Twin Peaks &#8211; SIDE-LINE

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.

Black Nail Cabaret (and friends) release lyric video ‘Sister Sister’ taken from the forthcoming new album ‘Woodland Memoirs’

Bernard - Side-Line Staff — Wed, 22 Mar 2023 09:45:50 +0000

Darkwave duo Black Nail Cabaret, consisting of Emèse Árvai-Illes and Krisztián Árvai, has released a lyric video for “Sister Sister,” the first single from their upcoming experimental album “Woodlands Memoirs,” which will be available through Dependent Records. Collaborating with three fellow musicians (Tamás Számvéber, Márton Barják, Péter Laskay) under the moniker Black Nail Cabaret And Friends, the Hungarian pair has crafted a unique, one-time project that diverges from their typical avant-garde synth-pop style by transforming their own songs into cover versions.

The lyric video for “Sister Sister” can be viewed below.

Regarding the single, vocalist Emèse Árvai-Illes commented that “Sister Sister” has long been a favorite from their “Dichromat” album. The original track, with its cold wave vibe, has been transformed into a sound reminiscent of a “Twin Peaks” score, representing the band’s goal of covering their own songs.

In total Black Nail Cabaret selected eleven tracks from their previous releases and reimagined them by incorporating guitars, drums, and saxophone through a semi-live recording process that allowed for improvisation. To emphasize the organic nature of their own ‘cover versions,’ the band included footage shot in the pine woods of the Agostyán Arboretum in Hungary.

About Black Nail Cabaret

Black Nail Cabaret is a darkwave and electronic duo hailing from Hungary. Formed in 2008, the group consists of Emese “Emke” Arvai-Illes as the vocalist and Krisztian “Sophia” Arvai as the keyboardist and composer. Their music is characterized by a fusion of dark electronic soundscapes, haunting vocals, and a strong emphasis on storytelling through lyrics, with influences ranging from Depeche Mode to David Bowie.

The band began gaining traction with their debut EP, “Emerald City,” released in 2012. It showcased their ability to craft atmospheric, synth-driven tracks with a dark edge. The duo continued to build their sound with the release of their first full-length album, “Dichromat,” in 2013. This album featured a more polished and cohesive sound, highlighting their growth as musicians.

Black Nail Cabaret’s subsequent releases, including “Harry Me, Marry Me, Bury Me, Bite Me” (2015) and “Dioskouroi” (2017), further established their reputation as a force within the darkwave and electronic scene.

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!

Quatrefoil – Intrapacific (EP – Adventurous Music)

Inferno Sound Diaries — Tue, 04 Oct 2022 07:00:00 +0000

Genre/Influences: Experimental, Cinematic.

Format: Digital.

Background/Info: Croatian project Quatrefoil already released a few productions. This newest work featuring three tracks is inspired from pictures of the Pacific Coast in North America.

Content: The concept is totally inspiring for a Cinematic experience. The atmosphere is mysterious, a bit ominous, accentuated by shimmering vocal effects. Quite progressively the work moves towards a more improvised writing featuring field recordings.

+ + + : The debut track is a poignant experience with a strong visual appeal reminding me the “Twin Peaks”-tune. The writing is filled with sonic details creating a sophisticated although a bit free-styled approach.

– – – : I’m more into the Cinematic side of the work, the Experimental part being less accessible.

Conclusion: I don’t necessarily find the connection between the concept and the music, but it’s an interesting experience.

Best songs: “Undersight”, “Wateroverlast”.

Rate: 7.

Artist: https://quatrefoil.bandcamp.com

Label: www.adventurousmusic.com / www.facebook.com/adventurousmusic

‘Click Interview’ with Beyond The Ghost: ‘I Would Like To Have A Sound And Style That People Can Recognize’

Inferno Sound Diaries — Sun, 07 Aug 2022 17:00:00 +0000

Pierre Laplace played in different bands before he set up Beyond The Ghost. The French solo-project got rapidly signed to Cryo Chamber and released five albums plus a collaborative album in between 2019 and 2022. The newest work “Sundown” is the final chapter of the “Europe Series” trilogy. The concept is all about a futuristic and dystopian vision happening in Berlin, London and Rome. Beyond The Ghost released great pieces of Dark-Ambient and Cinematic music, but “Sundown” appears to be the magnum opus. The French artist created an ominous atmosphere by the use of analogue sound treatments and real instruments. Beyond The Ghost is definitely one of the most talented projects in its genre from the past few years. Time for a chat with Pierre Laplace.

(Courtesy by Inferno Sound Diaries)

Q: I think it’s interesting starting this interview to ask about your music background. You’ve been involved with music and bands/projects which are totally different from Beyond The Ghost. Tell us a bit more about your artistic odyssey and how do you see yourself as musician?

Pierre: I think I’m pretty open-minded as a musician (and music fan as well). I’ve always liked exploring different genres and styles. I started playing New-Wave music when I was 17, I was heavily influenced by The Cure and Joy Division. A few years later, I got into songwriting, playing nylon or folk guitar. I sang and played guitar in a band called Vera Clouzot for 10 years. We started out as a three-piece, with one of my friends playing the cello, which wasn’t very common at the time. We released 2 mostly acoustic albums sung in English, then 2 friends joined us on drums and on bass guitar, and our sound evolved into a mix of atmospheric Ballads and Experimental-Rock music. We released 2 albums sung in French with that line-up. I also released 2 albums of Folk songwriting as Kenyon.

