SABAM). The album is available on CD, 2CD (order right here via the Alfa Matrix webstore) and as download on Bandcamp.

Attention when you buy via Bandcamp, don’t forget to use the special code sideline2518 and you’ll get an immediate discount of 25%.

We contacted the Belgian artist behind this international project, the Antwerp based Yves Schelpe. You can preview the album here (the interview is right after this embedded player):

SL: Yves, your new album has been a personal journey through the ups and downs you experienced. How has life been treating you the past few years?

YVES: Life throws all kind of unexpected situations at you, and the older you get the more frustration creeps in, or the more you look at things from a different perspective. I can’t complain, I think I did get bored with certain situations and that I grew frustrated with stale situations. My albums have always included personal stories – whether autobiographical stories or things I’ve seen from friends & family in daily life. But “Lightflare” is a more in depth look where I take the listener through the emotions of “feeling lost” towards strategies one evolves to “cope with life” to end with “happiness and joy”.

SL: Was this something you also transmitted to the guest singers? How did they react?

YVES: For sure, almost all the lyrics and vocal guides are written by me, and I explain the meaning behind my intent with some words in details to the vocalists. Mari Kattman & I did a video to explain the process, where she talks about those vocal guides & the explenations I give her (she starts talking at 104sec).

When the lyrics are written by the guests themselves (such as Ellia Bisker of Sweet Soubrette or Michael of MiXE1) – I do give them artwork snippets, reference to other lyrics on the album I wrote and a vision I have for the lyrical content I’d like to have on the album. So it’s an intense journey working with them, and as far as I know they all appreciate that way of working, being part of telling a story.

SL: The album has been receiving raving reviews the past few weeks from all kinds of press. Was that something you had expected or was it rather the result of hard work?

YVES: This album is far more delicate than the previous two, it touches upon personal topics and while it’s still “dark pop music with an adge” and rooted in EBM, there’s also triphop, pure pop and electronic rap on there. Which made it again an evolution in my exploration of boundaries in sound. But to be able to tell a story like I wanted on Lightflare I had to seek out those genres, as they convey the emotions – it was this a lot of hard work: two years went into the album, from recording, writing, sepending time on the artwork to have a visual image for the vision & story. So when I first sent out the album and received the reviews I was very nervous – but I am so happy things are positive and that Lightflare is being appreciated a lot – both on radio, podcasts and reviews! It’s strange to think of it as the songs I made in my “bedroom studio” are being played in clubs all over the world, and listened to people from all over the world – I couldn’t be happier to with the reaction I receive from those listeners and DJs as well.

SL: What kind of influences have played a role for creating the songs for this album?

YVES: Musically I drew inspiration from Moby’s & Faithless’ triphop sounding songs, as well as Röyksopp, Tove Lo and the classics as always such as Praga Khan & Lords Of Acid which triggered me to write my own music as a yound kid. Fun fact is that I always send off songs to Ludo Camberlin (aka CS Johansen), producer on PK & LOA as well as Poésie Noire and The Neon Judgement – a very influencial person for me, but for a lot of others too I guess. Ludo always gives me very good feedback and thus is a big influence for me.

But I guess the main influence of course is the story, and for each chapter in this Lightflare story I make a song, with the lyrics in mind shaping those sounds & hits and build ups to match the mood. Not always with a vocalist in mind directly – but when I have a demo finished I usually know immediately who to ask. David from Entrzelle was perfect for Ghost, I know that there I can create an electro track with a lot of ambience, and a riff but rely on his vocal performance a lot – the emotions. Same with Mari Kattman’s “Lost At Sea”, when getting back those vocals I usually change and shape the demo around their vocals so they fit perfectly.

The vocalist that pushed me most this album for sure was with my live vocalist Marieke Lightband, we had multiple sessions and recordings at her studio in Antwerp, trying to figure out together what would be the best – giving feedback to each other and coming to a song that is very much full of soul, triphop and influences of jazz. The same happened with Michael of MiXE1 – bouncing off ideas back and forth and the song was then shaped more and more tightly around his vocals – but in stead of doing it in person like with Marieke, the process with Michael was done online: Facebook is dead – long live facebook messenger ?.

