(Photo by Emilie Elizabeth) Italian musician Alessandro Cortini has released his latest work, “Nati Infiniti”. This 40-minute piece, divided into five movements, is based on an immersive audio installation that took place across four floors of the Museu de Lisboa’s Fábrica da Moagem, a disused flour mill.

Commissioned by Sónar Lisboa 2022, “Nati Infiniti” captures the ambiance of the original installation. Each floor of the mill evoked different states through Cortini’s sound design, creating a different experience as listeners moved through the building. The album tries to reflects this movement.

Using the Strega instrument, co-designed by Cortini with Make Noise, the piece evolves across 40 minutes. Marta Salogni, known for her work with Björk and Depeche Mode, mixed and mastered the album into five movements. “Nati Infiniti” is available now, in various formats including vinyl, CD, and digital.

Cortini debuted the live audio-visual performance of “Nati Infiniti” at Berlin’s Atonal Festival. After a series of sold-out shows, he will tour North America and Europe throughout 2024 and 2025, with additional dates to be announced.

Cortini, a longstanding member of Nine Inch Nails, has released a steady stream of his own music on labels such as Mute, Hospital, and Important Records. His collaborations include work with Lawrence English, Daniel Avery, and Merzbow. He is also the only Italian musician inducted into the Rock and Roll Hall of Fame. His creations, like the Strega and the forthcoming Bruxa module, kinda show his innovative approach to music. He has composed for fashion shows by Alexander McQueen, Dior, and Fendi, and soundtracked Disney/Hulu’s hit show “The Bear”. His remixes include tracks for Depeche Mode, Mogwai, Death Cab for Cutie, Yann Tiersen, and Vatican Shadow.

Here’s a live impression of Cortini.

Alessandro Cortini tour dates

• 10/11/2024 – Seattle, WA, Age Of Reflections at Seattle First Baptist, US
• 10/12/2024 – Portland, OR, Age Of Reflections at Trinity Cathedral, US
• 10/13/2024 – Los Angeles, CA, Teragram Ballroom, US
• 11/20/2024 – Brussels, Bozar, BE
• 12/6/2024 – Berlin, Silent Green, DE
• 1/17/2025 – Paris, Trabendo, FR

Bernard - Side-Line Staff

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

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(Photo by Barney Steel) Electro-pop band Ladytron are set to release “Time’s Arrow Remixed”, a reimagined version of their seventh studio album “Time’s Arrow”, on October 25 via Cooking Vinyl. The remix album features new interpretations of every track by a diverse group of remixers, ranging from seasoned collaborators to emerging talent.

The first single, DJ Slow’s remix of “We Never Went Away”, launches today. DJ Slow (Vellu Maurola), co-founder of Pepe Deluxé, brings what the band says “a cinematic touch” to the original. Describing his approach, DJ Slow said, “I wanted to maintain the ethereal beauty of Ladytron’s sound while adding a new auditory layer that would transport listeners into a fresh soundscape.”

Following DJ Slow’s release, “Time’s Arrow Remixed” will see Vector Lovers rework the album’s title track on October 11, followed by Stealing Sheep’s remix of “The Night” on October 18, leading up to the full remix album drop on October 25.

Tracklist for “Time’s Arrow Remixed”:

1. City of Angels (Blakkat’s Made in Los Angeles Mix)
2. Faces (Georgi Remix)
3. Misery Remember Me (Shiny Toy Guns Remix)
4. Flight From Angkor (Jamie Myerson Remix)
5. We Never Went Away (Quinquis Remix)
6. The Night (Pato Watson Remix – Radio Edit)
7. The Dreamers (Lee K’s Sunrise Dub)
8. Sargasso Sea (Maude Vôs’ Submerged Remix)
9. California (Blakkat Remix)
10. Time’s Arrow (Vector Lovers Mix)
11. Faces (Lucas Frota Remix)
12. Flight From Angkor (Spatial Awareness Remix)
13. We Never Went Away (DJ Slow NYC1980 Remix)
14. The Night (Stealing Sheep Remix)
15. City of Angels (Blakkat’s City of Lost Angeles Ambient Mix)

About Ladytron

Ladytron is a British electronic band formed in Liverpool in 1999, blending synth-pop, electronic, and darkwave elements into their sound. The group’s original lineup consists of Helen Marnie (vocals, synthesizers), Mira Aroyo (vocals, synthesizers), Daniel Hunt (synthesizers, guitars), and Reuben Wu (synthesizers, keyboards).

Their debut album, “604” (2001), marked their entry into the emerging electroclash scene, with hits like “Playgirl” introducing audiences to their mix of icy synthesizers and dreamy, yet dark, melodies. However, it was their sophomore album, “Light & Magic” (2002), that gained them broader acclaim, especially with the standout single “Seventeen”.

Their third album, “Witching Hour” (2005), represented a shift in their sound, incorporating more shoegaze and rock elements while still retaining their electronic roots. “Velocifero” (2008) followed, and offered a harder, industrial-inspired sound, while “Gravity the Seducer” (2011) took a more ethereal, atmospheric direction.

After a hiatus, Ladytron returned with their self-titled album “Ladytron” in 2019.Their latest project, “Time’s Arrow” (2023) is now followed by a remix album set to release in October 2024.

Here’s one of the tracks from the 2023 album.

Bernard - Side-Line Staff

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

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Anticipating the forthcoming release of their 4th studio album, Darkness On Demand now reveals the new album’s title track “Panic In Reserve” and released it as a free (pay as you wish) single on Bandcamp. This digital single also includes the exclusive 7 min long extended mix of this new song. The release also gets accompanied by an official video clip.

As former members of the iconic ’80s act Dance Or Die, the Berlin band continues to work under the Darkness On Demand banner. Since 2017, they’ve been fusing moody, melodic electronics with aggressive EBM industrial beats.

You can download this free 2-track single exclusively from Bandcamp, and for free. The upcoming album can already be pre-ordered from the Alfa Matrix webstore on CD or via Bandcamp.

About Darkness On Demand

Darkness On Demand (DoD) is a German dark electro and industrial project formed in 2017 by three members of the iconic band Dance or Die – Gary Wagner, Falgalas (Heiko Duus), and Chris L. Although Chris L. left in 2018 and was replaced by Seba, the band retained its commitment to blending old-school electro with contemporary dark electronic sounds.

DoD’s music merges elements of EBM, industrial, and futuristic themes, often reflecting dystopian and apocalyptic visions. Their lyrics are highly engaged, focusing on societal critiques, digitalization, and the relationship between humans and technology, as seen in albums like “Post Stone Age Technology” and “Digital Outcast”. Their sound has evolved from their earlier works, with a strong emphasis on catchy, danceable grooves designed for dark dancefloors.

The band has continued to explore complex themes in their music, from the psychological impact of urban life to broader societal issues, delivering a unique blend of retro and future-oriented electro soundscapes.

Bernard - Side-Line Staff

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

side-line.com

Date At Midnight is an Italian Post-Punk and Goth-Rock band formed in 2007 in Rome. This year, they released their third full-length album, “Fading Into Grace”, through Manic Depression Records. The album features well-crafted, professional compositions that seamlessly blend the band’s signature alluring guitar work with more melodic and atmospheric electronic elements, all underscored by deep, brooding vocals. It’s a standout release that is sure to captivate the international Post-Punk community. I had the opportunity to chat with the entire band to learn more about this remarkable album. (Courtesy by Inferno Sound Diaries)

Q: You’ve been active as Date At Midnight for several years now. What initially brought you together, and how do you reflect on what you’ve achieved so far?

Pasquale: When we embarked on this journey back in 2007, the Goth scene in Rome was a vibrant tapestry of parties, concerts, and kindred spirits. Both Daniele and I had our roots in other bands, but we yearned for something new, a vessel to express ourselves, revel in the joy of creation, and craft our own music. Little did we know that Date At Midnight would endure, becoming a cornerstone of the Italian scene with countless gigs across Europe. It’s a peculiar blend of pride and a slice of healthy melancholy that fills me when I reflect on our path.

Daniele: I wholeheartedly echo Pasquale’s sentiments. The early days were filled with unforgettable moments, both within the band and in the thriving scene that birthed us, and this feeling is still alive.

Francesco: I joined Date At Midnight in 2012, after their initial works, and I was elated to receive their call, having been an early supporter. It felt like coming home, and I immediately sought to contribute, which I believe is evident in the evolution of our drumming from the early works to “Songs To Fall And Forget” and beyond. The camaraderie we share, especially backstage, after shows, and during our travels, are my most cherished memories.

Nunzio: Though I joined just a few months ago, I’ve known Date At Midnight for years and even shared the stage with them with some of my previous projects. Playing with them is a source of immense pride, and our first gig together in Budapest last July is a memory I will treasure forever. I truly look forward to what will come next, from every point of view!

Q: Why are there always years between each album release? Is it challenging to win back fans after such breaks? What keeps you busy when you’re not making music?

Daniele: Balancing Date At Midnight with our daily lives can be challenging and, since we care a lot about our live performances, when we have to play live we prefer to focus on the setlist rather than composing. After the very good outcome of “Songs To Fall And Forget” in 2016, the plan was to release a quick follow-up EP, which we did with “Reverse Resilience” in 2018, and then a new album. However, COVID disrupted our plans, and furthermore our original guitarist’s departure forced us to start again almost from scratch. These challenges have certainly impacted our timing, but the important thing is that we are now here, alive, kicking, and with a great new album out!

Pasquale: Each album has its own unique story. We’ve always been a band that thrives in the rehearsal room, sharing every step of the creative process. Especially in the last years external factors like lineup changes, personal commitments, and the pandemic have all played a role. Fortunately, we have a loyal and patient fan base that continues to grow with each release, and that’s truly heartening.

Francesco: My two daughters and my day job keep me busy, but I relish every moment in the rehearsal room. The creative phase is very exciting, and we take our time composing, recording, and mixing. Our fans seem to appreciate this approach, and that makes it all worthwhile.

Q: Tell us more about your latest work, “Fading Into This Grace.” What is the album about, and what influenced its composition? How did it all come together?

Pasquale: “Fading Into This Grace” is our most complex work, with layers of sound, extensive use of synthesizers, and deeply introspective lyrics. From the bass guitar perspective, we aimed for a prominent sound that also contributes melodically, in true Post-Punk and Dark-Wave tradition. The album delves into obsessions, impulses, disillusions, and emotions, addressing unresolved questions in a symbolist and visionary manner. It explores the inexorable flow of time, the need and urgency of losing yourself in a state of grace that probably cannot ever come, the illusory yet essential nature of love, and the societal traps of pre-packaged definitions, all while clinging to the vital, albeit potentially tricky, flame of hope.

Daniele: The new album features nine tracks, each distinct, reflecting our eclectic approach. We blend Gothic-Rock, Post-Punk, Dark-Wave, Death-Rock, and Cold-Wave without boundaries. The vocals are varied and expressive, with moments of climax, liberation, and desperation. I aimed for a more spontaneous vocal approach, and I believe we achieved that. To me, the entire work is inspired by love and sorrow.

Q: Who handles what when it comes to the writing and production process? And what contributes to the chemistry among you?

Daniele: Our music has evolved with our lives, from a more whimsical youth to a view of things characterized by greater focus and less haste. This evolution is mirrored in our collaborative songwriting process, where we share ideas and feelings from the early composition stage to the final result. It’s a magical synergy that has persisted for years, fueled by our diverse musical tastes and immense passion, as we all listen to different kind of music and so each one tries to bring its own and evolving background when it comes to write a new song.

Pasquale: The writing process is truly collaborative, with each member contributing to their own instrument and providing feedback on others; this is my favorite part of the job. While the rehearsal room remains central, I must say that for “Fading Into This Grace” there has been a bit more ‘home based’ contribution, as some songs such as “No Contact/Red Zone”, “Carmilla”, “The Privation” have been fully composed and recorded in a rough demo version by myself and then finetuned all together.

In production, we closely collaborate with our sound engineer, trying always to experiment with something new; for our last works I particularly take care of this step. I want to make a special mention concerning the mastering of “Fading Into This Grace” since it has been made by William Faith in his studio in Chicago: he did it great, providing the best listening experience. Apart from the technical aspects, it has been a true honor for us to have him onboard for this release.

Q: How do you feel about the album now that it’s out? Are there any aspects you think could have been done better or differently? What do you particularly like about the songs?

Nunzio: As someone who wasn’t part of the recording process, I approached the album as a listener. I was immediately struck by its complexity and modern sound. I particularly enjoyed songs like “No Contact/Red Zone” and “The Line”, but each song has its own personality and style, keeping me engaged throughout.

Francesco: I’m very satisfied with the result. While there may always be minor details I’d tweak upon re-listening, songs like “Another Grace” and “Rendez-Vous” are so powerful that I was eager to record and release them. “Carmilla,” dedicated to my first daughter, is a particular point of pride for me, and an act of love from the whole band.

Daniele: I believe this is our best album yet, and I still enjoy listening to it, which I didn’t make so often in the past. Occasionally, I notice small things that could have been recorded differently, but it often depends on my mood. The album’s layered nature means each listening experience is unique.

Pasquale: The album has received numerous reviews, and a common sentiment is that it feels too short, leaving listeners wanting more. I think that this is the highest praise it could receive.

Q: I noticed you have some live performances coming up. What can fans expect from your new live shows, and how do you prepare for a performance?

Francesco: We’re thrilled to be back on the road. Live shows are a chance to connect with fans and fellow artists. Over the years we have connected with lot of people and with many other bands whose mutual support still endures. We’re training hard to deliver the best performances, and fans can expect an atmosphere and energy that have always been integral to our shows.

Pasquale: To prepare, we rehearse as much as possible and then we live the moment, maybe having a couple of drinks before going on stage… We’ve also revamped our visuals to align with the mood of the songs. Our “Into This Grace Tour” has begun, and we’re pleased with the live renditions of the new songs. Fans can look forward to a mix of new tracks and beloved classics, including some we haven’t performed in years.

Nunzio: I look forward to be on stage again, fully integrating myself in Date At Midnight’s interplay, which makes our shows unforgettable for everyone.

Daniele: I won’t spoil the surprise. I invite everyone to attend our shows and experience it, so… check our calendar and get ready for your Date At Midnight!

Watch the clip from “Another Grace”

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Out today is the new “Feast of Agony” EP from industrial music legend Raymond Watts a.k.a. PIG (via Metropolis Records). Showcased by the video for “Fallout”, “Feast of Agony” arrives on the trail of the remastered version of PIG’s 1995 “Sinsation” album (originally released via Trent Reznor’s Nothing Records) and the studio album “Red Room”.