Then I took a break from writing music, started setting up a home studio with no clear idea of what I wanted to do musically. Luckily, I found out that my 15-year-old niece Léonie had a beautiful voice when she played guitar and sang at a family dinner party. We worked together as The Sandman’s Orchestra. I wrote and produced the songs, and Léonie was the lead singer. We released 3 albums of original songs, mostly Atmospheric-Folk, with a touch of Electronic music, and our last album was a cover of “The Ninth Wave”, the B-side to Kate Bush’s classic “Hounds Of Love”-album. It was a huge undertaking and I spent countless hours working on sounds, textures and arrangements.

Q: How did you get in touch with Dark-Ambient and related music genres? What was the main idea and purposes when setting up Beyond The Ghost?

Pierre: Around the time I was working on “The Ninth Wave”. I started listening to Ambient music, as well as Post-Rock stuff and Dark-Jazz. When I started working as Beyond The Ghost, the main idea was to write Cinematic music that would mix organic and electronic sounds, to operate within the realm of Dark-Ambient while being open to the influence of other genres.

Q: Beyond The Ghost clearly is a prolific project as you released five full length albums plus one collaborative album together with Dead Melodies in 3-4 years of time. How do you explain this productivity and how do you go on motivating yourself and getting the inspiration to release new works in such a short lapse of time?

Pierre: Signing to Cryo Chamber was such a great opportunity, it boosted my creativity. I get bored easily, so I like having artistic projects that keep me busy and creative. As soon as an album is finished, I take a couple of weeks to think about what I want to do next, and then I start working on a new album. I find inspiration in different ways, it can be personal stuff I’ve been through, feelings of loneliness and anxiety, or the loss of a loved one for example. Sometimes I’m inspired by some work of art. Most of the time, I play a real or virtual instrument, start improvising and if I find an idea I like, I start building a track around it.

Q: You recently released the “Sundown”-album which is the final chapter of the “Europe Series”-trilogy. Tell us a bit more about this futuristic, dystopian, conceptual work where you invite the listener to visit Berlin, London and Rome in further times? What have been the main sources of inspiration and how did you transpose the concept into sound?

Pierre: After 2 albums that were deeply personal and the fantasy world we explored with Dead Melodies, I wanted to try something different, and I got this idea of working on a trilogy that would evoke the possible decline of Europe in a few decades. Honestly, I don’t know how the concept came to me, it just happened. I liked the idea of the 3 albums taking place in a specific time and place, and it gave me the opportunity to explore different genres, since I wanted each album to have its own sonic identity. Roughly speaking, “The Last Resort” is a noir album influenced by Dark-Jazz with “Twin Peaks” vibes, The “Desolation Age” is a mostly Electronic album that can be labelled as Cyber-Punk, I guess, and “Sundown” is my attempt at mixing Dark-Ambient and Cinematic music in the style of Ennio Morricone.

Q: I consider “Sundown” as your absolute master piece. It reveals a great evolution in the global production process, but also a noticeable symbiosis between electronic sound treatments and authentic instruments. Do you always consider the last album as being the best one? When do you know a track/album is finished?

Pierre:Thank you for the kind words on “Sundown”. It was the album I spent the most time working, and I think it’s my best work yet. My friend Tom of Dead Melodies called it Dark-Ambient spaghetti Western music, which is a great way to describe the album! Besides “Sundown”, I don’t consider my last album as being the best one. I don’t usually think that way. I consider each album as a new sonic venture. I don’t know if I’ve succeeded, but I would like to have a sound and style that people can recognize, and at the same time create albums that have their own identity and are different from one another. I feel that an album is finished when I’m happy with the track sequence, the overall sound and atmosphere.

Q: What are you actually working on and how do you expect Beyond The Ghost evolving throughout the coming years?

Pierre: After “Sundown” was completed, I started working on a new project, but it’s taking me longer than usual, notably because I had to move out, and other stuff got in the way. Now that my home studio is set up in my new house, I’ve resumed working on this new album. The music could go in various directions, but for now it’s a mix of early Electronic sounds, Dark-Ambient and Dark-Jazz.

Singer Julee Cruise, known for ‘Twin Peaks’ song ‘Falling’ and Delerium’s ‘Magic’, passed away

Bernard - Side-Line Staff — Fri, 10 Jun 2022 16:14:51 +0000

The American singer Julee Cruise has died at the age of 65. Her husband announced the sad news on Facebook.

Cruise became world famous with the song “Falling”, the title song of the cult series “Twin Peaks”.

It wasn’t the only time that Julee Cruise worked with director David Lynch. In 1986 she sang the song “Mysteries of Love” that could be heard during the last scenes of the film “Blue Velvet”. Angelo Badalamenti composed the music for this song. Badalamenti also made the music for “Twin Peaks”, including the title song. The composer brought the singer to the attention of director David Lynch in 1986 after hearing her sing at a workshop.

She also had minor appearances as a roadhouse singer in “Twin Peaks”, both the original series and the 1992 movie, “Twin Peaks: Fire Walk With Me”.

The song “Falling” was on the first album that Cruise made, in 1989. The instrumental version was used for the series. In total, the singer recorded four albums but also wrote a lot of music for theatrical performances, such as the Shakespeare parody “Return to the Forbidden Planet”. In addition, Cruise toured with other formations, such as the B-52’s and Bobby McFerrin.

Cruise also worked with other musicians, mostly in electronic music. She for instance provided the vocals for Delerium’s “Magic” song (on the “Chimera” album) and collaborated with Moby on his song “Drown Disco” which remains unreleased. Next to that she provided vocals and lyrics to several of the songs on “Wide Angle” (1999), the debut album by Welsh electronic music group Hybrid.