SL: You’re very active on social media, with the recent ‘reach crash’ it seems that personal contact via the profiles is back. How do you look at the way all these platforms change the rules all the time from an artist’s point of view?

YVES: It’s frustrating indeed, but I’ve always been active on all kinds of social media. Instagram & my personal profile now play a more crucial role – as well as our own website. Most people forget they signed a contract when they register to a social media platform, it’s their right to change the algorithm. So be it, but I’ll abuse the system and use the medium the way I want it – game the system, and be honest. I love it that this time around a lot of people have more immediate contact with me through facebook (facebook.com/yves.schelpe) and instragram (instagram.com/psyaviah) – sending me pictures, their personal stories on how they interpret and experience the songs and lyrics. I don’t mind adapting thus, I still think social media is a cool medium.

SL: When and where can we see Psy’Aviah live again?

YVES: We will do some shows in Belgium being booked by private companies (so sadly those are private shows) and we’re in talks to visit Germany. But we’re always open for opportunies and kick some ass on stage with our dedicated live band: Marieke, Ben and me.

You can also check out the following videos on YouTube:

“Reboot Reset Relay ft. Fallon Nieves”

“Lost At Sea ft. Mari Kattman”

“Aftermath ft. Ellia Bisker”

TB Frank (The Neon Judgement) joins up with Baustein to release the single ‘Mother of Earth’

Bernard - Side-Line Staff — Wed, 15 Nov 2017 19:00:45 +0000

Out on November 17 is the single “Mother of Earth” by the duo TB Frank (The Neon Judgement and also bass player from Praga Khan, Jade4U and Lords of Acid) and Baustein. The single is taken from the upcoming album “Tock !” which will be released on 26th January, 2018. The album will be released under the bandname “TB Frank & Baustein”, the album will be followed by a series of live concerts.

Born and raised in Germany, Baustein moved to Hollywood Los Angeles where he graduated at Musicians Institute of Technology in performing, songwriting & music business by Kenny Kerner (producer KISS). He later on hooked up with Christopher Franke (Tangerine Dream, Babylon 5) at Sonic Images Records located in his Hollywood studios.

Since 2000 Baustein is running his own recording and production studio “Baustein Guitar Studio”, offering contemporary music training, teaching guitar, drums, songwriting, production and bandcoaching.

The track “Mother of Earth” is a cover from a The Gun Club original. Here’ the video for “Mother of Earth”.

The original by The Gun Club sounds like this.

Enzo Kreft – Wasteland (CD Album – Enzo Kreft)

Inferno Sound Diaries — Wed, 08 Nov 2017 20:30:47 +0000

Genre/Influences: Minimal-electro, new-wave.

Background/Info: Enzo Kreft (real name Eric Vandamme) is a Belgian artist who started his music activities and who after a long break is getting back to music for a couple of years now. He struck back with a retrospective album plus a new album. “Wasteland” is his newest opus, which has been self-released.

Content: “Wasteland” is comparable to the previous full length “Turning Point” and yet there’s a noticeable evolution in sound. Next to the electronic minimalism, which often reminds me of Fad Gadget, the new songs are more into a new-wave tradition mixing electronics and guitar. The composition remains carried by the 80s spirit featuring pure vintage sound treatments, but “Wasteland” definitely shows another side of Enzo Kreft.

“Wasteland” is also characterized by noticeable lyrics revealing an engaged artist reflecting political-, social- and ecological themes.

+ + + : First of all I’m a huge fan of this artist’s DIY attitude. It reminds me of the real spirit of the 80s and Enzo Kreft definitely is a ‘child’ from that decade. But I also remain fascinated by the artist’s artistic creation, mixing different elements resulting in an offspring between minimal electronics and more classical new-wave. Some of the songs make me think to Fad Gadget meeting The Neon Judgement. Another noticeable aspect consists of the vocals production, which sounds more diversified and sophisticated.

– – – : I’m missing the minimalism of “Turning Point”, which was more explicit and more unique. “Wasteland” is probably a bit more accessible covering a wider spectrum of influences.