Released digitally today, the vinyl edition of “Feast of Agony” will only be available on PIG’s tour starting today.

PIG tour dates

• 9/28/24: Chicago, IL, – Metro
• 9/ 29/24: Minneapolis, MN – Cabooze *
• 9/30/24: Des Moines, IA – Lefty’s Live Music *
• 10/2/24: Milwaukee, WI – X-Ray Arcade *
• 10/3/24: Davenport, IA – Raccoon Motel *
• 10/4/24: Lawrence, KS – The Bottleneck *
• 10/5/24: Denver, CO Kulture Music Hall *
• 10/6/24: SLC, UT – Quarters *
• 10/7/24: Boise, ID – Visual Arts Collective *
• 10/9/24: Eugene, OR – John Henry’s *
• 10/10/24: Seattle, WA – El Corazon ^^
• 10/13/24: Portland, OR – Dante’s ^^
• 10/15/24: Sacramento, CA – Starlit Room ^^
• 10/16/24: SF, CA – DNA ^^
• 10/17/24: San Diego, CA – Whistle Stop ^^
• 10/18/24: Las Vegas, NV – Sinwave ^^
• 10/19/24: Los Angeles, CA – Catch One ^^
• 10/20/24: Scottsdale, AZ – Pub Rock ^^
• 10/21/24: Albuquerque, NM – Launchpad ^^
• 10/23/24: OK City – Beer City ^^
• 10/24/24: Dallas, TX – Three Links ^^
• 10/25/24 – Houston TX – Secret Group *
• 10/26/24: Austin, TX – Elysium *
• 10/27/24: New Orleans, LA – Santos *
• 10/29/24: Pensacola, FL – Handlebar *
• 10/30/24: Orlando, Fl – Handlebar *
• 11/1/24: West Palm Beach, FL – Respectable Street *
• 11/2/24: Jacksonville, FL – Underbelly *
• 11/3/24: Greenville, SC – Radio Room *
• 11/5/24: Atlanta, GA – Star Bar *
• 11/6/24: Richmond, VA – Fallout *
• 11/7/24: Baltimore, MD – Metro Baltimore *
• 11/8/24: New York, NY – STIMULATE *
• 11/9/24 – Wilmington DE – Bar 13 *
• 11/10/24: Millersville, PA – Phantom Power *
• 11/12/24: Cambridge, MA – Middle East *
• 11/13/24: Quebec City, QC – L’anti Bar *
• 11/14/24: Montreal, QC – Cabaret Fous *
• 11/15/24: Toronto, ON – Lee’s Palace *
• 11/16/24: Detroit, MI – Smalls *
• 11/17/24: Cleveland, OH – Beachland Tavern *

* dates with Unitcode : Machine
^^ dates with Curse Mackey and Unitcode : Machine

Bernard - Side-Line Staff

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

side-line.com

(Photo by Nicole Imhof) The new Susurration album “Hate Is My Love Language” is out now. “Hate Is My Love Language” is the follow-up to “Make Love Like War” (September 2022).

The Zurich based industrial metal project around songwriter Jessy Bäsecke-Beltrametti recorded the new 11-track album with a new formation consisting of Jessy Bäsecke-Beltrametti on vocals, Dave Wieser on drums, Hannes Bachofner on keyboard and Michael Hirst on studio-guitars.

Susurration brings a cross between industrial and metal and on this new album repeatedly incorporates influences from various corners of dark music into the arrangements.

Bernard - Side-Line Staff

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

side-line.com

Berlin’s avant-garde industrial band Lolita Terrorist Sounds has unveiled a new collaborative art-video with Berlin Wall artist Kiddy Citny. The collaboration, an art-video for the track “Living-in-glory”, merges Citny’s live painting performance with the experimental sound of the band.

Kiddy Citny, whose 3.6-meter-high painted heads on the Berlin Wall became iconic in 1985, joined forces with the band after a chance meeting in a Berlin train station last year. “This video is the visual translation of our most experimental track,” said band leader Maurizio Vitale. “It was captured in Kiddy’s Berlin atelier.”

“Living-in-glory” is the closing track from the debut album “St. Lola”. It combines meditative drone music, ASMR, and industrial sounds, recorded in an unconventional studio on Dresdener Strasse, once part of the Berlin Wall strip. Field recordings from the former East German secret service building also feature prominently in the piece.

Kiddy Citny expressed his admiration for the collaboration: “Creating this piece with Lolita Terrorist Sounds was an inspiring process. The sound and historical context gave my painting an exceptional energy.”

You can view the art-video below.

Lolita Terrorist Sounds / Kiddy Citny European Tour

Following this collaboration, Lolita Terrorist Sounds will embark on a European tour, performing in Berlin, Poznań, Warsaw, and Prague this October. Joining the line-up is drummer Kian Kiesling.

• Berlin: 22.10 – Hinterraum
• Poznań: 23.10 – CK Nowe Amore
• Warsaw: 24.10 – Chmury
• Prague: 29.10 – Café V lese

About Lolita Terrorist Sounds and Kiddy Citny

Founded by Maurizio Vitale, Lolita Terrorist Sounds has collaborated with members of bands like Einstürzende Neubauten, Iggy Pop, and PJ Harvey. The band’s provocative name stems from a fusion of Nabokov’s Lolita and the use of cut-up techniques inspired by William Burroughs. A debut album “St. Lola” was released in 2023.

Kiddy Citny is a German artist best known for his iconic paintings on the Berlin Wall in 1985. His work, characterized by his 3.6-meter-high heads, became world-famous through tourist photos and postcards. Citny’s art is part of collections at institutions like MoMA in New York.

Bernard - Side-Line Staff

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

side-line.com

This summer, I came across “I’m Too Young to Die”, the debut album by German artist Oliver Decrow. His Minimal-Electro/Wave music evokes an ’80s flashback, enhanced by a modern and personal touch through its gritty analog synth sounds. Released by the renowned Cold Transmission label, the album captivated me with its cold, sterile aesthetic layered over deep, human themes. It felt like the perfect opportunity to reach out to this promising artist. (Courtesy by Inferno Sound Diaries)

Q: Can you introduce us to the musical world of Oliver Decrow? Where are you from, and how did you first get drawn into the world of electro music?

Oliver: I’m from Dresden, East Germany. I began producing music at an early age at school, but it really took off when I studied fine arts at the Art Academy in Dresden. During that time, I met several DJs and shared a studio with a local DJ and tattoo artist. He introduced me to music from the 80s, Italo-Disco, Cold-Wave, and Minimal-Wave like Decadance, Medio Mutante, S.M. Nurse, John Maus, SS-Say, Deux, Eleven Pond, Knight Action, Charlie (Spacer Woman), Moderne, and Linea Aspera.

During this period, I also spent time in shared apartments (WG’s), moving from one party to another. I had no money, and survival was hard, but discovering and enjoying music became a release, helping me get through each day and deeply impacting my personality.

While painting, we would listen to Intergalactic FM or Bohren & der Club of Gore (Piano Nights).

During my studies, I decided to leave Germany and moved to Montreal, where I lived in a tiny flat and made music every day. It was there, and in New-York, that I filmed my first music videos. I’ve always been a computer guy, but I try to bridge the digital and analog worlds. So, making music as an art form or expression felt natural for me. I did many collaborations and projects back then. I also worked with opera singer Annette Jahns, who would visit my cheap basement in Dresden once a week, bringing a bottle of good wine and something to eat and then we produced music together. Rest in peace, Annette! Around this time, I also met Sneaker DJ, who gave me valuable production tips and mastered my first tracks.

Q: You released your debut album “I’m Too Young To Die” this year. A first album is always special, so how does it feel to have it out, and what was the journey like in creating it?

Oliver: ‘Stress test’ is the first thing that comes to mind, especially in the last few weeks. My first album is like a retrospective of three years of making music. There are songs where, as soon as I hear them, memories of specific stories and situations come rushing back. For example, the suicide of my best friend is reflected in the track “Horse Hoof,” and “In My Room” deals with experiences I had with my mother.

The journey to my first album was full of doubts, joy, depression, anxiety, and great moments. Yin and yang -it was a rollercoaster, much like my life. Nothing was stable; everything was questioned. But I’m glad I made it. It was also a relief to finally finish something after such a long time.

One of the most rewarding parts of the journey was meeting new people and connecting with positive individuals worldwide who shared my interests, experienced similar situations, and could relate to my music. I learned a lot during the process and fulfilled a long-term dream. In the end, everything came together. You know, making an album is personal -you open your heart for everyone to see, and that often comes with a price. But I’m already looking forward to the next chapter of my life.

Q: Your sound echoes ’80s Electro-Wave with a modern twist. Which artists or albums have had the most significant impact on you, and how do they influence your music?

Oliver: Life has influenced me the most. I make music primarily to express my emotions or to lose myself in my inner world. If I had to name a few artists who have impacted my style or approach to music, they would be Boy Harsher, Sneaker Dj, Joy Division, Jennifer Touch, Molly Nilsson, Boan, and DAF. But my influences often change, and I love discovering new artists like VOID Palace, Abu Nein, Nights In Athens, Lila Ehjä, Laura Krieg, Kris Baha, Lovataraxx, Asymetric80, Years Of Denial, ManMachine, and Curses.

I’m drawn to artists who present their music in a way that feels authentic, not just like another copy. For example, I met ManMachine at the Ombra Festival in Barcelona last year, and after chatting with him, I saw his music differently. A man, a father, a keyboard -it felt warm and pure. My music is more influenced by emotions and life events than by specific artists, so to speak.

Q: Many of the album’s tracks were performed live before being recorded. How did these songs evolve during the recording process, and what changes or improvements did you make?

Oliver: That’s an interesting observation, and you’re right. The songs on my album really grew during live performances. I redid some finished tracks, adjusting the vocals and synth parts after realizing during live performances what could add that final touch. Every track underwent a few makeovers after live shows. I see the process like painting. You build something up and then destroy it to create something unique and new. The challenge is knowing when to stop.

Q: You already evoked some lyrical themes in your songs which are quite dark and intense. What drives these narratives, and how does turning personal struggles and dark subjects into music serve as a form of therapy or healing for you?

Oliver: Yes, your question holds the answer. I won’t go into detail about how difficult my life was because everyone has their own stories, struggles, and fate. Music is definitely a form of therapy for me. It’s an art form and a way to break out of daily routines and the system we live in. I often wonder what the world will look like in 10 or 20 years, with all the technology, greed, commercialism, and hate. But I know that there will always be people searching for real emotions, analog experiences, and real intelligence or just something like breathing fresh air in the woods.

Q: Are you already working on new material? What can we expect in terms of singles, remixes, videos, live shows, and future projects with your label G50 Records?

Oliver: Of course! A remix tape is coming out, and new tracks are in the works. I love diving into music, especially when life hits hard, and right now, it definitely does. This year, you can catch me playing in Nuremberg at the Bunker Rituals Festival (28th of September), in Dresden with Lovataraxx (20th of October), and in Chemnitz with Left For Pleasure (14th of December). G50 Records is like a DIY label with no aspirations for profit. I’m not sure if there will be any projects with my old friends, like the Klassenfeind-project, but who knows?

I’m really happy with the guys from Cold Transmission Music, namely Andreas and Suzy. It’s like a real family feeling, and we talk daily about the scene and our next creative ejaculations.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

For its 25th anniversary, Mesh make their long-time out of print second album “The Point at Which It Falls Apart” available again via Dependent Records. For the occasion the full-length has been remastered by German producer Olaf Wollschläger. The album reissue comes in a art book format with extensive bonus materials and extra tracks on a second CD.

The art book comes as a 48-page hardcover book (ca. 18x18cm) with 2 CDs: the original album (remastered 2024), an 11-track bonus CD with remixes and rare B-Sides, plus liner notes by Mark Wybrew (Electronic Cafe) & Jan Winterfeld (Pluswelt).

Mesh Mark Hockings says: “I am very proud and excited to see this album re-released with its stunning new (and yet familiar) artwork, and the pristine sound of the new remaster. This has been a long time coming. For those that heard the album the first time around, I hope it brings back some powerful memories as it has for me. For those that are hearing it for the first time, I wish I could share that experience with you.”

Richard Silverthron adds: “For me, ‘The Point at Which It Falls Apart’ marks a period in time where we found that sound that is immediately identifiable as ‘Mesh’. We were deeply into using sampling technology, creating and recording drum loops, ambient atmospheres, and guitars parts. Our pick for the first advance single, ‘Needle in a Bruise’ is an excellent example of this. This song sits comfortably between being an emotional electronic piece through the verses and then opens up with layered guitars in the chorus that turns it into an anthemic rock track.”

The recording line-up of this album consisted of Mark Hockings, Richard Silverthorn and Neil Taylor.

To introduce the sound of this remastered album, the single track “Needle in a Bruise” is available now for preview. Mark Hockings and Richard Silverthorn are currently in the process of writing the next Mesh studio album.

Tracklist bonus CD

1. People Like Me (With this Gun) (Alt.MESH.Mix)
2. It Scareas Me (Mesh Remix)
3. Not Prepared (Radio Version)
4. The Damage You Do (Perfect Porno Remix)
5. Safe WIth Me (Snare’s Epic Edit)
6. People Like Me (With this Gun) (Extended Shotgun)
7. It Scares Me (Mesh Locarno Mix)
8. Not Prepared (Mesh Club Mix)
9. This Without You (Fallen Mix)
10. It Scares Me (Fearful)
11. Not Prepared (Blowhole Mix)

About Mesh

Mesh was formed in 1991 when lead singer and guitarist Mark Hockings and keyboardist and vocalist Richard Silverthorn met, leading to the formation of the band. Richard Silverthorn composed the music, while Mark Hockings penned the lyrics. The duo was soon joined by Neil Taylor on keyboards, who had already been playing in another band with Silverthorn.

The band debuted with the “Fragile” EP in 1994 followed by the full-length debut “In this Place Forever” two years later in 1996. In 1999 came the next milestone with the sophomore album “The Point At Which It Falls Apart”.

The major label release of “Who Watches over Me” in 2002, propelled Mesh further into the limelight and marked a turning point. A surge of popularity across Europe, particularly in Germany let the UK band climb higher up the festival billings.

What followed was a collaboration with former Depeche Mode producer Gareth Jones for “We Collide” (2006). Adapting to lineup changes, Mesh continued their musical journey with the core-duo, augmenting live performances with drummer Sean Suleman and additional live keyboardists.

“Automation Baby” (2013) and “Looking Skyward” (2016) followed. Mesh also collaborated with a classical orchestra at the ‘Gothic meets Klassik’ festival in 2015.