Here’s the track “Falling”.

Resplandor – Tristeza (Album – Reptile Music)

Inferno Sound Diaries — Wed, 01 Jun 2022 07:00:00 +0000

Genre/Influences: Dream-Pop, Shoegaze.

Format: Digital, CD.

Background/Info: Nearly fourteen years after their last album, Peruvian formation Resplandor -operating from The Netherlands, are back on track unleashing their fourth full length. Just as for the previous full length album, Robin Guthrie (The Cocteau Twins) has produced it.

Content: There’s no better definition as a true symbiosis between Dream-Pop and Shoegaze to describe this work. This work brings us back to the golden decade of the 80s and definitely evokes good-old souvenirs. The fuzzy guitar parts will rapidly lead you into a buzzy sensation. This is only empowered by the extended format of some songs. Male- and female vocals are alternating but also performed as duos.

+ + + : Resplandor avoids any innovation but are clearly a talented combo when it comes to compose contemporary Dream-Pop and Shoegaze. I was deeply impressed by the great guitar playing which clearly injected a true spirit in the work. The album sounds like a surreal reverie leading you into a delicious sonic trip. Some passages remind me a bit of the mysterious sphere emerging from the famous Twin Peaks tune.

– – – : I only regret the work only features 7 songs but that’s because I became a bit greedy after having heard such a cool work.

Conclusion: Resplandor will only bring you happiness and delight with this great piece of Dream-Pop and Shoegaze album.

Best songs: “Reverie”, “Oceano”, “Tristeza”.

Rate: 8.

Artist: www.resplandorofficial.com / www.facebook.com/resplandorofficial

Label: www.reptile-music.net / www.facebook.com/reptile.music

Trentemøller – Memoria (Album – In My Room)

Inferno Sound Diaries — Tue, 01 Mar 2022 08:00:00 +0000

Genre/Influences: Dream-Pop, Ambient-Pop, Cinematic.

Format: Digital, CD, Vinyl.

Background/Info: The sonic voyage and exploration of Danish composer/producer Anders Trentemøller moves on with “Memoria”. This is the sixth studio album (live and remix-works not included) by the Danish master.

Content: If you remember the debut album “The Last Resort” (2006) and you listen to “Memoria” you clearly will recognize common elements, but also major evolutions in sound and format. But the artist moves on with an explicit and very personal Electro-Ambient approach, which he transposed into Dream-Pop and Cinematic compositions. The debut song could be a new Soundtrack for “Twin Peaks” while most of the songs are getting us back to 80s Dream-Pop influences with extra Ambient arrangements on top. I even noticed a pure Shoegaze song made by electronics. The songs are mixing instrumentals and sung tracks.

+ + + : Trentemøller is not repeating himself, but sounds in constant evolution. This album is a great production for the way influences have been mixed, creating a new Dream-Pop dimension or a more accessible Ambient format. The songs are touched by graceful 80s influences, which are mainly coming through in the melodies. I also like the resonating bass lines. The Electro-Shoegaze “Dead Or Alive” is a surprising cut, but still a sonic pearl. I also recommend “When The Sun Explodes” for its warm synth lines. There also is a good balance between instrumental songs and sung pieces. Last, but not least I also salute the fact this album features 14 songs.

– – – : This work is featuring multiple influences, which makes it also a bit complex to listen. You really have to search for the common thread.

Conclusion: Trentemøller remains an invitation to dream away; a sonic voyage created by an experienced sound traveler.

Best songs: “Dead Or Alive”, “When The Sun Explodes”, “No More Kissing In The Rain”, “Drifting Star”.

Rate: 8.

Artist & Label: www.trentemoller.com / www.trentemoller.com/in-my-room / www.facebook.com/trentemoller

Seasurfer – Zombies (Album – Reptile Music)

Inferno Sound Diaries — Fri, 16 Apr 2021 19:00:00 +0000

Genre/Influences: Shoegaze, Dream-Pop.

Format: Digital, 2CD.

Background/Info: After having released two noticeable studio-albums on Saint-Marie Records the German duo Seasurfer (Dirk Knight and singer Apolonia) signed to Reptile Music to unleash their third album at the end of 2020. “Zombies” features an extra disc, which is a kind of mini-album of eight songs featuring Elena Alice Fossi (Kirlian Camera, Spectra Paris).

Content: The main disc features 16 songs and reveals a rather classical mix between Shoegaze and Dream-Pop. The tracks have been accomplished with Electronic arrangements often injecting an extra melodic touch. Some tracks have something dual for the mix of melodies and raw sound treatments. Most of the songs have been sung by Apolonia, but you’ll also hear Dirk Knight singing.

The second disc features Elena Alice Fossi and brings 6 extra songs plus two noticeable remixes by John Fryer (the legendary producer of bands like Depeche Mode, Cocteau Twins, NIN ao). The sound isn’t that different compared to the main disc, but is maybe more accentuated around the Dream-Pop style.

+ + + : “Zombies” is a brilliant, creative exposure of modern Shoegaze and Dream-Pop music. It also is the magnum opus from this band. The album took me by surprise for its extended tracklist of 16 (!) songs (some cuts have been previously released as single), but also for the constant, high qualitative level of the production. I can’t say there’s one single track to throw away while there are several potential hits featured. The production sounds pretty 80s like, but with this extra, contemporary production on top. This album is dark and sensual, revealing a great fusion between guitar play and Electronic arrangements. There also is a fascinating sphere recovering the album, but which will maybe remind you of the famous “Twin Peaks”-tune at “Love Me… Dead!”. I however prefer the songs like “Tears & Happiness”, “Zombies”, “Venusberg”, “Time After Time”, Heaven” and “Dead In The Garden”.