Conclusion: There are artists who are emulating the 80s and you’ve artists such as Enzo Kreft who simply belong to the true spirit of the 80s. “Wasteland” is a well-crafted piece of music, which I’m sure, will find its audience in the underground scene.

Best songs: “Off World Colonies Anthem”, “Poisoned”, “Roadkill”, “Abandoned Power Plant”.

Rate: (8).

Band: www .facebook .com /enzo .kreft

Exclusive stream of a bonus track on the debut EP by Dirk Da Davo (Neon Judgment) & Jean-Marie Aerts

Bernard - Side-Line Staff — Tue, 07 Nov 2017 17:15:47 +0000

A few days ago we announced that Neon Judgment co-founder Dirk Da Davo had joined up on the island of Fuerteventura (Spain) with the fabulous Jean-Marie Aerts (TC Matic) for a recording session which is out now under the title “DDD JMX EP”.

Today we can offer you an exclusive stream of the bonus track “Attack Dogs Achieve (Noseda Remix)”. Check it out below!

https://soundcloud.com/the-neon-judgement/dddjmx-ep-bonus-track-attack-dogs-achieve-noseda-remix/s-3G3C1

Dirk Da Davo (Neon Judgment) joins up with Belgian cult musician Jean-Marie Aerts (TC Matic) to release ‘DDD JMX EP’

Bernard - Side-Line Staff — Wed, 25 Oct 2017 18:00:21 +0000

Neon Judgment co-founder Dirk Da Davo joined up on the island of Fuerteventura (Spain) with the fabulous Jean-Marie Aerts (TC Matic) who produced (next to Luc Van Acker) The Neon Judgement album “Blood and Thunder” from 1989.

The result of the recording sessions will be released on Dirk Da Davo’s independant digital label DanceDelic D under the title “DDD JMX EP” and will be available November 6th on. You can check out the album below.

Jean-Marie Aerts is a Belgian guitarist and producer, best known as the guitar player for TC Matic. Aerts was a session musician who had worked with Kaz Lux, Raymond van het Groenewoud, and Plastic Bertrand when he joined Arno Hintjens in TC Matic in 1980, replacing Paul Decoutere. He also produced the band’s first three albums, but also produced other artists’ albums as well, including Luc van Acker’s “KAZ” (1982) and Arbeid Adelt!’s “Jonge Helden” (1983).

After TC Matic broke up he continued as a producer, working with artists including The Neon Judgement, Jo Lemaire, and the Urban Dance Squad, for whom he produced the groundbreaking debut album “Mental Floss for the Globe”.

Im Namen Des Volkes – Aus Des Anti-Imperialistischen Tagebüchern (CD Album – Peripheral Minimal)

Inferno Sound Diaries — Mon, 15 May 2017 18:30:44 +0000

Genre/Influences: Minimal-electronics, EBM.

Background/Info: Im Namen Des Volkes is a German solo-project set up by Matthias Schuster (also known from Bal Paré, Das Institut, Geisterfahrer, Lichtjahr and a few more projects) in 1979 (!). Most of his early work was released on cassette- and 7” format. This album is a selection of old material that has been reworked and recorded with added vocals.

Content: I’m familiar with several other projects –but especially Bal Paré, of Matthias Schuster so this album is a real opportunity to go back in time and discover a truly electronic pioneer who’ll remind you of DAF, but also to bands like Cabaret Voltaire and The Neon Judgement. The electronic manipulations and the simple magic of analogue material definitely are the main trademarks of Im Namen Des Volkes.

The work reflects the spirit of the 80s. the typical analogue sweeps, robotic vocals and cold leads will bring good-old memories alive. There’s a variety of songs on this work, which also reveal pure and still minimal-like EBM cuts in the purest DAF tradition.

+ + + : Peripheral Minimal likes to bring old sonic pearls back to life and this album is one addition to the list. If you’re into vintage electronics and early EBM, this is without a shadow of a doubt a work that will catch your attention. It’s pure nostalgia, but still revealing a project that probably didn’t gain its deserved recognition. From songs such as “Psychopharmaka” to “Industrie Synfonie” to the EBM-driven “Hunde Im All”, “Alles Ist Umsonst” and “Dein Bester” there really is a lot to discover and enjoy. Speaking for myself I’m more into the EBM side of the band. The digipak format is a nice little bonus, which might convince you to buy the album.