By 2023 the band was joined by Vaughn George for their live lineup in April 2023.

Bernard - Side-Line Staff

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

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(Photo by Mara von Kummer) hackedepicciotto (Alexander Hacke & Danielle de Picciotto) have shared details of a new album, “The Best of hackedepicciotto (Live in Napoli)”, that collates over 20 years of collaboration over two live performances recorded at the Auditorium Novecento, one of the oldest recording studios in Europe.

The album will be released on double vinyl, limited to 500 copies with exclusive signed print, and digitally on 1 November 2024, via Mute.

For over 20 years Alexander Hacke (Einstürzende Neubauten) and artist, musician and filmmaker Danielle de Picciotto (co-founder of Love Parade) have been working together. The album includes reinterpretations of tracks from all of their studio albums: “Keepsakes” (2023), “The Silver Threshold” (2021), “Perseverantia” (2016), “Menetekel” (2017), and “The Current” (2020).

This new collection is a mixture of industrial beats, electronic sounds with classical harmonies and melodies, with some throat singing, Hurdy-gurdy and spoken word. Daniel Miller of Mute goes on to say that “their music is a genre of its own, something new and very intriguing.”

Listen to “The Silver Threshold (Live in Napoli)”, the title track from their 2021 album.

hackedepicciotto Live Dates

• 1 Nov – Parma (IT), Borgo Santa Brigida
• 2 Nov – Pordenone (IT), Astro Club
• 3 Nov – Milan (IT), Arci Bellezza
• 5 Nov – Turin (IT), Blah Blah
• 7 Nov – Pescara (IT), Scumm
• 8 Nov – Campobasso (IT), Circolo Beatnik
• 12 Nov – Lyon (FR), Sonic Lyon
• 29 Nov – Malmö (SW), Inkonst
• 30 Nov – Odense (DK), Klub Golem
• 6 Dec – Athens (GR), Temple
• 7 Dec – Thessaloniki (GR), Eightball
• 12 Dec – Bratislava (SK), Pink Whale
• 13 Dec – Augsburg (DE), Provino Club
• 15 Dec – Bielefeld (DE), Movie Bielefeld
• 18 Dec – Berlin (DE), Berghain Kantine – Album Release Party

Bernard - Side-Line Staff

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

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The Seattle, Washington-based duo Dual Analog is back with their latest single, “Caverns of the Mind”. On this track Chip Roberts and Kurtis Skinner delve deep into the human psyche, exploring themes of nostalgia, regret, and the search for redemption.

“We wanted to create something that resonates with anyone who has ever felt lost or betrayed by their own memories,” says Chip Roberts, vocalist of Dual Analog. “’Caverns of the Mind’ is about confronting those feelings and the realization that sometimes the only way out of the darkness is through the help of someone who may not be willing to give it.”

“Caverns Of The Mind” is now available on all major streaming platforms. Below is the video for the new single.

About Dual Analog

Dual Analog was formed in 2019 by vocalist/guitarist Chip Roberts and multi-instrumentalist Kurtis Skinner. Incorporating elements of new wave and metal with a dash of industrial and world music, they create what they call “turbowave”.

They launched their debut album, “Lust, Worship, and Desire”, in 2022 alongside four singles and accompanying music videos. Dual Analog is currently in the studio completing work on their follow-up album, “The Wheel”, slated for a fall 2024 release.

Bernard - Side-Line Staff

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

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Out now via Alfa Matrix – and exclusively first via Bandcamp – is “Drowning one”, the brand new EP from Australia’s techno electro act Avarice In Audio. “Drowning one” is a new single from their forthcoming new album “Tear Heaven In Half” and is the follow-up EP/single to “Wicked Die Alone”.

In addition to the original track, four remixes have been added. Angel Of Violence remixes the track into a more cinematic sounding track, while Viscera Drip bring a classic terror EBM flavour to the song.Other remixes are delivered by Sinthetik Messiah and Dirty K who both experiment with more breakbeat style tracks.

Here is the previous single/EP “Wicked Die Alone” which was released in February.

About Avarice In Audio

Avarice In Audio is an Australian-based dark electro and futurepop band formed in 2013. The band was initially founded by Gerry Hawkins (known for his work with Cryogenic Echelon), Jade Pegg (also known as Acidtrixx), and Lawrie Bayldon (Studio-X). Their music blends modern dark electronic elements with melancholic lyrics, often characterized by pulsating basslines and aggressive beats.

Avarice In Audio quickly gained attention in the dark electronic scene with their debut EP, “Frostbite” (2014), followed by several full-length albums, including:

• Shine & Burn (2014)
• Apollo & Dionysus (2017)
• From the Rib of Adam (2020)
• Our Idols Are Filth (2021)

Their music often explores themes of societal decay, introspection, and human emotion, with a powerful, industrial-inspired sound. Avarice In Audio is signed to the prominent Belgian label Alfa Matrix, which has been instrumental in promoting their work internationally.

Avarice In Audio’s music continues to evolve, as demonstrated by their latest singles and EPs like “War Tanz” (2023) and “Drowning One” (2024).

Eldrina Mich

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

www.side-line.com

Today, Washington DC-based Darkwave band The Neuro Farm released its new album entitled “Voices”. “Voices” can be heard today through all digital and streaming platforms and is available on vinyl, CD and cassette.

The Neuro Farm is a darkwave and gothic rock band based in Washington, D.C., drawing inspiration from bands like Joy Division, Nine Inch Nails, Siouxsie and the Banshees, and Sigur Ros. The band consists of four members: Brian Wolff (guitar, vocals), Rebekah Feng (violin, vocals), DreamrD (drums), and Tim Phillips (synth).

They have released three full-length albums:

• Ghosts (2014)
• The Descent (2019)
• Vampyre (2021)

You can check out the full release below.

The Neuro Farm will be on the road this fall with their ‘Voices Tour ’24’ in support of the new album.

The Neuro Farm ‘Voices Tour ’24’

• Aug 30 – BROOKLYN, NY – A Murder of Crows
• Sep 21 – BLOOMINGTON, IN – Gallowdance
• Sep 22 – CHICAGO, IL – The Fallen Log
• Sep 26 – SOUTH BEND, IN – Cauldron
• Sep 28 – LOUISVILLE, KY – Dark Castle Fest
• Oct 11 – ROANOKE, VA – Beyond the Crypt
• Oct 19 – WASHINGTON, DC – 94.3FM Studio Live
• Oct 26 – LYNCHBURG, VA – Lynchburg Gothic League
• Nov 22 – SALEM, MA – DARQ Salem (with NØIR)
• Nov 23 – KINGSTON, NY – Hororteria Presents (with NØIR)

Bernard - Side-Line Staff

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

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(Photo by E Gabriel Edvy) Out on September 27 via Metropolis Records is the brand new PIG EP “Feast Of Agony”. The EP – available now in pre-order – holds six songs and encounters with the “Lord of Lard”, in which he “brings word to the wordless and truth to the truthless”.

The EP kicks off with “Heroin for the Damned”, a song co-written with Watts’ collaborator Jim Davies (a longtime member of Pitchshifter). The accompanying tracks are “Fallout“, “Comedown”, “Hand of Mercy”, “The Ratchet Effect” and “Baptise Bless & Bleed” (in a remix by Jim Davies).

“Feast of Agony” follows the recent remastered reissue of PIG’s landmark 1995 album “Sinsation” and the 2024 studio album “Red Room”, both of which are available via Metropolis Records.

This Autumn PIG will playing live during the Heroin for the Damned tour across North America.

About PIG

PIG is an industrial music project led by British musician Raymond Watts, who is also known for his contributions to the pioneering industrial band KMFDM. Formed in the late 1980s, PIG blends aggressive, distorted electronic sounds with dark, often satirical lyrics. Watts is the primary creative force behind the project, and over the years, he has collaborated with various musicians, including members of KMFDM, Einstürzende Neubauten, and Nine Inch Nails.

The band’s early work was heavily influenced by the industrial scene of the 1990s, with albums like “A Poke in the Eye… with a Sharp Stick” (1988) and “Praise the Lard” (1991) establishing PIG’s signature mix of gritty electronics and harsh, guitar-driven beats. Despite being less commercially prominent than some of his contemporaries, PIG developed a cult following for its theatrical performances and provocative style.

In the 2000s, after a period of hiatus, Watts resumed recording and touring under the PIG name. Albums like “The Gospel” (2016) and “Risen” (2018) brought fresh energy to the project, with Watts continuing to explore themes of sin, salvation, and decay, often framed in a darkly humorous context.

PIG’s music incorporates elements of industrial rock, post-punk, and electronic body music (EBM), creating a sound that is both abrasive and experimental.

Bernard - Side-Line Staff

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

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Today History of Guns present the short film “Drug Castle” which is also accompanied by the companion 3-track remix single, “Last Train to Drug Castle”, featuring remixes and alternate versions of the single tracks. The video follows the releases videos for the tracks “No Longer Earthbound”, “When You Don’t Matter”, and “What’s Buried (Will Rise)”.

The short film is made for one of the more experimental parts of their latest album, “Half Light”, in which they take their instruments to the beach, and experiment with different audio and emotional frequencies, “in an effort to contact beings from another world.”

Filmed, directed and edited by Howard Gardner, the short film “Drug Castle” comprises two tracks from History of Guns’ eighth album, “Half Light”: namely, “Drug Castle” and “Survive the Night”.

Producer, co-writer and keyboard player/programmer Max Rael says: “Drug Castle was the nickname given to a facility in England where they used to conduct what were often unethical, experimental, psychological procedures during the ‘60s and ‘70s. No one’s quite sure of its exact location, other than it was near the sea, and some of the sessions happened out on the beach. It was originally built for use in World War II, but no one seems to know what its original purpose was. Different psychologists and psychiatrists could effectively book it out, and then take patients or unwitting volunteers down there for however long, and do whatever they liked. There are some good stories from people who received really helpful treatment there, but it’s probably more famous for some of the awful horror stories and reports of deaths and extreme abuse. Apparently, there was very liberal use of experimental drugs and techniques, hence the nickname. One of the experimental treatments was called Frequency Therapy which involved using sonic frequencies to match or harmonise with emotional frequencies, which would cause a third frequency to be created, which caused some quite profound healing and bizarre experiences.”

“I first told Howard about the sci-fi plot I had for the album, one night after a few drinks when we were at Infest together a good few years ago. He’s been a solid, trusted and much-loved friend and collaborator on a range of projects over the years, so this seemed a perfect chance to continue our collaboration.”

Max Rael and filmmaker Howard Gardner are also collaborators in London-based experimental electronic trio, Decommissioned Forests. Gardner describes the process behind the Drug Castle film: “I listened to the tracks for the first time in a darkened room and they absolutely blew me away, so bleak and powerful was the imagery. I imagined the band all sitting around a campfire at night near the shore, playing the song while being plagued by demonic hallucinations or visions. I described this impression to the band, and they absolutely loved it, so we went from there. I’m a huge fan of David Lynch and I often solve filmmaking problems by trying to imagine what he might do. This was certainly the case with ‘Drug Castle’. Owing to the song’s length I imagined a slow-burning and ambiguous narrative with harsh lighting thrown by the fire, with slow edits and dissolves. For some of the more way-out visuals I took inspiration from Lucio Fulci (the decayed corpse-like figure) and The KLF (the trio of handmaidens sitting on the rocks). We shot it in a single evening in June, down on the Kent coast, and the band were very good-natured and cooperative the whole way – even when I asked Del to lie in the freezing cold sea and be splattered with fake blood. Max got an antique oscilloscope to work in the middle of a beach without any mains power, for which I think he deserves some sort of commendation!.”

Guitarist and co-writer, Caden Clarkson, who is both the newest addition to the group in its current iteration, and Rael’s son, says of both the recording and the video: “On ‘Drug Castle’ I had to take a different approach to what I’d normally do. I used the guitar as less of an instrument, and more of a means to create rich and somewhat haunting textures and soundscapes. I also used my Theremin to add the click beeping sounds and higher frequencies. The video recording was not at all what I had expected. When I read the script saying that Del would have to lay partially in the sea, I thought there would be no chance he’d do it, but he jumped right in and did such an amazing job of it, it was genuinely impressive to watch.”

Vocalist and co-writer, Del Alien adds: “I had not seen Howard in years! It was great to see him again. He had the video all planned out way before we got there. The last bit of the film was shot first, as it had to be in daylight, but I had to get on the beach with the freezing cold waves slightly coming up – sadly for me, I hate the cold! But to the others, great laughter was had. We misjudged the tide at one point, and I got frigging washed over! Luckily, Howard could see how bloody cold I was, and did that bit of the filming as fast as he could. And I must say, I think the end result of a very long and challenging day paid off.”

About History of Guns

Formed in Cheshunt, Hertfordshire in 1996, the duo became frontrunners of the Wasp Factory / FuturePunk scene of the early 2000s. The band went on hiatus in 2012, returning with 2022’s album “Forever Dying In Your Eyes” before setting about finishing an electronic project they’d begun in 2008 – resulting in “Half Light”.

The starting point for this album lays in Robert Anton Wilson’s words “The future is up for grabs; it belongs to any and all who will take the risk and accept the responsibility of consciously creating the future they want.” The release contains elements of a story currently being written as a novel by Max Rael, with these 10 tracks exploring inner and outer space.

Bernard - Side-Line Staff

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

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(Photo by David Kruschke) San Francisco-based artist Aursjoen presents her debut single “Nytår”. The new single comes complemented by a video created by filmmaker David Kruschke.

Aursjoen is the project of Ria Aursjoen, who is vocalist and keyboardist for the post-punk outfit Octavian Winters, who released their debut EP “The Line or Curve” in 2023, followed by their 2024 “Nebula / Velveteen” single with electronic-industrial legend Mark Pistel (Meat Beat Manifesto, Consolidated). A classically-trained singer and multi-instrumentalist, her musical past is steeped in genres ranging from Celtic and Nordic folk to darkwave and progressive metal.

Her debut “Strand” EP is slated for release on November 15 via Stratis Capta Records and was produced, recorded, mixed and mastered by William Faith (The Bellwether Syndicate, Faith and the Muse, Mephisto Waltz, Christian Death) at 13 Studio in Chicago. For this material Aursjoen is joined by Octavian Winters bandmate Stephan Bryan Salit contributing dynamic and atmospheric guitars on two songs.