The bonus disc is more than a little extra. Getting Elena Alice Fossi on board while getting two remixes by John Fryer makes this mini-album interesting. Dream-Pop cuts like “Fairies In Twilight” and “Blue Days” both are pretty cool songs.

– – – : Elena Alice Fossi is a great and sensual singer, but I prefer the original singer of the band: Apolonia. Her timbre of voice and especially the way of singing is more appropriated to this kind of production. I also expected a bit more from the John Fryer remixes.

Conclusion: If you like Shoegaze and Dream-Pop and you think there’s much more to find beyond Jesus And Mary Chain and The Cocteau Twins, “Zombies” is definitely an album to purchase!

Best songs: “Tears & Happiness”, “Zombies”, “Venusberg”, “Time After Time”, Heaven”, “Dead In The Garden” + “Fairies In Twilight”, “Blue Days”.

Rate: (9).

Artist: www.seasurfermusic.com / www.facebook.com/seasurfer

Label: www.reptile-music.net / www.facebook.com/reptile.music

Crystal Cage – 4EPs Boxset (Album – Anywave)

Inferno Sound Diaries — Wed, 13 May 2020 18:30:24 +0000

Genre/Influences: Electro-ambient, cinematographic.

Format: Digital, 2 Cassettes.

Background/Info: Crystal Cage is a Finish based project active since 2017. This “4EPs Boxset” brings 4 EP’s together, which were originally released between 2018 and Summer 2019. The work has been released on two cassettes featuring one EP on each side. We get a total of twenty two songs.

Content: Most EP‘s are entitled in Dutch (cf. “Voor Altijd Nacht”, “Zielslicht”, “Romantiek Aan Het Einde Van De Wereld” and “Deimos/Daedalia”). The songs are characterized by impressive, ambient electro layers creating a mysterious, haunting atmosphere. The work is definitely soundtrack driven and sometimes reminds me of the atmosphere of the legendary “Twin Peaks”-series. Some tracks feature female vocals, which have been produced as a kind of effect on top of the music. The last EP “Deimos/Daedalia” features guest vocals by metal singer Somniare. This EP sounds a bit different because of the growling vocals, which has something cavernous.

+ + + : Globally speaking this album is characterized and dominated by overwhelming sound atmospheres. It’s the kind of element that gets you in constant alert from start to finish. It also has a strong visual appeal, creating a paranoiac sensation. Crystal Cage deals with a unique sound, which is for sure related to soundtrack/cinematographic music, but there’s more than this. The vocals and effects accentuate the doomy side of the work. It however remains a dreamy trip although a real special one, which rapidly can turn into an imaginary nightmare.

– – – : It’s maybe because the album features so many tracks, but the sound formula created by Crystal Cage becomes rapidly repetitive and predictable. I think this work can serve as a basis for more elaboration.

Conclusion: This album is something special, not exactly the kind of work setting the world of ambient music alight, but there’s some potential hiding in Crystal Cage.

Best songs: “Aisha’s Soul In Decay”, “Phosphorus Betrayed”, “Regen”, “Regenval”.

Rate: (7).

Label: http ://anywaverecords .com /

www .facebook .com /anywave .recs

Jérôme Chassagnard – Wind (Digital EP – Hymen Records)

Inferno Sound Diaries — Mon, 25 Nov 2019 20:30:54 +0000

Genre/Influences: Experimental, electro-ambient, cinematographic.

Background/Info: French artist Jérôme Chassagnard already released four albums on Hymen Records and started last year with an EP-series inspired by elements of nature. After “Sea” it’s time to explore the “Wind” resulting in four tracks.

Content: The theme of the record inspired the artist to work with like wind instruments like the flute, wind chimes and voices. Entering the sound universe of this artist and “Wind” feels like moving throughout an imaginary tunnel vision where electronic sounds, field recordings and the sound of authentic instruments are leading the listener into an abstract universe. The addition of shimmering female vocals at “Carried” creates a strong cinematic sensation reminding me to the mysterious world of “Twin Peaks”.

+ + + : This record has something pretty intimate and feels relaxing. It’s melting influences together and especially the cinematographic and abstract sensation are emerging at the surface. I like the delicacy of the treatments and “Carried” featuring these female vocals is a real master cut.

– – – : I got the impression there’s even more in this record than what came out.

Conclusion: “Wind” is a delicious electro-experimental caress.

Best songs: “Carried”, “Gone With The Wind”.

Rate: (7½).

Label: www .hymen –records .com / www .facebook .com /hymenrecords

V/A The Owls Are Not what They Seem: David Lynch Tribute Remixes (DCD Album – Zhelezobeton)

Inferno Sound Diaries — Sun, 04 Feb 2018 20:30:57 +0000

Genre/Influences: IDM, industrial, experimental, dark-ambient, electro-minimal.

Background/Info: David Lynch fans and especially the “Twin Peaks”-ones will directly recognize the legendary extract ‘The Owls Are Not what They Seem’. Russian label Zhelezobeton previously released the sampler “Now It’s Dark”, which already was a tribute to the legendary filmmaker. This new tribute features mainly remixes from these songs. Most of the bands are featured with two cuts.

Bands: Reutoff, Sal Solaris, Kryptogen Rundfunk, Anthesteria, Peter Theremin, Wunderblock, Light Collapse, Povarovo ao.