– – – : Some of the vocals are missing power and passion and that’s maybe why a band like DAF became worldwide famous and Im Namen Des Volkswagen did not. The vocals appear to be the single element that doesn’t always fully convince –and especially on the harder cuts, while on the other ones the robotic effect is more efficient.

Conclusion: This album is an efficient way to bring the past back alive. It reveals a forgotten and less recognized pioneer of electronic music who however received serious recognition as member of Bal Paré.

Best songs: “Dein Bester”, “Hunde Im All”, “Alles Ist Umsonst”, “Psychopharmaka”.

Rate: (7½).

Band: www .thegeisterfahrer .de /thegeisterfahrer .de /Heimat .html / www .facebook .com /ImNamenDesVolkes

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

Out Out – Swan/Dive? (CD Album – Artoffact Records/Radio Valkyrie Records)

Inferno Sound Diaries — Sat, 14 Jan 2017 19:05:40 +0000

Genre/Influences: EBM, electro-rock, crossover.

Background/Info: We here can speak about a surprising comeback. Driven by Mark Alan Miller, Out Out got some recognition as an EBM band during the 90s. This new studio album is the first one in eight years and the first one on Artoffact Records. Radio Valkyrie Records is the label of Miller on, which previous albums were released.

Content: The debut cuts remind me of the great electronics of Out Out during the 90s. It’s somewhat old-styled and yet with a touch of modernism on top. The opening cut also sounds like a politically engaged song. You also will hear guitar parts, which have been played by guest musician Mark Schwaber.

“Swan/Dive?” progressively moves towards harder guitar-driven cuts. Some songs will for sure appeal to fans of early Ministry, but also to The Neon Judgement. This is an album with 2 sides revealing the wide spectrum of influences used by this band.

+ + + : The electro-driven cuts are my favorite. Out Out sounds like during the good-old days and show us the right sound formula for EBM. The guitar playing injects some extra power in the production. The electronic parts are well-crafted while I also noticed some great production tricks and effects running through the songs. The opening cut “Shut Up!” is a great and danceable song with an explicit political theme. I also enjoyed songs like “Look Up, Hannah” and “Like William Tell”.

– – – : I don’t have anything against diversity, but there clearly is a serious gap between the more electro-minded songs and the ‘Ministry’-like cuts. It gives you the impression listening to 2 different bands.

Conclusion: It’s hard to say if Out Out will conquer new fans with this album. There’re for sure some excellent- and even a few outstanding songs on it, but the harder crossover cuts can’t totally convince me.

Best songs: “Shut Up!”, “Look Up, Hannah”, “Like William Tell”, “Falsified”.

Rate: (7).

Band: www .facebook .com /outoutband

Label: www .artoffact .com / www .facebook .com /artoffact

Torul – Reset (CD Album – Infacted Recordings)

Inferno Sound Diaries — Thu, 15 Dec 2016 20:00:35 +0000

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

Background/Info: The Slovenian electro-pop formation Torul recently started a new and important chapter in their career. It’s not an easy thing to replace a talented singer, but new vocalist Maj Valerij revealed amazing vocal capacities on the previously released EP “Saviour Of Love”. The new album is the fifth opus since “Dark Matters” (2010).

Content: “Reset” takes off with the amazing and sexy EP-title song “Saviour Of Love”, which according to me is one of the best electro-pop songs of 2016. I can’t say this track is fully representative for the entire album as Torul has always liked to mix different influences. Tracks move into indie-pop accentuated by guitar, but you still will notice a kind of groovy lounge-pop direction.

Diversity remains one of the main characteristics of this album. New-wave influences can be heard as well. I even noticed some passages reminding me of The Neon Judgement. There also is a song with a kind of electronic trumpet sound confirming the open-minded approach of Torul. The final song is something different; kind of Depeche Mode meets INXS.

+ + + : I like the versatility of this work while Torul sounds like they feel comfortable with most of their influences. From the outstanding” Saviour Of Love” to the brilliant groovy-pop minded “To Be Wanting You” to the guitar-wave inspired “Roll Your Dice”, this band shows amazing writing skills. The new singer sounds like he has always been part of this band. He has a real sexy and captivating timbre of voice. Last, but not least I’ve been once more seduced by the professional production process of this work.