This first single “Nytår”, which means “New Year” in Danish, was written on New Year’s Eve of 2022. Ria Aursjoen says this about the origins of “Nytår”: “This song started when I was experimenting with a slow-moving string arrangement that captured my imagination and made me think of walking down a dark road in winter, against the wind. The more I saw the image in my mind, the more it reminded me of Denmark, where I spent years as a child. It especially reminded me of how the world looked and felt when I would go out with my ice skates in the winter twilight to skate on the pond near my house at the outskirts of Copenhagen, so I wrote the lyrics in Danish. Midwinter in Denmark is very dark and very cold with short days. You spend time dreaming of the spring returning, waiting for it. My memories of that time as well as the language itself transported me back to those feelings and guided the way the song evolved both lyrically and musically.”

Aursjoen comes from a familial line of musicians, her grandmother Lillian an opera singer and grandfather Morris a singer and self-taught multi-instrumentalist. Having taught herself to play piano by ear at age three, she considers it her instrument of choice for songwriting; “I have been playing for as long as I remember, so piano feels like an extension of myself, a native language if you like.”

Nevertheless it was singing that unlocked something even more powerful within her: “The neighbours would complain about me singing loudly outside their windows while I waited for the school bus. They told my mother they didn’t know what I could possibly have to sing about that early in the morning. Fortunately, my mother never took the complaints seriously and never tried to discourage me. She has been my biggest supporter, and a great friend, and I wouldn’t be here today as an artist if not for her.”

As someone who has synesthesia, a rare neurodiverse condition in which senses overlap, Aursjoen experiences sound as visual structures, colours and textures. “I avoided regular music notation as much as I could. I coaxed my mother (a great sight reader) into playing my piano homework. Then I’d listen and learn it by ear – eventually my piano teacher discovered I had been faking note reading and I had to buckle down and really learn it… I am glad I did, but I still find it clunky and unintuitive, and still write music in my personal system of notation.”

As of today September 10, “Nytår” is available everywhere digitally, including Bandcamp. The full “Strand” album, out November 15 via Stratis Capta Records, is already available for pre-order.

Bernard - Side-Line Staff

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

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Miseria Ultima, the Finnish dark electro revelation, has just released its fourth studio album, “Arctic Esotericism”. This album continues their exploration of the cold ethos and philosophy of the North, diving into themes of existence from birth to death.

The album is available now on Bandcamp and on CD via the Alfa Matrix webstore.

The album opens with the powerful track “Displayed For Punishment”, setting a harsh aggrotech tone. This is followed by “In Murder” and “Virtue And Desolation”, featuring fast-paced, icy melodies. “Thorns And Tragedy” stands out with its grief-laden atmosphere, offering the band’s signature Skinny Puppy like style. Other tracks such as “Spiritual Nailbomb” carry desperate undertones, while “Storms of Atonement” is a mid-tempo, depressive piece.

“Arctic Esotericism” will for sure appeal to fans of bands like Amduscia, Suicide Commando, C-Lekktor, Alien Vampires, and especially early Skinny Puppy. You can already check out a few tracks below.

About Miseria Ultima

Miseria Ultima is a Finnish industrial electro band formed in 2016 by Aleksi Martikainen (vocals) and Kimmo Huhtala (synths). Their music blends elements of EBM, aggrotech, and dark electro, creating a unique sound characterized by cold, melancholic atmospheres and intense, aggressive beats.

The band has released several well-received albums, starting with their debut “Phosphor” in 2017. This was followed by “Graygarden” in early 2020, which continued to build their reputation in the dark electro scene. In 2022, they signed with the Alfa Matrix label and released their third album, “In Colors of Void”​​.

Miseria Ultima draws inspiration from the harsh, cold environment of northern Finland, translating the stark beauty and desolation of their surroundings into their music. Their lyrics often explore themes of mortality, grief, and introspection, influenced by their experiences and philosophical reflections​.

Eldrina Mich

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

www.side-line.com

Schröttersburg is a Polish music project that was originally set up in 2008. The band kept experimenting with new influences and music styles, resulting in a lot of albums, but at the same time more explicit Industrial influences mixed with Trance/Tribal elements. Their last album “Kosmogonia” was released at the end of 2023 on Zoharum -and also on DIY Kolo, Bat Cave and N.I.C. Records, is a continuation of the previous work. But above all it is a feast for the ears for all fans of early Industrial music and it is not without reason that names like SPK and Test Department came to mind. I talked about it all with 2 members of the band: Krzysiek and Michał. (Courtesy by Inferno Sound Diaries)

Q: Schröttersburg has been around for a few years now. How did the band saw the light of day and what brought you together in terms of music, influences and life experiences?

Krzysiek: The band as a musical creation came into being around 2008, but in its current form since 2010. The starting point was Punk/Post-Punk, but over time there was a desire to further explore and exploit other musical regions. Hence, we have evolved from Punk roots (“Krew”), through Post-Punk melancholy (“Ciało”, “Melancholia”), fascination with the orient and Industrial (“Om Shanti Om”) to Tribal rhythms (“Kosmogonia”). Everyone listens to a variety of music. The guys in the rhythm session tend to be fascinated by heavier sounds, while Michał seems to listen to everything from Free-Jazz, Experimental and Electronic music to Black-Metal or Industrial.

For me personally, the musical form/style doesn’t matter that much. I treat music as a form of expression of what lies somewhere under my skin, and which is difficult to express through words. My experience of battling with inner demons certainly has a significant impact on the sounds I generate. Powerlessness, hopelessness, emptiness, inner screaming and anxiety are certainly hidden between the words and sounds in our songs. That is why our songs have a rather Trance-like, Psychedelic and neurotic structure.

Michał: Actually, Schröttersburg has been around for more than a decade. We were brought together by the desire to play, to express ourselves in a sonic language, to experience sonic transcendence during concerts, to create in general. At the very beginning we were mainly inspired by music from the 80s, New-Wave, Cold-Wave, Post-Punk, but Noise-Rock, Industrial, Kraut-Rock, Dub were also important, which later became evident on our next albums.

Q: I understand that the band’s name refers to your hometown, Plock, which was renamed Schröttersburg by the Germans during World War II. This seems somewhat controversial. Why did you choose this name and is there any deeper meaning behind it?

Krzysiek: For me, as a resident of Plock, the very name Schröttersburg has a pejorative connotation. When I hear this name, I sense anxiety, pain, hopelessness and suffering, and I imagine what the inhabitants of our town must have felt when they had to live at that terrible moment in history. I would like to remind you that 30% of the inhabitants of Plock were thrown out of their homes, deported to concentration camps and mostly murdered there. Many of our town inhabitants are unaware of the gehenna which the people of Płock endured during the years of occupation. By naming the band under this name, we wanted to pay tribute to those inhabitants who were not able to survive the end of the war, and somehow make the locals aware that apart from the good periods in the history of our city, there were also those, about which there is silence.

Q: Your albums show a variety of influences, with a noticeable Industrial feel, especially on the new release “Kosmogonia”. How do you assess the musical evolution of Schröttersburg, especially on the latest album?

Michal: We set ourselves from the very beginning to draw from different sources and combine musical genres. We have never been able to stand in one place and lock ourselves into ‘one sound’. Maybe it’s because we listen to a lot of different sounds, we try to get to know new artists, new records. To find something interesting in the world of music, both old and modern. I see our evolution as developing and going even further, expanding on what we started with breaking down our boundaries that we sometimes set for ourselves.

Q: Can you talk more about the origins of “Kosmogonia”? What is the album about and what stages did you go through to create it?

Michal: When we started working on “Kosmogonia” a certain common thing emerged that set the tone for this album. It was the rhythm. A Tribal, Trance-like, blunt rhythm that gives the hallmarks of urban shamanism. When creating this album, we thought of something primal and raw, something that could take us back to the place of the Beginning, the birthplace of… everything.

Q: How do you see the evolution of Schröttersburg over the years and what elements from your earlier work are still present in “Kosmogonia”? Do you think that the latest album is always the best?

Michal: I don’t think so, in fact I try not to go back to the past. I’m interested in creating rather than analyzing. The evolution of Schröttersburg is of course audible. The Trance and mixing of different musical currents is still present here. Anyway, we never assumed beforehand that a particular album should sound a certain way. It always came from interaction, improvisation, new sound sources, new instruments and how we influence each other when playing.

Q: How do you take your music from the studio to the stage and how would you describe Schröttersburg as a live band?

Krzysiek: In our case, working in the studio is similar to playing live gigs. We record on a set basis, so we use exactly the same instrumentation as in a live show. We don’t play around with recording separate tracks and adding instruments one by one, because we think it sounds artificial and lacks the authenticity and energy we produce when playing together. Only the vocals are recorded at the very end, so that Michal can concentrate fully on his instrument.

Michal: During the recording process we use a lot of instruments, machines, scrap metal and effects. We take all of this with us to the concerts in order to accurately capture the sense of the Schröttersburg sound. It wasn’t easy, but now we have mastered it. For me, every concert is about going into a trance. Entering an inner or transcendental dimension and passing it on to the audience. Our live performances have a beginning and an end, they are concise and blunt. Even when we sound rather atonal or noisy, everything has a structure and a meaning.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

(Photo by Emilie Elizabeth) Out 4 October on Mute, followed by UK, European and American tour dates, is the brand new album from Nine Inch Nails member Alessandro Cortini, “Nati Infiniti”. Today the Italian musician releases a first track, “IV”.

Watch the video for “‘”IV” with imagery by Marco Ciceri.

The 40-minutes album “Nati Infiniti” is composed of five movements and debuted as an audio installation commissioned by Sónar Lisboa 2022 that ran across four floors of the Museu de Lisboa’s Fábrica da Moagem, a disused flour mill.

The work – which utilises the Strega instrument that Cortini co-designed with Make Noise – was mixed and mastered by Marta Salogni (Björk, Depeche Mode, Lucrecia Dalt). The album will be out on vinyl (featuring an embossed silver mirror board sleeve), CD (with a clear varnished gatefold mirror board sleeve), and digitally.

About Alessandro Cortini

Alessandro Cortini is best known as a longstanding member of Nine Inch Nails (from 2005 to the present day), He has been releasing a steady stream of his own music on labels including Mute, Hospital, and Important Records for the past decade.

Throughout his career he has collaborated with the likes of Lawrence English, Daniel Avery, and Merzbow and found time to create the Strega (used on his previous album, “Scuro Chiaro”) and the forthcoming module, Bruxa, with Make Noise.

Additionally, he has remixed tracks for Depeche Mode, Mogwai, Death Cab For Cutie, Yann Tiersen, and Vatican Shadow.

Alessandro Cortini on tour

Cortini will embark on a tour of North America and Europe throughout ’24 and into ‘25 – with more dates to be added.

• 5 Sept 2024 – Reykjavik, Extreme Chill IS
• 19 Sept 2024 – Glasgow, Sonica Festival UK
• 3 Oct 2024 – Albany, NY, Empire State Plaza Performing Arts Center, “The Egg” US
• 4 Oct 2024 – Queens, NY, Knockdown Center US
• 6 Oct 2024 – Boston, MA, Sonia US
• 7 Oct 2024 – Minneapolis, MN, The Cedar US
• 9 Oct 2024 – Chicago, IL, Empty Bottle US
• 10 Oct 2024 – Austin, TX, Central Presbyterian Church US
• 11 Oct 2024 – Seattle, WA, Age of Reflections at Seattle First Baptist US
• 12 Oct 2024 – Portland, OR, Age of Reflections at Trinity Cathedral US
• 13 Oct 2024 – Los Angeles, CA, Teragram Ballroom US
• 20 Nov 2024 – Brussels, Bozar BE
• 6 Dec 2024 – Berlin, Silent Green DE
• 17 Jan 2025 – Paris, Trabendo FR

Bernard - Side-Line Staff

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

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Out on September 6, is the newest single from the Swedish electro-pop duo Sjöblom, “Dead For Years”. “Dead For Years” is the lead single from their forthcoming album “Dead Of Night”. The single is available for pre-order now, and the upcoming album is set to be released later in the year on COP International.

The single also features two remixes: the “Apparition mix” by Fracture Foyer and the “Rapid Eye Movement mix” by Operation Blue Eyes.

Sjöblom, comprised of Johan Sjöblom Eliot and Robert Eklind, drew inspiration from iconic bands like Depeche Mode and Apoptygma Berzerk for the sound on this new single. “It’s funny how perception works,” says Robert. “I always intended for this track to have a darkwave or even gothic sound, but a friend mentioned it reminded him of Depeche Mode, which is a huge compliment.”

The lyrics are based on a text by Johnny Nattsjö (DJ Batcat). The production was handled by Jon Bordon and Sjöblom at Joniverse Studios.

Bernard - Side-Line Staff

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

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MRT is an experimental endeavor by miKKa (founder of dreDDup), and began in 2007, focusing on dreams, noises, and otherworldly themes. The project is known for its atmospheric, wild, and experimental soundscapes, having produced 10 albums and 3 extended play albums. MRT also composes music for films and theater.

The prolific Serbian industrial project has just released its eleventh album, titled “Kerrang”. The album, which began production during the 2020 pandemic, showcases 13 new tracks. Part of the album’s composition was specifically created for the documentary “Novi Sad Remembrance”, directed by Aleksandar Reljić, which focuses on the historical raid on Novi Sad.

The Novi Sad Raid was a horrific event that took place during World War II in January 1942. Hungarian forces, who were occupying parts of Yugoslavia at the time, conducted a systematic massacre in the city of Novi Sad. Over the course of several days, thousands of civilians, primarily Serbs, Jews, and Romani people, were rounded up and executed along the Danube River.

The rest of the album continue the sonic themes MRT explored in their previous album, “Urwell”. Recorded entirely at DURU studio in Novi Sad, the band plans to promote the album soon, including a cassette release. MRT has had limited live performances this year but is gearing up to promote “Kerrang” with live shows.

You can listen to and purchase the album through the MRT Bandcamp page.

Bernard - Side-Line Staff

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

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The latest Seigmen single “(Dyret) 23 bud” was released August 9^th, a week before the band attended the festival Midgardsblot, and had its premiere live performance there on Friday 16th as Seigmen was the final band on the main stage Helheim.

(By our Norwegian correspondent Jan Ronald Stange / Indie Recordings pressrelease. Photos by Einar Låker, Jan Ronald Stange)

“(Dyret) 23 bud» song’s lyrics consist of twenty-three “rules” from Seigmen of 2024, projected back through time towards the young band that just released their debut album «Pluto» in 1992. And to everybody else who needs to hear that you must have faith in yourself, you must believe to make your dreams come true.