Content: This is a quite diversified compilation featuring a total amount of 25 tracks. Most of the bands are hailing from Russia. This sampler is an invitation to discover a varied selection of music tracks inspired by the work of David Lynch and transposed into different kinds of music.

+ + + : I like the concept, but the main strength of this album definitely appears to be the discovery of less familiar and simply unknown music projects. The IDM orientated cuts are pretty inspired and I especially want to tip the track of Relic Radiation remixed by Sal Solaris. Another noticeable cut is the one by Povarovo remixed by Bionoid. I also want to mention another track of Relic Radiation remixed by Alex Schultz, which moves into electro-minimalism. The IDM tracks clearly are the best exponent of this sampler.

– – – : Diversity creates a lack of coherence between some tracks. It’s quite strange to hear a totally industrial and experimental cut as an ode to David Lynch while other cuts are definitely more electro- and even dance-like. On the other side it also stands for the work of Lynch, which often is hard to seize.

Conclusion: This is a noticeable compilation, which I absolutely recommend. It will give you the opportunity to discover a bunch of ‘new’ bands, but still many cool cuts. I would like to know what David Lynch would think about it….

Best bands: Relic Radiation, Povarovo, Krytogen Rundfunk, Light Collapse.

Rate: (8).

Label: www .zhb .radionoise .ru / www .facebook .com /zhbrecords

Penderecki – Kosmogonia (CD Album – Cold Spring Records)

Inferno Sound Diaries — Fri, 03 Nov 2017 20:30:56 +0000

Genre/Influences: Experimental, cinematographic, classical music.

Background/Info: Krzysztof Eugeniusz Penderecki maybe doesn’t ring a bell although I’m “The Shining”, “The Exorcist, “Shutter Island, “Wild At Heart” or the latest “Twin Peaks”-series all are famous movies, but still great music compositions. Polish composer and director Penderecki is a recognized artist who originally released this “Kosmogonia” album on vinyl format in the 70s. The track “De Natura Sonoris II” was originally written for “The Shining”.

“Kosmogonia” has now been re-released and for the very first time on CD format and remastered as well.

Content: The four cuts of the album clearly are ‘classical’ pieces composed for an orchestra. The acoustic instruments and orchestral arrangements create a very unique dimension, but the main characteristic is rather experimental and abstract approach of the work. This is not ‘conventional’ cinematographic music, but clearly an experiment based upon bizarre atmospheres and epic chants.

+ + + : “Kosmogonia” is a move back to some ‘earlier’ work of Krzysztof Penderecki, but it’s fascinating to realize how contemporary the work remains. I feel a bit like walking throughout a sonic labyrinth composed with an orchestra and driven by opera-like vocal parts. The walk is slow, but surely getting more mysterious and even a bit freaky. The epic arrangements reinforce the drama recovering the music, but in the end it all remains abstract. Penderecki has his very own style and I guess a very own perception of music, which might appeal for lovers of Luciano Berio.

– – – : The main point with experimental music is that it remains a less accessible music genre. It not only gives you the impression of a sonic labyrinth, but it’s one without an exit… you literally feel imprisoned in a strange music universe, which probably explains why Penderecki has been asked to composed the music for the aforementioned movies.

Conclusion: This is probably one of the most surprising productions released on Cold Spring Records, but at the other side it will also open new horizons for the label while it will for sure ravish music lovers in search of ‘cult’ movie soundtracks.

Best songs: “Kosmogonia”.

Rate: (7).

Band: www .facebook .com /krzysztof .eugeniusz .penderecki

Label: www .coldspring .co .uk / www .facebook .com /coldspringhq

Launch Netflix original film ‘Death Note’ also offers fresh music by Nine Inch Nails collaborator Atticus Ross

Bernard - Side-Line Staff — Sat, 26 Aug 2017 18:30:26 +0000

“Death Note” is an American supernatural horror-thriller film directed by Adam Wingard, based on the (excellent!) manga series of the same name by writer Tsugumi Ohba and illustrator Takeshi Obata. The film stars Nat Wolff, Margaret Qualley, Keith Stanfield, Paul Nakauchi, Shea Whigham and Willem Dafoe was released on Netflix on August 25, 2017.

Plot

The story follows Light Yagami, a high school student who discovers a supernatural notebook from a Shinigami named Ryuk that grants its user the ability to kill anyone whose name and face he knows. The series centers around Light’s attempts to create and rule a world “cleansed of evil” as “God” using the notebook, and the efforts of a detective known as L to stop him.

Here’s a trailer:

https://www.youtube.com/watch?v=7mhBapcDf4k

Original OST by Nine Inch Nail collaborator Atticus Ross

The original very dark soundtrack was created by Nine Inch Nail collaborator Atticus Ross together with Leopold Ross. It’s not the first time that Atticus Ross ventures into the film score industry. Along with Trent Reznor, Ross also composed the original score for “The Social Network” in 2010. In 2013, the pair created the soundtrack to “The Girl with the Dragon Tattoo”. In 2016, Ross became an official member of Reznor’s band Nine Inch Nails. The duo will Reznor – Ross have also worked on the “Twin Peaks: The Return” soundtrack.

Previous live action attempts

“Death Note” was adapted into a series of live-action films in 2006. The first two films were directed by Shūsuke Kaneko and the third was by Hideo Nakata and produced by Nippon Television. The first film, simply titled “Death Note”, premiered in Japan on June 17, 2006 and topped the Japanese box office for two weeks, pushing “The Da Vinci Code” into second place. The sequel, “Death Note: The Last Name” premiered in Japan on November 3, 2006. A spin-off from the films named “L: Change the World” was released in Japan on February 9, 2008. It is focused on the final 23 days of L’s life, as he solves one final case involving a bio-terrorist group.