– – – : There are just a few cuts, which left me rather unmoved. Torul again explores new ideas, which finally resulted in a kind of experimental dream-pop and that’s not exactly the best part of the work.

Conclusion: “Reset” is an appropriated title for this new opus revealing a new and talented singer while the sound remains a hot and exciting electro-pop style.

Best songs: “Saviour Of Love”, “To Be Wanting You”, “Roll Your Dice”, “Like A Sound”, “The Prize”.

Rate: (8).

Band: www .torul –recordings .net / www .facebook .com /torul

Label: www .infacted –recordings .de / www .facebook .com /pages /Infacted –Recordings /124099254321690

Synths Versus Me duo to issue 12 inch ‘1987’ in October – vintage EBM which you can preview here

Bernard - Side-Line Staff — Tue, 06 Sep 2016 19:34:30 +0000

Synths Versus Me is a duo formed by Vanessa Asbert and Nico Cabañas and based in Lloret de Mar (Spain) – yep Benidorm style that is. In the past they had several releases out via Oráculo Records and now have moved onto Mecanica to release a fresh 12″ vinyl release: “1987” (which can be ordered now).

The music is a mix of minimal synth, EBM and cold wave and this 12” EP includes 2 brand new tracks and 2 exclusive remixes. The original version of “1987” is pure vintage EBM in the vein of Signal Aout 42 and Front 242. The track was remixed by Dirk Da Davo from The Neon Judgement adding some drums, guitar samplers and sequences.

On the B-side there is the original mix of “Aimless Device”, which is a rather catchy electro-pop tune featuring female voices. The remix version was delivered by American artist Boy Harsher.

Here’s what you can expect on this vinyl release.

V/A Liaisons Dangereuses – Cult Radio Classics – The Early Years (DCD Album – Universal Music Belgium)

Inferno Sound Diaries — Thu, 17 Dec 2015 14:31:40 +0000

Genre/Influences: Electro-pop, new-wave, EBM.

Bands: Psyche, Chris & Cosey, Ministry, Carlos Peron, Dark Day, Severed Heads, Fad gadget, Killing Joke, Klaus Schulze, T.A.G.C., Peter Godwin, Portion Control, Grauzone ao.

Content: This is a real particular and we might say conceptual compilation, but still a part of the Belgian and especially Antwerp history. “Liaisons Dangereuses” was a radio broadcasting in Antwerp during the 80s. The broadcasting was presented by Sven Van Hees (who became a recognized and praised DJ/producer) and Paul Ward. Their main aim was to introduce the audience with certain underground dance-music, which was not played on national radio broadcasts. If you got the opportunity to see the great movie/documentary “The Sound Of Belgium”, which is all about the history and evolution of electronic music in Belgium, you for sure remember to have seen an interview with Sven Van Hees in it and some old images from this broadcast.

I think we might say it all is about pioneers and visionary people who had understood that even the underground electro scene featured great, danceable music. Sven Van Hees who compiled this sampler selected 38 songs. This is a great track list, which will for sure bring you back into the good-old spirit of the 80s and mainly new-wave music composed by electronics. It also was a pleasure to rediscover somewhat forgotten bands and songs.

The 1st disc is an invitation to rediscover the early work of legendary names like Psyche, Chris & Cosey, Ministry, Carlos Peron, Dark Day, Vicious Pink, severed Heads, Savage Republic, Fad Gadget, O Yuki Conjugate, Informatics, Section 25 and even Killing Joke. We all will find our favorites, but I have a little preference for the classical Fad Gadget’s anthem “State Of The Nation”. Other essential songs are “Proximity Switch (Accidents In Paradise)” from Informatics and “Looking From A Hilltop” from Section 25. It also was pure fun to rediscover the somewhat unusual sounding “Turn To red” from Killing Joke.