With a steady pace of one album each decade since the turn of the millennium, Seigmen released their latest album «Resonans» in May 2024. Then they took us all by surprise by suddenly releasing brand-new single AND announcing a new album to be released next year! And another one in two years!

With this single release they also make a connection back to their first release “Pluto” in April 1992. The band’s symbol and logo, “Dyret” (eng. “The Beast”) among friends, was introduced to the world as it was radiating from the center of the deep, maroon cover. Fast forward to the summer of 2024 where the vibrations from «Resonans» still lingers, the single are the first taste from the bands next album; «Dissonans».

However, there are other and more tangible links to the past. When Seigmen played their first ever concert in their hometown of Tønsberg, they shared the stage with a local band called Floodland. The guitarist and vocalist in Floodland, Espen Winther, would later become a skilled instrument maker and a member of the medieval/folk band Eldrim. Going even further back to Winther’s teenage years we find him playing in a band with Seigmen drummer Noralf Ronthi and his brother younger Dag Reidar. Winther is the one that opens “(Dyret) 23 bud» in a majestic way with his home-made wooden harp called “Gnaal”.

The album trilogy has been the plan all along. Seigmen have made the most out of the last four years, during lockdown and health challenges, resulting in a long and involuntary hiatus from concerts and touring. «Resonans» was the first part of what in time will become a trilogy, consisting of «Resonans», «Dissonans» and «Substans». Three albums in three years, it seems almost surreal when you take the bands last 25 years of release history into account.

«Dissonans» will be the second part of the trilogy and is scheduled to be released on October 23rd 2025 on the 30th anniversary of the major breakthrough album “Metropolis”. The third and last part of the trilogy called “Substans” will follow in 2026 if all goes to plan. Three albums with a common thread running through them, but still three very diverse and different releases.

We managed to have a chat with guitarist Sverre Økshoff when he had a break after the band’s sound check.

Side-Line: What’s the story behind this surprising single release and albums announcement?

Sverre Økshoff: It’s been many simultaneous thoughts and actions these last 7-8 years, wondering if we’re still a band, then came corona and cancellations of shows, Alex’ health issues, so it piled up to a lot of reason for us being somewhat inactive outwards. But, in the meantime we’ve been working, started off with a weekend at an abandoned house on the beach, doing demos, me and Alex sleeping there so we could look after our equipment. First score was for “Arcadia Ego”, worked a lot on that, and got a good feeling that this was something we could have ownership and pride in.

The last years songs and texts keeps pouring out from Kim, and we started discussing if we should release single tracks like so many others, or if we should do something else with 30-something tracks. Or EPs? Or whole albums?  

S-L: A trilogy of albums, was that the idea from the start?

SØ: We had a long time quietly working without involving others, makings songs and having ideas how it should be presented, and it grew upon us that it should end up in a trilogy.

S-L: Must say it’s a clever naming of the albums! And now you have lots to do the next years?

SØ: Yes, Kim’s lyrics give clear lines for the naming of the albums. But if I am to say something about this with my perception and interpretation, it will be that “Resonans” (as already mentioned) resonates a long friendship and brotherhood between us guys. A bit pompous, but it’s a musical pact between us where either everyone is in or no one plays. So if one quits, Seigmen also disbands. “Dissonance” and “Substance” I haven’t quite got into yet. Something happens when the songs are released and played. Content and meaning are also processed. So, feel free to ask me again later.

Now we have a lot to do, we’re playing gigs again and will complete Dissonance in the next few months.

We do small sessions in the studio, during a weekend with a couple of songs at a time. It is new compared to before where we practiced for a long period and went into the studio and made the whole record in 3-4 weeks. Short cuts give the whole thing a slightly more spontaneous feel. Delicious actually.

S-L: Was it because of Midgardsblot you timed the release of the “(Dyret) 23 bud” single to just a week before?

SØ: Well, when seeing forward in time and having an idea about which instruments to use, it all came together as a good fit. And when involving Espen Winther we connected with pre-Seigmen history, Espen playing with Noralf and winning the Norwegian Rock Championship as the band Twilight Zone. Espen have been around the whole time, and now it was a good time for a collaboration with his harp and this festival.

S-L: With one single out there, a couple more are to be released before the next album – any info on them yet?

SØ: No, not decided which ones yet, so they’ll come as more surprises. I also think we’ve taken another steps backwards regarding the next album, and what I can disclose now is that it’ll be insanely fun to play!

S-L: How was this performance for Seigmen?

SØ: It was awesome to see the Vikings rocking in front of us! Very strange that so many people hang in there and were on fire at “Dyret”, a song that few had heard in its entirety! We are also really at home when we play in these areas. We had a fantastic night – thank you from the whole band!

jrstange

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

www.facebook.com/jrstange

The Serbian industrial act dreDDup from Novi Sad has completed their eleventh studio album, “Pan/Dora”, available in pre-order, marking the beginning of an ambitious trilogy. The other two albums, currently in development, will each explore distinct stylistic territories.

“Pan/Dora” features 13 brand-new tracks, the result of nearly four years of work. The pandemic delayed its completion by a year, but the early versions of “Clark Can’t” and “Cherry Noble” have already made their debut as AI-generated videos on dreDDup’s YouTube channel. The album was recorded and produced, as always, at DURU Studio in Novi Sad under the guidance of Mihajlo Obrenov.

This release also marks a change in the band’s lineup since longtime drummer Bora is absent from the album. He left the group this year after his final performance at the Nišville festival in mid-August.

Set to drop on all streaming platforms on September 7th, the band will give fans an exclusive preview on their Bandcamp page on Thursday, September 5, 2024, at 7:00 PM CEST. This listening party offers an opportunity to experience the full album ahead of its official release and interact with the band members in real-time.

In November, dreDDup will embark on a brief tour in Slovenia, focusing exclusively on tracks from their first four albums.

Bernard - Side-Line Staff

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

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Robert Gajdos is a Slovakian artist known for his involvement with dISHARMONY and his solo work under the Oxyd moniker. For several years now, Robert has also been crafting music as Headdreamer. His sound blends IDM and atmospheric, Cinematic-Electronic music, exploring themes of emotional depth and introspection. His latest opus, “Echoes,” continues this exploration and is the fifth studio album released on Aliens Production. I had the opportunity to ask Robert a few questions. (Courtesy by Inferno Sound Diaries)

Q: In addition to Headdreamer, you are also involved with dISHARMONY and have previously released work as Oxyd. Can you tell us more about these projects and how they relate to Headdreamer? Should we consider HEADDREAMER as your main project?

Robert: Headdreamer is a project where I express my personal feelings, moods, and experiences as I navigate through life. It’s separate from my other projects and isn’t necessarily my main focus -it’s more about self-expression. dISHARMONY, on the other hand, is a collaboration between myself and Ryby from Aliens Production, where we each bring our own influences, creating something distinct from Headdreamer. Oxyd was the project that initially pushed me to explore different sounds beyond what I was doing with dISHARMONY. Ultimately, all these projects are about capturing specific emotions at a given moment.

Q: What sets Headdreamer apart from your other projects? What makes it particularly special for you, and what inspires the music you create for it?

Robert: Headdreamer is closely tied to my spiritual journey and personal growth. It’s a walk between light and darkness, between the polarities of life -angels and demons. I’ve come to understand that everything originates from a single source, and it’s from there that I draw the ideas, emotions, and messages for my music. The project reflects the inner search for peace and balance, a theme that resonates deeply with me.

Q: Your music with Headdreamer is distinctive, characterized by a blend of intelligent electro sounds, intricate arrangements, and a pronounced space-like atmosphere. Can you tell us a bit more about the sound-DNA of Headdreamer?

Robert: I always strive to capture that initial spark, that idea, as soon as it comes to me. I believe this musical inspiration flows through me from entities beyond earth. The sense of space and melancholy in my music is intentional, meant to evoke a state that transcends earthly time and allows listeners to look within their souls, seeking healing.

Q: Let’s talk about your latest full-length album, “Echoes.” What is the concept behind this album, and how did the creation process unfold?

Robert: Ryby from Aliens Production, who is also my best friend, encouraged me to create this album. He wanted my songs to be available on a physical CD and suggested I compose additional tracks to fit the concept. I’m very grateful to him for this opportunity, as it allowed my music to reach more people. I composed a few songs, Ryby handled the cover graphics, and the album was ready. It was another great collaboration.

Q: Can you reveal more about the different stages of composing and producing “Echoes”? How critical are you of your own work, and are there specific albums or artists you consider as benchmarks for production quality?

Robert: As I mentioned, I create based on my mood and emotions, always aiming to capture the moment. I believe every artist is in a continuous process of self-improvement and expression. That’s why I don’t place anyone above others -each artist is doing the best they can at any given moment. As for criticism, I leave it to others to evaluate my work. I trust that those who resonate with it will find it helpful on their journey.

Q: What does the future hold for Headdreamer? Are there any major dreams or projects you are looking forward to working on?

Robert: I don’t have specific plans or dreams when it comes to music production. That’s why every project feels like a new adventure -music without borders or limits. It’s my personal universe where I express myself and create. Whatever comes, comes. I believe everything happens in its own time. Thank you for the interview, and I wish everyone strength, health, and success.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Raymond Watts, better known as PIG, has released a fully remastered version of his iconic 1995 album, “Sinsation“. Out via Metropolis Records (CD, digital) and Armalyte Industries (deluxe 2xLP vinyl), this reissue arrives nearly three decades after the original, just in time to coincide with Watts’ forthcoming North American tour.

“Sinsation” originally hit the scene on Nothing Records, the label spearheaded by Nine Inch Nails’ Trent Reznor. The album emerged shortly after PIG opened for NIN, and as a result PIG found himself labelmates of acts such as Marilyn Manson, Autechre, and Einstürzende Neubauten.

Watts says this about the actual album: “Every record I make is PIG through a different noose, and when I made ‘Sinsation’ the noose hung high. It was born at Ranch Apocalypse in London, a place where creation and cremation coexisted. I was locked inside both the studio and myself, with only [guitarist] Steve White and a large box of drugs for company. ‘Sinsation’ was the sound of the last card turning and burning. The only way out was through. I had to give birth to the noise inside my head and record it.”

The remastering process was an emotional experience for Watts: “I was surprised and saddened to revisit ‘Sinsation’. Surprised by the energy and invention and saddened to hear the pain. But, I was strangely glad to have visited hell, and blessed that I didn’t stay.”

The original ‘Sinsation’ was a collaborative effort, recorded and mixed by PIG and Helen Woodward, featuring contributions from Karl Hyde (Underworld), Jimmy Cauty (The KLF), Steve White (KMFDM), Carol Anne Reynolds (Sow), and Japanese artists Imai Hisashi (Buck Tick) and Hoppy Kamiyama.

Bernard - Side-Line Staff

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

side-line.com

Coventry’s industrial and cinematic darkwave band, Attrition, led by founder Martin Bowes, is gearing up for its first-ever tour of Australia and a return to New Zealand in October and November 2024. This tour follows the release of their album “The Black Maria” which dropped earlier this year via Two Gods Records.

Joining Attrition on the Australian leg of the tour is New South Wales’ industrial synth crust outfit Schkeuditzer Kreuz. Canadian ritual-ambient artist Subterranea (also known as Alia Synesthesia of Attrition) will accompany them for all Australian and New Zealand shows, except the Melbourne date. The tour will also feature a rotating lineup of special guests from the local underground music scene, including Life Cult, The Cold Field, DevilMonkey, Mankind, and more.

The 11-date tour kicks off in Perth on October 24th, with subsequent shows in Adelaide, Frankston, Hobart, Melbourne, Sydney, Brisbane, and Nambour. Attrition and Subterranea will then travel to New Zealand, where they will perform in Christchurch for the first time, followed by shows in Wellington and Auckland.

Check Attrition’s website for ticketing details.

Attrition on tour

• 24 October: Perth, four5nine, Rosemount Hotel, with Schkeuditzer Kreuz, Life Cult, and Subterranea.
• 25 October: Adelaide, Hotel Metro, with Schkeuditzer Kreuz, The Cold Field, Subterranea + DJ Empusa.
• 26 October: Frankston, Singing Bird Studio, with Schkeuditzer Kreuz, DevilMonkey, Subterranea + DJ Varunia Khan.
• 27 October: Hobart, Altar, with Schkeuditzer Kreuz, Mankind, and Subterranea + DJ Black Paul.
• 31 October: Melbourne, The Gasometer (Halloween), with Schkeuditzer Kreuz, Death of Art, Palliative + DJ Crowley.
• 1 November: Sydney, Darling Nikki’s, with Schkeuditzer Kreuz, Sounds Like Winter, Subterranea + DJs Xerstorkitte & Action Ant.
• 2 November: Brisbane, The Cave Inn, with Schkeuditzer Kreuz, Chiffon Magnifique, Subterranea + DJs Richard & Josh.
• 3 November: Nambour, Black Box Theatre, with Schkeuditzer Kreuz, Chiffon Magnifique, and Subterranea.
• 7 November: Christchurch, The Embankment Tavern, with Acclimate, Placenta Cookbook, and Subterranea.
• 8 November: Wellington, Valhalla, with special guests.
• 9 November: Auckland, Whammy Bar, with special guests.

Bernard - Side-Line Staff

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

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(Photo by Steve Gullick) Sex Swing have just share a new track from their forthcoming album inspired by the region between Myanmar, Thailand and Laos: “Boten, Route 13”. The single is out now via God Unknown Records together with a video.

This is the latest single from their third studio album, “Golden Triangle”, set for release on 4 October 2024 via God Unknown Records. The collective of revered UK underground musicians (comprising members of Earth, Mugstar, The Keep and Jaaw) have also detailed new UK tour dates that start on 5 October with a performance at the God Unknown 10th Anniversary show in London.

Sex Swing frontman Dan Chandler explains that “Boten, Route 13” is about illegal logging with Boten, Route 13 being a road near the Laos Chinese border, a route the smugglers take. “It really is an endless seam of activity,” Chandler explains of the region between Myanmar, Thailand and Laos that inspired the title of their new album.

The album line-up for this release was completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster.

“Golden Triangle” began as a project of creating beats and recording tracks remotely during the pandemic. The ideas were later developed during focused writing sessions at a quiet farm in Oxfordshire. The album was recorded by Stanley Gravett at Holy Mountain Studios in Hackney, mixed by Wayne Adams at Bear Bites Horse, and mastered by James Plotkin. The band also continued their collaboration with artist Alex Bunn, who designed the album cover.

The band will perform on Saturday 5 October at a very special show celebrating 10 years of the label on a lineup that includes Duke Garwood, Rainbow Grave, Sneers, Cassels and more – all taking place at Walthamstow Trades Hall – before embarking on further UK dates in December.