In August 2016, a three-part miniseries entitled “Death Note: New Generation” was announced as a part of the Death Note live-action film series and aired in September. A fourth Japanese Death Note movie was released in 2016 and featured a cyber-terrorism setting with the inclusion of six Death Notes brought into the human world.

Sequel?

Director Adam Wingard stated that Netflix has wanted to make at least two films, if enough people watch the first one: “There are definitely lots of places to go, and we know generally where we would take it. Hopefully people will watch it and Netflix will order a sequel. They definitely are ready to. They just need people to watch it.”

Swamp Sounds / Uncle Pops & The Dumbloods – Swamp Sounds / Uncle Pops & The Dumbloods (CD Album – Bearsuit Records)

Inferno Sound Diaries — Sun, 09 Jul 2017 19:30:52 +0000

Genre/Influences: Experimental, industrial, cinematographic.

Background/Info: This production released on the Scottish label Bearsuit Records is a split album featuring Swamp Sounds (Japan) and Uncle Pops & The Dumbloods (Scotland). Both artists deal with experimental music and have been featured each with five cuts.

Content: Swamp Sounds takes the first part and mainly reveals a pure experimental composition made of decomposed sounds, broken rhythms, but still melodic passages and even dances parts. Yuuya Kuno clearly likes to manipulate sounds and noises, which finally resulted in a truly sound collage.

The work of Uncle Pops & The Dumbloods remains pretty experimental-like, but we here move more into cinematographic parts. The tracks sound more compact and clearly appealing to be accompanied by a visual work.

+ + + : Bearsuit Records is one of those small, but interesting labels dealing with atypical artists. That’s an aspect I’ve always liked and especially encouraged when it comes to release ‘original’ music. This is an interesting work for experimental lovers who’re into sound decomposition and noise treatments. The work of Swamp Sounds is quite diversified, but always carried by 100% experimental treatments. The work of Uncle Pops & The Dumbloods is more accessible and I especially refer to some passages reminding me of the mysterious atmosphere of the “Twin Peaks”-series. “Autoroute” is a noticeable cut in the genre.

– – – : Experimental music always remains a particular experience, which is less accessible for a wider audience although loved by the true lovers. I can imagine it rather sounds as a sonic enigma for non-experimental lovers. Speaking for myself I’ve been more surprised by the difference in sound and influences between both artists.

Conclusion: If you’re a curious and you like to discover experimental talents, this is for sure an album that will catch your attention! The sound is perfectly represented on the front cover: fragmented and made of multiple little pieces, which don’t necessarily match with each other.

Best songs: “Moon Circles” + “Autoroute”, “The Comfort Singer”.

Rate: (6).

Bands: www .facebook .com /Swamp –Sounds -189486954870356 / www .facebook .com /unclepopso

Label: www .bearsuitrecords .webs .com / www .facebook .com /bearsuitrecords

Twin Peaks tailored Trouble 2-track single ‘Snake Eyes’ issued as 7 inch vinyl

Bernard - Side-Line Staff — Tue, 13 Jun 2017 18:30:05 +0000

Out in weeks from now is the 2-track 7 inch vinyl single “Snake Eyes” by Trouble. Written and recorded for the return of David Lynch’s cult television classic Twin Peaks, “Snake Eyes” harkens a time when noir R&B was the de-facto soundtrack to hard liquor violence.

You can order this 7 inch right here.

The instrumental trio Trouble includes Lynch’s son Riley Lynch on guitar, longtime music supervisor for Lynch, Dean Hurley on drums and Alex Zhang Hungtai (Dirty Beaches, Last Lizard) on tenor saxophone. The B-side to the single consists of the bonus “Mother’s Gone”, a companion track also recorded during the band’s only Twin Peaks recording session.

Here’s already a preview of the title track:

Kentin Jivek – No Age (CD Album – Manic Depression Records)

Inferno Sound Diaries — Tue, 16 May 2017 19:00:39 +0000

Genre/Influences: Experimental, neo-folk, cinematographic.

Background/Info: Parisian based artist Kentin Jivek has already been active for a couple of years now and can look back on a growing discography. This new opus is the 8^th full length of the French artist while he also accomplished a few more productions together with other artists like The Hare And The Moon and Miro Snejdr. “No Age” is the first album he released on Manic Depression Records.

Content: The sound of Kentin Jivek has seriously evolved throughout the years although remained faithful to the main influences based upon dark atmospheres and neo-folk. “No age” doesn’t sound those different, revealing mysterious sound atmospheres, which might remind you of the sonic ambiance from “Twin Peaks”. There’s a solid cinematographic style running through the songs.

Next to the dark and obscure ambiance this album is also characterized by the charismatic vocals of Kentin Jivek. His timbre of voice makes me a little bit think of a hybrid between Brendan Perry and Dave Gahan. The songs have been sung in English- and in French revealing a kind of dark- and somewhat intellectual poetry approach.

+ + + : “No age” is a delicate release filled with dark reverie and melancholia. This feeling is accentuated by intriguing atmospheres making the sound darker and darker. Kentin Jivek has created his own sound and perception of neo-folk mixed with ambient music. His charismatic vocals remain one of the main strengths of the work. There are many cool songs, but I have a preference for the “Twin Peaks”-like “Never Ending Love”. The minimalism of the arrangements is absolutely worthy of examination.