This compilation doesn’t feature the darkest and most tormenting electronic forms like The Klinik, Front 242, The Neon Judgement, DAF, Skinny Puppy ao, but typical 80s bands dealing with great analogue treatments and some danceable vibes for alternative clubs.
The 2nd disc features a new selection of great bands and songs so it was a total pleasure to rediscover T.A.G.C., Kissing The Pink, Peter Godwin, All systems Go, Carlos Peron (again), Portion Control and Grauzone.

Grauzone’s “Film 2” remains to me a real cult classic of the electro-wave movement. Kissing The Pink’s “Big Man Restless” was for me one of those ‘forgotten treasures’ which I haven’t heard in years, but when hearing the first notes of the great electro tune running through the song I immediately felt like I was 30 years younger. “Big Sex” from T.A.G.C. is another essential cut while the somewhat tribal like “Crash Bang Wallop” of All Systems Go reveals a different style.

Sven Van Hees did an excellent job with this compilation. As some of the master recordings weren’t even available and he had to go back to the original records and remove the typical vinyl noises. “Liaisons Dangereuses” later on evolved into house, new-beat and acid music, which could be an interesting concept for a 2nd volume of this series.

This is an essential compilation, which also brings me back to all the local radio broadcasts dealing with alternative music and, which was during the 80s a real source to discover new music!

Conclusion: This is not just a compilation bringing old 80s new-wave tracks together, but an electronic legacy that has without a shadow of a doubt inspired numerous artists, producers and DJ’s during the next generations. But the main strength of all those bands is that their sound still has this magical touch, which is an ingredient ‘classical’ dance music has never had.

Best bands: Fad Gadget, Grauzone, Informatics, T.A.G.C., Kissing The Pink, Dark Day.

Rate: (DP:8½)DP.

Label: www.universalmusic.be / www.facebook.com/universalmusicbe

The Neon Judgement: The posthumous interview (part 2)

Inferno Sound Diaries — Sun, 01 Nov 2015 17:56:03 +0000

No doubt about it, The Neon Judgement has been one of the absolute pioneers and leading formations in history of electronic underground music. After 35 years of commitment Dirk Da Davo and TB Frank decided to leave their sonic brainchild to the collective memory of their numerous fans and electro lovers. They can look back at an impressive career and multiple hits. Enough reasons after the ‘TNJ Farewell Tour – Time Capsule Concerts’ for a ‘farewell interview’.

Part 1 can be read here.

by Stéphane Froidcoeur (picture taken by Chris Stessens)

SL: Who would you like to invite for a jam session in hell: Ian Curtis, Sid Vicious or Frank Tovey? Someone else?

Dirk Da Davo: Ozzy Osbourne.

SL: An interesting subject you’ve often threatened about is the impact and influence of media! How do you look at the media as a citizen and as an artist who was involved into a famous band?

Dirk Da Davo: The media / TV has overtaken the emotions of people for pure commercial reasons. And people do not notice it. That’s just scary 🙁 I look at this as both, a citizen/ a artist. The text for “TV Treated”?

SL: As an artist you’ve been active during the 80s, 90s but still during the years 2000 and 2010! How would you qualify each decade?

Dirk Da Davo: Even in 2015 I have released a new Neon Electronics album! So I will qualify the decades when I’m done with creating new music…

SL: Did you had a kind of relation- and/or friendship with this other famous Belgian pioneer: Front 242? Did you überhaupt made some friends in the music business or is it just fake?

Dirk Da Davo: Especially the latest decades we got closer with the other bands, yes. It feels good. We feel that we are united in something special. So between musicians we are friends. Friends in the music business is another question.

SL: Musicians often have a kind of erotic power on the masses, which is a quite interesting point I think! What have been your experiences with this item?

Dirk Da Davo: That’s private!

SL: Music is often represented as ‘sex, drugs & rock’n’roll’! What do you recognize from The Neon Judgement in this statement?

Dirk Da Davo: I don’t want my mother to read this, still not!

SL: Any idea how many songs you’ve written, how many concerts you did and how vinyls/CD’s you’ve sold?

Dirk Da Davo: No, I will think about that just before I quit music.

SL: The last word?

Dirk Da Davo: Stay in a good health ;))

The Neon Judgement: The posthumous interview (part 1)

Inferno Sound Diaries — Sat, 31 Oct 2015 16:55:16 +0000

By Stéphane Froidcoeur (picture taken by Chris Stessens)

Part 2 can be read here.