Sex Swing live

• 5 Oct – London, Walthamstow Trades Hall (God Unknown Records 10th Anniversary)
• 13 Dec – Tunbridge Wells, The Sussex Arms
• 14 Dec – Leeds, Headrow House
• 15 Dec – Bristol, The Louisana

About Sex Swing

Sex Swing is an experimental rock band formed in London in 2015. The group is known for a unique sound that blends elements of noise rock, post-punk, and avant-garde jazz. The band comprises Dan Chandler (vocals), Jodie Cox (guitar), Oli Knowles (keyboards), Colin Webster (saxophone), Stuart Bell (drums), and Jason Stoll (bass).

Before forming Sex Swing, the members were involved in various underground acts. They debuted with their self-titled album in 2016.

In 2020, they released their second album, “Type II”. Followed by the remix album “Passovers” (2020, Rocket Recordings). Last year saw the release of the live album “Grade A Peanut Sauce” (2023, Sonic Whip Records).

Bernard - Side-Line Staff

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

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The Dortmund-based post-punk / darkwave act Days of Sorrow has a new single and video out for “Tears”. It is the first release of the forthcoming two vinyl EPs out later this year. The video was filmed and directed by luigsfilms.de.

The release comes after their comeback three years ago. This new single also means the introduction of a new member, Kati von Schlotterstein on bass and keyboards. “Tears” is now available on all major streaming platforms.

The band says this about the new single: “We wanted to create a song that speaks to the enduring human experience of heartache and hope. “Tears” is a testament to our journey as a band and our connection with our audience. It’s about finding beauty in the midst of pain and using music as a means to heal.”

In addition to the single, Days of Sorrow are working on two vinyl EPs, set to be released later this year. The two EPs will hold a collection of new material.

About Days of Sorrow

Days of Sorrow is a post-punk and dark wave band originating from Dortmund, Germany. Formed in 1981 by William Lennox (vocals, keyboards) and André Schreiber (bass), the band quickly became a notable name in the German post-punk scene during the 1980s. They were heavily influenced by the burgeoning post-punk and new wave movements, which were at their peak during that time.

The band’s first lineup was rounded out by Wolfram Hubert on guitar and Nicolai Sabotka on drums. Their break came in 1984 when they were discovered by John Tollhaus, who overheard them playing their song “Wild World” and decided to produce and release it as a full 12″ EP titled “Remembering the Days” under Tollhaus Records. This release featured tracks like “Wild World” and “War” and saw the band performing extensively across Germany.

In 1985, the band underwent lineup changes with the addition of Claudio Stöber on keyboards and Kurt Voigt on drums, which allowed Lennox to focus more on vocals. They signed with Rough Trade Records and recorded new material, including a reworked version of “Wild World”. This led to the release of their second EP, “A Thousand Faces”, in 1987. However, the band split shortly thereafter, just before a planned tour in Spain.

After a long hiatus, Lennox and Schreiber reunited in recent years, joined by Frank Junge, and began working on new music. In 2023, they released the album “Soulmate Sister”.

Bernard - Side-Line Staff

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

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The Stockholm-based synthpop duo Covered in Snow – who participated on our Face The Beat 6 compilation – will release a second single, “Cemetery Club”, from their upcoming full-length album on Friday, August 23.

Cemetery Club was mixed by Aryan Marzban at Soundtrade Studios, who previously mixed Seinabo Sey, Mapei, Hov1, Benjamin Ingrosso, Jireel, Newkid to name a few.

Here’s what you can expect:

Covered in Snow consist of the Swedish synthpop duo Mikael Engström and Tom Hedlund. Formed in 2017, their music often blends elements of indie, pop, and electronic influences. The duo debuted with the conceptual EP “Collateral Damage” in 2019, and continued to release other singles like “Hurry Up to Love Here” and “Glasgow Smile”.

Covered in Snow previously also collaborated with the synthpop act Uncreated on the track “Rush”.

Bernard - Side-Line Staff

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

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The Buenos Aires, Argentina-based dark rock band Amáutica is back with a new album, Seven years after their debut. Their second studio album, “Sin Altares”, will be out on September 6th. But before that they first release the new single, “La Novia Oscura”, set to drop on August 23rd via Aenaos Records.

Amáutica consists of the duo El Guru and Romina Dusk who formed the band in 2010 at Llavallol city, Buenos Aires, Argentina.

Here’s what the duo has to say about their new upcoming album: “We have respected the nature with which each song has been revealed to us and we have infused them with the distinctive Amáutica sound to allow them to manifest in this world. We recommend listening to the album in its entirety for a full appreciation. Delving into its lyrics is worthwhile, as they represent our unique perspective on ancestral wisdom, magic, and spirituality.”

“La Novia Oscura” will be available on Bandcamp and all major digital platforms, here’s the pre-save link. For now you can already enjoy their most recent single.

Bernard - Side-Line Staff

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

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To be released on September 1 is the brand new album, “Where The Hell Is Heaven?”, by the Lisbon-based gothic/darkwave act Phantom Vision with Rammstein frontman Till Lindeman. The material was recorded, mixed and produced by James Dead and Pedro Morcego at Batcave Studios and 7th Floor Studio with the mastering being handled by Daniel Cardoso at Öhme Studio.

Till Lindemann (Rammstein) sings on the track “Allein Bin Ich In Guter Gesellschaft”. The connection between Lindemann and Phantom Vision began when the band supported him during his 2023 European tour.

Phantom Vision consists of Pedro Morcego, James Dead, Pedro Barradas and Carlão. “Where the Hell Is Heaven?” is the band’s 7th album since they released their first material in 2000 (their debut album “Nocturnal Frequencies”) on the British label Nightbreed Records.

You can already check out a few new tracks below.

Bernard - Side-Line Staff

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

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Belgian studio project Aiboforcen has been a fixture in the music scene for over 30 years. However, its operator, Benoit Blanchart, has taken a more relaxed approach to releasing new albums. Their latest, the 7th studio album, arrives after a six-year hiatus and features an impressive 22 tracks. Longtime collaborator Patrice Synthea (Regenerator) continues to contribute as a vocalist, appearing on several tracks. Blanchart also enlisted a wide array of guest artists, including Jan Dieckmann (Norderney), who shines on multiple tracks, Mari Kattman (Helix), Noemi Aurora (Helalyn Flowers), Emke (Black Nail Cabaret), Sorrow Stories, and even Patrick Codenys (Front 242), Implant & Pouppéé Fabrikk (singing together), and Numb.

The album primarily consists of original compositions, but it also features a few alternative versions, a remix by Patrick Codenys, and a cover of a Death In June-song. The sound remains unmistakably Aiboforcen—a blend of Electro influences that lies somewhere between EBM, Future-Pop, and their unique, freeform style. The music is intricate and sophisticated, offering a compelling mix of tracks that are both listenable and danceable.

Jan Dieckmann’s vocal performance left a lasting impression, his voice evoking shades of Ronan Harris but with a subtler, more sensual delivery. His duet with Noemi Aurora—unquestionably one of the finest vocalists in the scene—creates a truly euphoric moment. While I’m unsure if this is my all-time favorite Aiboforcen album, it certainly showcases some of the project’s best work to date. (Rating: 8½).

Listen to “Heaven Knows”:

https://alfamatrix.bandcamp.com/track/heaven-knows-feat-noemi-aurora

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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The cult goth band Rosetta Stone returns this month with a new album on Cleopatra Records on August 30. It is 25 years since the group debuted with the EP “Darkness and Light” after having released five cassette tapes and having developed a loyal following around their hometown Liverpool.

Now they release “Under The Weather”, which will be Rosetta Stone’s seventh studio album, and their first since 2020’s “Cryptology”. The new full length will be out on CD and vinyl.

The band’s new single and video for the title track “Under the Weather” is released today.

About Rosetta Stone

Rosetta Stone emerged from the vibrant musical landscape of the late 1980s in the UK. Founded in 1988 by Porl King and Karl North, the band quickly garnered attention for their dark, atmospheric sound and compelling live performances.

Porl King, the creative force behind Rosetta Stone, played guitar and took on vocal duties, while Karl North handled the bass. The band’s lineup saw various changes over the years, but these two remained the core members during the formative period. Drawing inspiration from gothic pioneers like The Sisters of Mercy and The Mission, Rosetta Stone carved out a niche with their ethereal melodies and brooding lyrics.

Their debut album, “An Eye for the Main Chance”, was released in 1991. Throughout the 1990s, Rosetta Stone continued to evolve, experimenting with electronic elements and darker, more complex compositions. Their subsequent albums, “The Tyranny of Inaction” (1995) and “Chemical Emissions” (1998), reflected this progression.

Despite lineup changes and the shifting musical landscape, Rosetta Stone maintained a dedicated following. After a brief hiatus in the early 2000s, Porl King revived Rosetta Stone, releasing new material and performing live again.

In 2019, the band released “Seems Like Forever”, marking a return to their roots while embracing contemporary production techniques. It was followed by 2020’s “Cryptology”.

Bernard - Side-Line Staff

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

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(Photo by Fabio Calabretta) On September 13th, the Barcelona-based, post-industrial duo Dame Area will release their fourth studio album, “Toda la verdad sobre Dame Area” (“The Whole Truth about Dame Area”), a collaboration with the labels Mannequin Records and Humo Internacional.

The album serves as a companion piece to 2022’s “Toda la mentira sobre Dame Area” (“All The Lies About Dame Area” – Màgia Roja and B.F.E Records), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Here’s already a new track, “Si No Es Hoy Cuándo Es“.

Formed in 2017 within the underground scene of Barcelona’s Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes. Dame Area released their debut album “Centro di Gravità” in 2018 on Màgia Roja and B.F.E Records. This was followed by “Ondas Tribales” in 2021, released on the Berlin-based label Mannequin Records.

Dame Area Tour Dates

• 09/08/2024 – WINCHESTER (GB) Three Wheel Drive Festival
• 10/08/2024 – CASTELBUONO (IT) Ypsigrock Festival
• 16/08/2024 – ALVESTA (SE) Kalabalik på Tyrolen Festival
• 17/08/2024 – SAINT-MALO (FR) La Route Du Rock
• 23/08/2024 – TORREMOLINOS Canela Fest.
• 24/08/2024 – LEIRIA (PT) Extramuralhas
• 30/08/2024 – BIRMINGHAM (GB) Supersonic Festival
• 14/09/2024 – LEFFINGE (BE) Leffingeleuren Festival
• 19/09/2024 – MEXICO (MX) 316
• 20/09/2024 – SAN JOSE (CR) Edificio Steinvorth
• 21/09/2024 – BOGOTA (CO) Asilo
• 27/09/2024 – SANTIAGO (CL) TBA
• 28/09/2024 – SAO PAULO (BR) Club Madame
• 03/10/2024 – MUNICH (DE) Rote Sonne
• 04/10/2024 – BERLIN (DE) Neue Zukunft
• 05/10/2024 – HAMBURG (DE) MS Stubnitz
• 11/10/2024 – PARIS (FR) Petit Bain (Gonzaï Night)
• 12/10/2024 – AURAY (FR) Les Nuits Soniques
• 18/10/2024 – MADRID (ES) TBA
• 19/10/2024 – VITORIA (ES) TBA
• 24/10/2024 – BRUXELLES (BE) Beursschouwburg
• 25/10/2024 – CHARLEROI (BE) Le Vecteur
• 26/10/2024 – INNSBRUCK (AT) Positive Futures Festival
• 31/10/2024 – LUZERN (CH) TBA
• 01/11/2024 – LAUSANNE (CH) Le Romandie : Le Bourg
• 02/11/2024 – LONDON (GB) The Lexington
• 05/11/2024 – BRIGHTON (GB) The Hope and Ruin
• 06/11/2024 – LEEDS (GB) Headrow House
• 08/11/2024 – BRISTOL (GB) Strange Brew
• 09/11/2024 – COURTRAI (BE) Sonic City Festival
• 10/11/2024 – POITIERS (FR) Salons de Blossac – Groweekend
• 15/11/2024 – ARLES (FR) Cargo de nuit
• 23/11/2024 – LEEUWARDEN (NL) Explore The North
• 29/11/2024 – LORIENT (FR) Hydrophone – Soirée LFSM
• 30/11/2024 – SAINT-BRIEUC (FR) Pavillons des expositions Temporaires
• 01/12/2024 – ANGERS (FR) Joker’s Pub
• 14/12/2024 – MILANO (IT) Arci Bellezza

Bernard - Side-Line Staff

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

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London Records has released the Superchumbo remix of the Bronski Beat hit “Why” featuring Pet Shop Boys frontman Neil Tennant. This is the third remix from the upcoming 40th-anniversary deluxe reissue of Bronski Beat’s 1984 album “The Age Of Consent”, out October 18th. It follows reworks of the classic queer anthem “Smalltown Boy” by producers Absolute and Planningtorock.

The song, originally recorded at RPM Studio in New York City and mixed at Townhouse Studios in London, features lyrics that focus centrally on anti-gay prejudice. The song was written for Martin, a friend of the Bronskis who was hounded out of the country by his boyfriend’s irate and violent parents. You could say it was a sequel to their debut single “Smalltown Boy”, continuing the tale of a young gay man suffering humiliation and animosity as he tries to live his life.

The song opens with a questioning vocal by Bronski Beat frontman Jimmy Somerville and the sound of shattering glass. It was the trio’s second Top 10 success in the UK, throughout Europe, and in Australia, and is considered a popular gay anthem today.

The drawing for the original single cover, depicting a man with his head in his hands, was created by Glasgow artist Robert McAulay, who was associated with the band at the time.

Here’s what Jimmy Sommerville says about the collaboration with Tom Stephan (aka Superchumbo) on this new mix: ”I’ve known Tom for a good few years now and when I asked him if he’d like to do a remix of ‘Why?’ he said yes straight away. The song is a part of his story. I was so moved when he shared that story with me. The lyric is our shared experience as it is for so many others…and forty years later the lyric still tells the story of LGBTQi+….the hate, the violence, the discrimination, the imprisonment and state sanctioned murder of those who dare to be their true selves and it’s happening somewhere right now as I write this.”

Speaking on the rework, Tom explains: “My goal was to create an updated mix that fits well with contemporary sounds while preserving the original intensity and energy. After I submitted the mix, Jimmy asked me if I could include a few more lyrics from the original song. I had recently watched a Pet Shop Boys documentary where Neil Tennant read some of his lyrics, which moved me to tears,” he continues. “I imagined Neil speaking these lyrics, creating a powerful contrast. I left Neil a voicemail on my way to a gig abroad and by the time I reached Heathrow I had his vocals on my phone, added them to the track on my flight, and played it that night! It is a great honour to work on this iconic song with two legends who were lifelines to me while growing up gay in a small town.”