– – – : The dark poetry sometimes becomes a bit pompous, but it definitely is a part of this artist. Some of the most experimental passages can’t totally convince me.

Conclusion: I haven’t heard all of Kentin Jivek releases, but “No Age” is one of the best that I have heard. This is an album featuring a very own style and an artist with a captivating timbre of voice.

Best songs: “Never Ending Love”, “Fiesta De Los Muertos”, “A Song To Ease The Pain”.

Rate: (7).

Band: www .kentinjivek .com / www .facebook .com /kentin .kevij .7

Label: www .manicdepressionrecords .com / www .facebook .com /manicdepressionrecords

Sonic Foundation (Bonus Tracks Version) by HELALYN FLOWERS

‘Click Interview’ with Helalyn Flowers: ‘Helalyn Flowers Are Irresponsible And Incorrect, Dirty And Wet’

Inferno Sound Diaries — Sat, 23 Jul 2016 20:15:42 +0000

Helalyn Flowers is lead by the powerful vocals of Nøemi Aurora and the artistic input of studio guru MaXX. The duo released this year their fourth full length album revealing a furious production featuring heavy electronics and menacing, metal-minded guitar riffs. Helalyn Flowers is mixing multiple influences, but always with power and sonic violence. I got in touch with the male pole of the band to get more info about “Sonic Foundation”, which has been released on Alfa Matrix.

(by Inferno Sound Diaries)

Q: What is your new album “Sonic Foundation” all about and how do you see the evolution in sound from your previous albums towards the new work?

Max: “Sonic Foundation” is Helalyn Flowers as it’s meant to be. It’s a burst of dichotomies, opposites, wildness and passion. When Noemi and I founded Helalyn Flowers we had an album like this in our minds, so I suppose that past three albums represented the necessary way to it. In the past, we intentionally redefined our sound, trying new ways and taking our risks, like the “Stitches Of Eden” album back in 2009, living a sort of uneasiness that sure has darkened our music gradually. We feel to be thankful to all that angst and rage of which “Sonic Foundation” is the proud son. We cling to ourselves exclusively, we have Helalyn Flowers on our minds all the time, we are our own bigger source of inspiration.

Q: I get the impression that you never stop to increase the power of electronics and guitar play, reaching a hard and merciless production, but still a real harmony between sound and vocals? Tell us a bit more about your sound properly speaking and the global production?

Max: I always believed that melody is very important for music in general. It’s able to raise whatever mood you need and makes you sing and drag you to a song. Doesn’t matter how aggressive the music is. In our case, I think that it’s a reflection of what we love to be and act.

The sound production is based upon our approach to the wall of sound. We overlay everything. We oppose the modern way of producing electro-metal and industrial in general. When I listen to many records to me it’s more like a computer screen sliding MIDI tracks than enjoying songs. It’s all clean, dry, so… responsible and ‘correct’. Well, Helalyn Flowers are irresponsible and incorrect, dirty and wet. “Sonic Foundation” has the feeling of an old classic.

When you say ‘hard and merciless’ it’s exactly what there’s in our minds when doing a song. We love big sounds, big ambiences, we feel like a BIG band and everyone must join it. It’s the Ancient Roman way. Not by chance.

Q: I noticed an interesting quote at your site telling that ‘”Sonic Foundation” is an album that uncoils through dangerous and surrealistic figurative worlds, invoking post-primitive scenarios à-la William Burroughs and David Lynch. Can you give us some more details?

Max: The destruction of modern civilization and worshipping the Nature not for what it may seem like might be keys to that quote. We are so bond of the woods we live nearby that when we watch “Twin Peaks”, for example, not only we can recognize how it feels like but also we can understand the most dangerous and terrifying needs within the human nature.

Q: The song “Beware Of Light” previously released as EP-title song and featuring Chris Pohl (Blutengel) is a real master hit. How did you get in touch with Chris Pohl and how did the recording and production of the song happened?

Max: When we were collecting bonus stuff for the album we felt like something big, something going beyond the ‘usual’ remix was missing. Immediately, we thought at Chris Pohl of Blutengel as the one really able to let it happen. So, we asked him and he accepted enthusiastically. It was clear that he had to put his vocals into this version because one of the main reasons why we contacted him is just the huge vocal dimension of Blutengel (besides the ‘bigness’ of the meeting itself!). He re-sampled the song to add his own Blutengel vibe too. He didn’t give himself airs. He is a very passionate guy. Nowadays, younger people in the scene have much more schemed minds and do these kind of things just for money without considering if they actually love what they do.

Q: Do you already have new ideas and inspiration in mind regarding further releases?

Max: We will start to record the new album next September. Our ideas are so clear about it. Sure we won’t replicate the same album. That doesn’t belong to us. Also, we love to think that “Sonic Foundation” is the ultimate summa of our first decade as well as of the direction we took after our first self-released Mini-CD (“Disconnection”) in 2005. We don’t think that there are parts of “Sonic Foundation” that need to be improved. It’s perfect in its entirety. Contrary, we didn’t feel this way in the past years: when we were about to deliver a new album we felt like we might have done better or that it was not ALL that we wanted to say. So, we catapulted ourselves in massive sessions of studio and song-writing also in reply to that sense of ‘incompleteness’. Now we need to renew our ways, trying different things, because ageing doesn’t suit us. Our blood must remain young forever. Replicants are the meanest suicidal.

Q: Helalyn Flowers stands for a heavy sound, but still a noticeable and explicit image! Where’s the link between sound and image?