SL: The Neon Judgement got a symbolic funeral during the very last live show at the ‘AB’ in Brussels on September, the 26th. What did you feel during the show?

Dirk Da Davo: The AB is the ultimate place to do this. We were comfortable on stage, we’ve enjoyed it very much!

SL: Where’s The Neon Judgement now: in heaven or in hell?

Dirk Da Davo: TNJ is in between both…

SL: If you’ve to choose an epitaph for The Neon Judgement, what should we read on it?

Dirkl Da Davo: They played LOUD MUSIC!

SL: Does the famous quote ‘death is only the beginning’ make sense to you and if yes what do you expect?

Dirk Da Davo: That the beginning is always very near.

SL: Robbespierre is probably not a ‘pacific’ reference, but he made this remarkable quote ‘death is the beginning of immortality’! Do you think The Neon Judgement will be immortal and how would you like to be reminded as band and musician?

Dirk Da Davo: Let’s hope that the message stays immortal. Hard to tell how I would like to be reminded as a musician because I still am a musician…

SL: I guess you prefer a quote by George Orwell; I’ve found this one: ‘each generation imagines itself to be more intelligent than the one that went before it, and wiser than the one that comes after it’. What do you think?

Dirk Da Davo: The quote means ‘the end at the end’. It seems that society evolves like this :(( War is peace, freedom is slavery, ignorance is strength!

SL: THE George Orwell quote remains for sure ‘Big brother is watching you’! How the hell could he know one day it simply would become reality?

Dirk Da Davo: Maybe he listened to “TV Treated” first ? :))(

SL: A few other writers, which I think might have caught your interest are Anthony Burgess for “Clockwork Orange” and Aldous Huxley for “Brave New World”. Or do you have other references?

Dirk Da Davo: Haldous Huxley’s “Brave New World” was in my package! Recently I was reading Dave Eggers “The Circle” , a brilliant ‘Orwelian’ book.

SL: Now that The Neon Judgement is death and buried, you’ll maybe get the opportunity to meet George Orwell in afterlife! What would you like to ask him?

Dirk Da Davo: Hi Georges, can I offer you a drink?

SL: Who are the other personalities you would like to meet in hell or in heaven?

Dirk Da Davo: Bella Lugosi.

The Neon Judgement – TV Treated / Jimmy Edgar & DJ Hell Remixes (Digital Single – Lektroluv)

Inferno Sound Diaries — Mon, 06 Jul 2015 17:45:21 +0000

Genre/Influences: EBM, techno-EBM.

Content: The Neon Judgement belongs to the history of EBM and electro-underground music. The band officially announced their ‘retirement’, but is still accomplishing a few last concerts and we even get a few releases as well.

“TV Treated” belongs to the collective memory of the electro scene and entered into history as one of the first big hits of the band. The song remains a reference in the genre for its extremely icy sounds and arrangements while it never stopped to inspire other artists. More than 30 years after the composition of “TV Treated” the song has been remixed by two famous names from the wider fields of techno music.

Most of us are familiar with the electroclash living legend DJ Hell (owner of International Deejay Gigolo Records), which remixed the song in an interesting way. You get some groovy sequences, which are quite refreshing while the famous and extremely icy lead of the song is quite recognizable although transformed into a somewhat spooky and tormenting arrangement. This is an original remix and speaking for myself, definitely the best one.

Jimmy Edgar is a Detroit based producer who’s active in the wider fields of techno music for quite a long time. He composes in a rather minimal and intelligent techno format, which is recognizable in his remix of “TV Treated”. This version is more into minimalism and even experimental.

Conclusion: No doubt about it, there’s not any single remix that will be better than the original version of “TV Treated”, but both remixes stand for originality and are meant as a supreme recognition to the genius of The Neon Judgement and their visionary “TV Treated”.

Best songs: “TV Treated – DJ Hell Remix”.

Rate: (DP:8)DP.

Band: www.theneonjudgement.com / www.facebook.com/pages/The-Neon-Judgement/172624919465385

Label: www.lektroluv.be