“I was fucking whooping like a banshee round my kitchen when Tom told me Neil would like to contribute! ” adds Jimmy. “To speak the lyrics of ‘Why?’ and to hear Tom’s musical reworking of the track is fucking mind-blowing. So to hear Neil, one of our greatest pop lyricists, speaking my words… It brings it into the here and now and also retains its history with my original vocal. I genuinely felt moved.”

4CD+DVD deluxe set tracklisting

The 40th-anniversary reissue of “The Age of Consent” will be available in a variety of physical and digital formats, including a 5-disc deluxe edition (4CD+DVD): featuring 4 essays by Tom Rasmussen, Lesley Chow, Lucy Robinson, and Barney Ashton-Bullock, the original album, bonus tracks, remixes, rarities, early versions, and rare radio sessions. Its DVD comes with restored promo videos, Top of the Pops performances, and original TV adverts.

Other formats include 2CD with new reworks, 2LP (with “The Age of Consent” and its neighbouring remix album “Hundreds & Thousands”), a yellow 1LP edition (Lexer Music Exclusive), and a super deluxe edition exclusive Blu Ray edition featuring “The Age of Consent” and “Hundreds & Thousands” in Dolby Atmos & 5.1 mixes.

Disc One

The Age Of Consent – The Album Plus

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love And & Money
6. Smalltown Boy
7. Heatwave
8. Junk
9. Need A Man Blues
10. I Feel Love / Johnny Remember Me
11. Smalltown Boy (Dj 7” Edit) – Bonus Track
12. Why? (Remix) – Bonus Track
13. It Ain’t Necessarily So (7” Version) – Bonus Track
14. I Feel Love (7” Version) With Marc Almond – Bonus Track
15. Run From Love (Radio Version) – Bonus Track
16. Hard Rain (Nme 7” Version) – Bonus Track

Disc Two

Hundreds & Thousands – The Remix Plus

1. Heatwave (Harvey Goldberg Remix)
2. Why (Harvey Goldberg Remix)
3. Run From Love (Dominic Maita Remix)
4. Hard Rain (Harvey Goldberg Remix)
5. Smalltown Boy (Harvey Goldberg Remix)
6. Junk (Harvey Goldberg Remix)
7. Love And Money (Hundreds & Thousands Remix) * – Bonus Track
8. Infatuation / Memories – Bonus Track
9. Close To The Edge – Bonus Track
10. I Feel Love (Cake Mix) With Marc Almond – Bonus Track
11. Cadillac Car (Extended) – Bonus Track

Disc Three

Consent Extended – The 12 Inches Plus

1. Smalltown Boy (12” Version)
2. Why? (12” Version)
3. It Ain’t Necessarily So (12” Version)
4. I Feel Love (12” Version) With Marc Almond
5. Run From Love (Us Club Remix ‘85) *
6. Smalltown Boy (Us Club Remix ‘84) *
7. Red Dance
8. The Potato Fields
9. Puit D’amour
10. Signs (And Wonders)
11. I Feel Love (Fruit Mix)

Disc Four

Ignore At Your Peril – The Rarities Plus

1. Smalltown Boy (Capital Radio Session, May ‘84) *
2. Heatwave (Capital Radio Session, May ‘84) *
3. Hard Rain (Capital Radio Session, May ‘84 )*
4. Why? (Early Version, March ‘84) *
5. Crazy Maraquitta (Studio Session) *
6. It Ain’t Necessarily So (Early Version) *
7. Upside Down (Studio Session) *
8. Screaming (Early Version, March ‘84) *
9. The Power Of The Gold (Studio Session) *
10. Love And Money (Early Version) *
11. First Church (Feel Love) (Studio Session) *
12. Junk (Early Version 2) *
13. Walking (Studio Session) *
14. No More War (Early Version) *
15. Go (You & Me) (Studio Session) *
16. Close To The Edge (Early Alternate Extended Mix) *
17. Heatwave (Early Version) *
18. The Other Side Of The Tracks (Studio Session) *
19. Smalltown Boy (Early Version, March ‘84) *

Disc Five

The First Chapter – The Videos Plus [Dvd]

1. Official Music Videos
2. Smalltown Boy (Restored Promo)
3. Why? (Restored Promo)
4. It Ain’t Necessarily So (Restored Promo)
5. I Feel Love (Restored Promo) With Marc Almond
6. Top Of The Pops Performances
7. Smalltown Boy (Bbc ‘Top Of The Pops’, June ‘84)
8. Why? (Bbc ‘Top Of The Pops’, September ‘84)
9. It Ain’t Necessarily So (Bbc ‘Top Of The Pops’, December ‘84)
10. I Feel Love (Bbc ‘Top Of The Pops’, April ‘85) With Marc Almond
11. Original Tv Adverts
12. The Age Of Consent – Tv Advert #1 (December ‘84) *
13. The Age Of Consent – Tv Advert #2 (January ‘85) *

* Previously Unreleased

Bernard - Side-Line Staff

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

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Pacific Northwest shoegaze group Tears Run Rings has released their latest single and video, “Helios Helada”, from their forthcoming album “Everything In the End” out on Shelflife Records on September 6th, 2024.

Formed 15 years ago, Tears Run Rings consists of Matthew Bice (vocals, guitar), Laura Watling (vocals, bass), Ed Mazzucco (guitar), and Dwayne Palasek (drums). The band returns after a six-year hiatus since their last album.

“Everything In the End” is the result of the band’s renewed collaboration following their first live show in a decade back in 2018 and retains Tears Run Rings’ shoegaze roots. The double LP was conceptualized over several years with much of the album having been recorded in Portland and San Francisco home studios, making it a long-distance collaborative effort.

Below is the video for “Helios Helada”, the leading single.

Bernard - Side-Line Staff

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

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Data Void emerged from the collaborative efforts of Don Gordon (Numb, Halo_Gen) and James Mendez (Jihad ao). This year, they released their debut album, “Strategies Of Dissent,” on Metropolis Records. The songs feature a Dark-Electro and EBM sound, yet there’s an overwhelming Cinematic vibe running through the work. It is a remarkable opus, and I had the opportunity to connect with Don and James, who revealed many details about their work and album. (Courtesy by Inferno Sound Diaries)

Q: The two of you have been in the music industry for a long time, but what has brought you together, and what has led to the origins of Data Void?”?

JM: The very beginnings of the project initially began back in June of 2020, where I initiated the idea of collaborating on a song to see how things would progress. In response, Don shared some early ideas that which evolved into the track “Seven Seconds”. The idea of collaborating on music together was something that came up after many different discussions we had (both music / non-music related) throughout the approximate year and half we remained in contact since meeting up in Southeast Asia where I met Don for dinner in Ho Chi Minh City where he was living at that time. From there, it wasn’t something we both knew we were going to pursue and continued working on more ideas/material which sort of played out organically throughout the entire process up to what you hear on the finished album.

DG: While there wasn’t an initial plan to release anything we realized quite quickly that there was something quite unique coming together out of the experiments. This led to discussion about possibly releasing some of the material as an EP which over time expanded into an album. The conceptual framework for the album emerged after the first couple of songs were finished. The name of the project was suggested by the alignment between themes we were exploring lyrically and articles that I was reading concerned with information data voids and misinformation/propaganda.

Q: I can imagine that such a new project must be very exciting. Did it feel that way for you throughout the entire writing and production process? How did the songs on the album come together?

DG: The album was developed through the online exchange of audio and MIDI files and lots of discussion. This meant that there wasn’t a lot of real-time interaction during the writing phase. The process would start with one of us sending a sketch of a groove or harmonic progression to the other person who would use this as a creative jumping off point. The first couple of exchanges usually led to quite marked departures and evolutions from the original source idea. This iterative back and forth allowed for unexpected ideas to be introduced and a more reflective approach to development of ideas. After structuring the primary instrumental components of a song, I would write lyrics and record a version of the vocals. These were forwarded to James who would then record an alternate variation. The most interesting elements from these different versions were then used as the basis for a song’s vocals. This resulted in some songs in which the main vocal part would alternate between James and myself in the verses and chorus (i.e. “Crash, Burn & Resurrect”), other songs where both vocal approaches were integrated throughout, and in some there would only be a single vocalist (i.e. “A Failure Of Language”, “This Night Goes On Forever”). While I executed the final mixes, these too would undergo revision based on discussion.

JM: I was really exciting to see how the ideas we started out with would evolve as they developed into full-length songs, and in turn how this would lead to a complete album. It was quite interesting to see how we both approached the song writing process, along with all technical aspects (i.e., sounds, textures, percussion, mixing elements, etc.).

Regarding how the songs came about on the album; one of us would start out by sending the other a short clip (~45s – 1m) that would entail several different sequences  that represented the beginnings of an idea where the other would then add additional parts to compliment where the other left off. Going back and forth in this fashion until we completed the outline of what felt like the song should be. We would complete a rough draft of each song and then repeat the process again, starting out with more ideas until we eventually completed the next song and so on. As we continued working on each song, we would also discuss all of the details via email, chats, and video calls when things became a bit more complex, as this would save a lot of time in conveying our thought process.

We both use different DAWs (Logic Pro and Ableton Live) when writing music but also use several of the same virtual instruments / effects which helped make things a little easier when sharing files back and forth. We would share a combination of audio files, MIDI, VST patches, screenshots, configuration files, etc. so we could essentially mirror all of the individual sequenced tracks and song structures on both of our DAWs respectively as we continued to complete each song.

After we finished each song, Don would write lyrics and share them along with a rough sketch as to how they may be structured. The vocal structure would also undergo the same iterative approach going back and forth until we were content with the final outcome. After finishing three songs, we both reevaluated what we were going to do as far as a release was concerned and decided to continue working on more music until we felt we had enough songs to complete an entire album.

Q: The title of the album, “Strategies Of Dissent”, sounds intriguing and particularly relevant in the context of world politics. What is the album all about, and what inspired the lyrics?

DG: Lyrically and conceptually the album explores the themes of power, control and resistance to it, and the attraction for many to ‘lost causes’. Each song takes a different perspective, a different strategy if you will, to engaging with these themes. Not surprisingly, information spaces, misinformation, conspiracies, and technology figure into this with most of the songs having their basis in contemporary events and social/political currents. That being said, the lyrics were constructed so as not to come across as didactic, but instead to present these ideas at a more personal level.

“Nothing Changes” is intended as a ‘call to arms’ in response to the deception and erosion of individual control being exercised by big tech, corporations/banks and governments. The dilemma is that this is not some unified grand conspiracy but rather the outcome of a number of overlapping and competing self-motivated agendas.
“A Failure Of Language” and to a degree “What’s Left Unsaid” question the current collapse of language, the appeal of conspiracy theories and skepticism, and the increasing failure of our ability to communicate meaningfully and where this leads. A new Babel?

“Echoes Of Ritualised Performance”, while an instrumental track, was inspired by our need to repeat inherently negative social behaviors/tropes of the past and a seeming inability to learn from these… each echo a further degraded/distorted version of an initializing event from the past.

“This Night Goes On Forever” was conceived of as a reflection on the individual consequences for those who found themselves supporting and surviving a major conflict started for the wrong reasons, and the resultant aftermath of physical, psychological traumas and guilt that extend far past the event.

The 2020 Hong Kong protests and the 2021 coup in Myanmar resonated strongly with me after having lived in Southeast Asia for 20 years. So “Alien” was inspired by photos, reportage and interviews about these events and was an attempt to try and put yourself into the head of a person who has found their world suddenly and radically changed and themselves unexpectedly at the center of violence and/or as a symbol of resistance.
“The Goal Of Seven Seconds” was to evoke an anthemic quality while presenting a scathing critique of those who ‘sell dogma and deceit’ in order to incite an ill-conceived end of days for their own personal gain.

The tracks “Crash, Burn And Resurrect” and “Control” were written as a comment on the rise of extremist rhetoric and behavior.

Q: You’ve explained how this collaboration took shape, but can you tell us more about the chemistry between you?

DG: My sense is that the chemistry comes from our overlapping but distinct musical reference points and different approaches to our creative processes. It was the embrace of these differences that provided the creative dynamic that led to many of the interesting ideas as we developed over album.

JM: It was quite interesting for me to reconnect with Don 22 years after first meeting him in 1996 Austin, TX when Numb was on tour with FLA and Die Krupps. It became clear that we share some common perspectives and ideas about different things, which also happens to carry over into music. And because of our similar yet different musical preferences and approaches in our writing styles, this played a significant part into how the album turned out. As part of the musical journey when collaborating on the album, one thing I can appreciate is being challenged in a way that I would constantly be conscious of the writing style and mood I would contribute, to deliberately not write in the same fashion I am typically accustomed to and comfortable with. It certainly helped me take a different approach to writing for this project and in general.

Q: “As experienced musicians, do you still have certain influences or references when making and finishing a song? Also, how would you describe the album “Strategies Of Dissent”?

DG: In many ways you never outgrow your early influences as they are a baseline to which you add, refine and push-back against over the years. While I’m always listening to new artists and across genres, I find those early influences still subtly find their way into my more recent work.

“Strategies Of Dissent” is an album in the ‘old-school’ sense, a series of thematically connected songs that have been ordered in a manner so as to present the listener with a loosely structured narrative rather than just a collection of songs. I feel this provides a more interesting experience for the listener and allows them to get a better sense of where the project is coming from.

JM: Having been exposed to so many different kinds of music styles, genres, and artists over the years (to include the discovery of new bands regularly), there are many references I feel that have made their way (subconsciously) into music I’ve written years ago including some of the more recent work I’ve done. I think it’s inevitable.

With “Strategies Of Dissent” we set out to capture the intensity of early Electro-Industrial and integrate this into more contemporary Electronic music sound. The album as a whole, in my opinion, is homogeneous in that each song works well independently and thematically throughout the entire album.

Q: What does the future hold after this album? Do you have any concrete plans at the moment?

DG: We’ve been thinking about a follow-up release (EP?) with a combination of new material and dub versions of some tracks from “Strategies Of Dissent”. We’re also exploring the possibility for a version of Data Void to do some live European shows.

JM: We have discussed in passing the idea of working on some new material, whether that would be a new single/EP or possibly a new album at some point to also include some alternate versions of existing tracks. We’re also considering live alternate versions of the songs for some shows in Europe later this year and next.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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After “Télévision 1945 I” and “Télévision 1945 II”, the French label productionB presents another set of long-lost analogue treasures from Novocibirsk: “The Vasarely Project”.