Max: The link is within Max and Noemi Aurora, simply as that. The image that you can see in our pictures is the same as the one in our private lives. It’s the way we love to be. We live Rock’n Roll on our flesh.

Many people believe that a noticeable and eye-catching imagery means stupid pop music or brainless esthetic fascists. My opinion is that they are afraid of sex and/or have sexual problems.

Since I was a kid I feel attracted by bands with a great image. That’s what pushes you to listen to their music. It’s like you go in a confectionery: you always want to buy and eat the most beautiful cake!

Courtesy by Inferno Sound Diaries

Cruise [Ctrl] – Let’s Rock! (CD Album – Signifier)

Inferno Sound Diaries — Sun, 05 Jun 2016 21:38:51 +0000

Genre/Influences: Minimal-electro, industrial, experimental, IDM.

Background/Info: Set up by John C and Gore we welcome the 4^th album of this Belgian duo. “Let’s Rock” reveals 8 songs inspired by the mythology of Twin Peaks.

Content: Cruise [Ctrl] remains one of the best kept secrets of the Belgian underground scene. I’m not saying that the band is totally unknown, but we have to admit it’s not exactly the most familiar and praised band from the scene. And that’s a real shame as their previous work revealed an impressive minimal and somewhat IDM minded approach.

“Let’s Rock!” is not that different and yet more into experimental treatments. I got the feeling the duo has experimented more with sounds and noises becoming real noise architects creating a kind of avant-garde like sound. The work remains an imaginary sound bridge between electronic minimalism and industrial music. A few more influences moving from IDM to experimental techno can be noticed as well.

The tracks are mainly based on repetitive, icy sound loops and an impressive arsenal of noises and other manipulations. The cadence is rather linear, but injecting a real accessible element to the work. All the songs are instrumental, which simply accentuate the minimal approach of the production.

+ + + : The minimal and more explicit experimental creation is absolutely worthy of examination. Cruise [Ctrl] might remind you of a contemporary version of Suicide, but in the end I would say that this band is not comparable to any other although they would for sure appeal to lovers of labels like Tympanik Audio and Hands.

– – – : I’m missing the electronic exposure of the past albums, which was more diverse and elaborate. This album clearly evolves in sound and especially noise influences. I also regret there’s no single track with vocals and/or spoken samplings like the great experiment they did on their previous album with Dirk Ivens on vocals.

Conclusion: “Let’s Rock” clearly is not my favorite album of Cruise [Ctrl], but it remains a fascinating and pretty cool work characterized by impressive sound treatments and a fine taste for experimental electro music.

Best songs: “Since My Baby Left Me”, “Dancing Machines Create Image”, “Car Tree Woman”, “Circle Of Dreams”.

Rate: (7½).

Band: www .cruisectrl .be / www .facebook .com /CRSCTRL

Label: www .signifieronline .com / www .facebook .com /signifieronline

Niagara – Don’t Take It Personally – Remixes (Digital Album – Monotreme Records)

Inferno Sound Diaries — Tue, 16 Feb 2016 08:35:30 +0000

Genre/Influences: Experimental, IDM, cinematographic.

Background/Info: Niagara is an Italian duo consisting of David Tomat and Gabriele Ottino. Their project is mainly inspired by experimental electronic formats. The title of this album speaks for itself, consisting of exposing their album “Don’t Take It Personally” to the remixing skills of other artists.

Content: This release features 18 remixes. Nine from the ten original songs were remixed by a real diverse list of bands. Niagara asked bands from different horizons to remix and sometimes rework the original version.

Niagara accomplished one remix as well, which also is the starter of the album. From the first part I’ll keep in mind the somewhat experimental-lounge remix of “Currybox” by Acid Pauli and the “Fat Kaoss”-remix by Bienoise, which reminds me a bit of the intriguing ambiance of the “Twin Peaks”-series.

The second part opens with a great and IDM driven remix of “Popeye” by Merchants. I also recommend the sweet and dreamy like “John Barrett” remixed by Sun Of North and the minimal electro orientated remix of “Currybox” by Perdurabo”.

↑↑↑: The diversity of the remixes creates a diversified and eclectic album.

↓↓↓: A total of 18 remixes is definitely too much!

Conclusion: This is the kind of album that will mainly interest the biggest fans of the band although it reveals a nice cocktail of remixes.

Best songs: “Popeye – Merchants Remix”, “John Barrett – Sun Of North Remix”, “Currybox – Acid Pauli Remix”.

Rate: (DP:6)DP.

Band: www.niagaraniagara.it / www.facebook.com/niagaraspace

Label: www.monotremerecords.com / www.facebook.com/MonotremeRecords

Tying Tiffany releases vinyl of obscure techno side-project LauraPalmer via Mecanica Records

Bernard - Side-Line Staff — Thu, 17 Dec 2015 16:36:20 +0000

(Via DJ Wildhoney) LauraPalmer is besides the name of the famous fictional character of the American television series Twin Peaks now also the new alter ego of Tying Tiffany a.k.a. Tiff Lion.

The Italian frontwoman and DJ focuses this time on old-school techno from the defunct Belgian label KK Records, into the style of Psychick Warriors Ov Gaia, Kode IV, Zen Para dox, early Plastikman and a touch of pure industrial. Fans of the french act Mondkopf will surely like what they hear.

This debut 12″ release is available on vinyl (limited to 300 copies with fold-over jacket) and includes 6 tracks including 3 remixes by Soft Metals, Lorenzo Montana and Supersimmetria.

You can place your order for the vinyl right here and preview below!