Novocibirsk as a project is the product of experiments conducted by Hervé Isar between 1982 and 1993 in his home studio, connecting a network of synthesizers and analog sequencers to test their communications or synchronize their messages and speed multiplication, testing multi-oscillators pads out of mono generators, trying octave distribution, voltage additions and substractions.

Out now is a brand new video for the title track.

This new release holds 10 new analogue experiments also recorded in the late 80s / early 90s, culled from the Novocibirsk’s cassettes archives. The material was carefully restored and remastered for this new release. For this material Hervé Isar experimented with a very unique composition process: He transposed the painter’s color codes into electrical tensions programmed on three interconnected analogue sequencers with no preconceived idea of the outcome. It was subsequently played in front of a live audience in the Vasarely Foundation in Aix-en-Provence in september 1993 and recorded on audio tape, now available on CD, Limited 12″ LP and digital.

Bernard - Side-Line Staff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bernard - Side-Line Staff

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

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The Belgian electro-pop duo Metroland released “Forum” a few months ago, an electrifying conceptual hymn to the industrial revolution of the 21st century, a sonic journey exploring the crossroads of innovation and nostalgia. Fresh and experimental vintage electronic prowess for fans of the melodic Düsseldorf synth style. We talked with Passenger A and Passenger S about this new album, while new singles from this album are in the pipeline. 

The album is available on Bandcamp and on CD via the Alfa Matrix webstore.

SL. “Forum” is described as a continuation and evolution of your previous work “0”. Can you explain the conceptual link between these two albums and how the EP “Industry” serves as a bridge between them?

Passenger A&S: When “0” was not yet released and seriously delayed by many different factors, we were toying with the idea to extend the ‘World Economic Forum’ concept around the industrial revolutions. We planned 5 EP’s, each with a variance of the song “Industry 4.0” alongside new tracks. However, once “0” was out, we no longer had the urge to release these foreseen EP’s. We both felt it was simply not enough and, to be honest, it was close to being even pointless. After some creative discussions and a Belgian beer or 2 (make that 4) an album felt better, more significant and certainly in the afterglow of “0”, unfinished business.

The album indeed draws inspiration from the World Economic Forum in Davos. How did this influence shape the themes and musical direction of “Forum”?

Passenger A&S: It is in fact almost never the theme itself that shapes the songs or the direction. We mostly start from a sample, a sound, or a title. While building the song we come across other sounds and samples and even then what we had in mind to start with could turn out totally different from that. “Forum” is an album which is not as dark as its predecessor, but you can surely put it alongside the atmosphere and direction of it.

Tracks like “Happy Nothing”, “The Great Reset”, and “Infotainment” showcase your melodic side. Can you discuss the inspiration and creative process behind these particular songs?

Passenger A&S: These 3 songs all started from a totally different base. “Happy Nothing” came from a textual idea, whereas “The Great Reset” was built on a sampled baseline and “Infotainment” started from a melody. While melodies are a continuum of Metroland’s way of working, we don’t really have 1 way to go about a song, nor do we start together in the studio every time. It is quite possible that a Passenger comes up with a demo or a loop of a few seconds.

“Forum” includes experimental song structures and fresh sounds. What new techniques or approaches did you explore in this album that differ from your previous work?

Passenger A&S: Every album is an occasion to broaden our sound palette and discover new electronics. However, we never set out from the start with a clear goal; it mainly comes along during the creative process; our more ‘experimental’ side you could say. Sometimes, we even delete parts of a song or a sound, and yes, even sometimes a complete song is being omitted. We have around 5 to 6 songs that never make it on a release, and we never re-use any of these either. We do have our special things and tricks that we tend to do with shifting notes, trying different layers or strange effects. But we never look back, never try to copy something from our past, or use any of the sounds we used before. Every new release is a fresh new audio canvas where we use different approaches in sound scaping.

The EP “Industry” features different versions of the industrial revolutions, culminating in a 10-minute epic experience on the CD edition. How did you conceptualize and create this multi-part industrial journey?  And why these different versions always between CD, digital, vinyls… it’s quite conceptual for METROLAND isn’t it?

Passenger A&S: Apart from the music, there is art, there is concept, there is hard work. So, if you “only” want digital, you might get less. We strongly believe in the item as an entity to complete our message. It is only by holding, reading the booklet and seeing the full package that you understand what that message ought to be. Digital platforms should be an argument to buy a physical version on an album and not “the end”. We want to deliver value to those who appreciate it. That requires much more input from our end, more songs, more art, but in the end, it brings much more value. And yes, this is a harsh view, we confirm. But since we entered the music business in 2012 with “Mind The Gap” we get the appraisal for that from our loyal fan base.

Your music often reflects a blend of innovation and nostalgia. How do you balance these elements to create a sound that feels both fresh and rooted in the vintage electronic tradition?

Passenger A&S: It is the blend of our very rich background and music collectors from 80s to modern, from dark wave to electronics and everything in-between that results in the typical Metroland sound. Where Passenger S is inspired by dark music but loves the high-pitched sequences, Passenger A loves club stuff but prefers not to make things too jolly. We push each other in both directions and extremes, but we meet each other in the middle. It is that synergy that keeps us going, that delivers that Metroland attitude.

The tracks “Activity as a Timetrigger,” “Baukultur,” and “Quantum” continue the trajectory set by “Industry.” Can you delve into the themes and messages you wanted to convey through these electro-infused pieces?

Passenger A&S: We never thought of it that way. We never make a song, deliberately thinking of a message or a link with another album track. We do read and discuss often about the concept and about what would/could be the right direction to take, both music and art wise. Things just happen, albeit everything is linked to the theme. The current concept we are creating songs for is basically an easy one, opens a lot of opportunities, but is the hardest one for us to give it the right approach in art, when looking at all our endeavours.

As a duo, how do Passenger A and Passenger S collaborate in the studio? Can you share some insights into your creative dynamic and how it influenced the making of “Forum”?  And how different is it for both of you compared to your respective solo-projects?

Passenger A&S: Usually, we meet up weekly in the Underground Studio and work on no matter what upcoming release. There is never any pressure, but once someone holds the final result, he or she can be sure that everything is meticulously planned to the hilt, from every little stroke of art to the very last second of every song. But we never follow the same pattern or path; nor for music nor for art, and the further we can step outside of the box the more we like it!  The solo-projects are clearly without the influences of the other Passenger and music wise, although both electronic, it is very different for 90% (some things are in our DNA and we cannot ignore it. But that feels natural after working together for more than 30 years). The biggest difference is that the synthpop from 808 DOT POP (Passenger S) is built around concepts and more sequence based, whereas LECTREAU (Passenger A) works in singles only and aims for the club floors. The mutual aspect is electronics; that will remain a fact, no matter what.

Bernard - Side-Line Staff

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

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Jem Tayle (Shelleyan Orphan) and Boris Williams (The Cure) have founded a new project, Vamberator.

Jem describes the transition from Shelleyan Orphan to Vamberator as follows: “After Caroline Crawley’s passing, I had been offered the chance to make a solo album. I had been writing on and off without a focus and not having someone to bounce off was new to me. Boris is family, and we have played together with Shelleyan Orphan live and in the studio on and off for years, so it felt very natural for us to work on this together. I am extremely fortunate to have a drummer of his calibre pounding out the rhythms on this album.”

Vamberator’s debut single, “Sleep the Giant of Sleeps” is from the forthcoming album “Age of Loneliness” (Unifaun Productions), and also features regular collaborator Charlie Jones (Goldfrapp, The Cult, Robert Plant et al) on bass.

Asked to describe the themes and inspirations behind the new single, Jem says: “Chasing trains, chasing dogs, chasing dreams, they always get away. Pushing your way through that froth on a daydream, sharing the gloom with ghouls and procrastinating – it’s all part of the daily merry-go-round. But there is always an unseen presence that comes to the rescue, sometimes in dreams, sometimes in the middle of the night as you cool yourself in front of that open fridge. It’s relentless though, and here it comes again, but there’s so much to do, but close your eyes and there she is again.”

“Sleep the Giant of Sleeps” by Vamberator is out now from Bandcamp, Spotify, and all the usual digital music stores worldwide.

Bernard - Side-Line Staff

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

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Celebrating 30 years in the music industry, Solitary Experiments have released a brand new remix of their hit single “Träumen”. This new rendition is titled “Träumen – Neuroticfish Albtraum Mix”.

Solitary Experiments, formed in 1994 in Frankfurt (Oder), is a prominent force in the melodic electro and EBM (Electronic Body Music) scene. Dennis Schober and Michael Thielemann began their musical journey in a small home studio, focusing on creating a unique sound characterized by melodic synth lines, driving beats, and harmonious vocals. Their early work quickly gained attention, leading to the release of their debut album, “Final Approach”, in 1999. The rest is history.

In further anniversary news, Solitary Experiments will host a special two-day festival in Berlin, featuring seven friends from the scene, special guests, and various surprises. This event is already sold out though.

Bernard - Side-Line Staff

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

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UPDATE: Impala reached out to us and gave extra input and feedback, this has been added to this article.

Impala, the Independent Music Companies Association, has published the findings of its first survey examining the economic advantages of adopting sustainable practices within the European independent music sector. According to the survey there are multiple benefits for labels that implement sustainability measures, including cost reductions, enhanced innovation, and improved brand perception.

Let’s have a detailed look at what they communicate. You can download the business case right here. But first this…

Danger of Greenwashing

Below you can read what Impala indicated as being ‘sustainable’ practices. But, in some cases you can actually wonder if it’s not about greenwashing, because the cost for instance of producing lightweight vinyl is lower but the prices in retail will often remain the same. So, it could often be a cost element that plays, and not really the sustainable idea.

Impala reacts to us by saying that they strongly refute that assertion: “First, it is important to highlight the goal of the business case itself, which is to promote action among our members and in the supply chain. IMPALA is committed to aligning with climate science and works closely with expert advisors to ensure our approach is appropriate.

Furthermore, the report and IMPALA as an organisation don’t promote making sustainability claims without scientific backing, which is detrimental to both climate action and the organisation’s reputation. Should any companies want to display their commitment to the cause, it’s great to know that there are organisations like B Corp working on providing certified credentials.”

Greenwashing is when companies mislead stakeholders about their environmental practices to appear more sustainable than they are. Greenwashing can undermine genuine efforts, erode trust, and misguide consumers and industry stakeholders.

No Sign of the Famous Unplayed Catalogue Tracks Server Cost

Strangely enough we don’t see any mentioning of the huge cost that comes with unplayed tracks on Spotify. As we reported, Spotify will not be paying royalties for songs with fewer than 1,000 streams in a year.

But the deeper issue is the cost related to tracks that never get played. Nearly 25% of the tracks on streaming services had no streams at all. With the constant growth of the music catalog, unstreamed songs are predicted to reach a whopping 100 million by 2028.

The cost of maintaining these platforms has increased dramatically, from $35 million in 2019 to more than $130 million in 2022. So removing the unplayed tracks from Spotify would be a real sustainable move as it would mean less energy use to keep servers up with unplayed tracks.

In a reaction Impala says this: “Regarding streaming, IMPALA has had a position on the scope of responsibility for a while now, which we included in our ‘standards’ report published early last year. In a nutshell, while we’re working closely with DSPs to encourage greater transparency and support them towards measuring and reducing the impact of streaming, their emissions are excluded from the responsibility of labels, who we represent.

You can find the full report here, and I’ve also included the relevant text below. We’ll also include this in our business case report to avoid future misinterpretation. Thank you for bringing that to our attention.”

This is the relevant text that we were sent by Impala:

Standardising the sector’s approach on streaming is vital. The group reviewed the whole chain and reached a key set of conclusions related to the scope of responsibility concerning digital distribution.

Emissions from downstream digital distribution (the distribution of digital recordings through Digital Service Providers [DSPs] and consumption by fans through streaming services or digital download) are excluded from the responsibility of labels for the following reasons:

• Scope of responsibility – labels do not own or control DSPs which are the responsibility of third parties who are already taking responsibility for the relevant emissions.
• Influence – record companies have no direct control over the distribution of digital files once they have distributed to DSPs, or influence over emission reduction programmes.
• Size – due to a lack of available data, it’s not possible for the recorded sector to estimate with accuracy the size of emissions from digital distribution. The necessary data is controlled by DSPs and their downstream partners. Some DSPs are working towards gathering data from their operations and are establishing emissions calculation methodologies. We refer to this, as availability of data is part of the GHG protocol, but as noted above, scope of responsibility and lack of influence mean that DSP emissions (including subscriber emissions) are not counted as record company emissions. (This is the same as for other downstream areas of activity in the music market, such as physical retail.)

Digital distribution is a vital part of our industry and makes up a significant portion of income for our members. We’re therefore working closely with DSPs to encourage greater transparency and will support towards measuring and reducing the impact of streaming. As part of the Music Climate Pact and our own Climate Charter, we call on DSPs to work collaboratively to share data and knowledge on this issue.

Here is what Impala says in its current version of their business case regarding sustainability.

1. Financial Savings and Environmental Impact Reduction:
   • Companies reported important savings in manufacturing, distribution, energy, and travel costs. For instance, labels like K7! Music have reduced costs by opting for green vinyl (PET), which cuts energy consumption by 70-80% compared to PVC.
2. Internal Innovation:
   • Embracing sustainability has driven internal innovation. For example, some companies have optimized logistics by shifting from air to sea freight and encouraged remote meetings, maximizing staff efficiency​. The introduction of new formats, like 140g vinyl instead of 180g, has proven cost-effective with minimal impact on audio quality.
3. Supply Chain Improvements:
   • Sustainable practices have led to operational efficiencies and cost savings. Local sourcing and just-in-time inventory management have minimized excess stock and lowered storage costs. For instance, labels reported benefits from using lightweight materials, reducing transportation and packaging costs​.
4. Strengthening Supply Chain Relations:
   • Enhanced transparency and collaboration within supply chains foster positive changes. Suppliers publishing their sustainability data and collaborating on certification systems have presented new opportunities for large-scale sector improvements.
5. Competitive Position and Brand Awareness:
   • Sustainability has bolstered companies’ competitive positions. Labels such as Secretly Group and Beggars Group have seen improved brand perception and competitive advantage through their sustainability efforts. For instance, public engagement and recognition as sector leaders have enhanced their visibility and appeal.
6. Regulatory Compliance and Financial Resilience:
   • Proactive sustainability measures help companies stay ahead of regulatory changes. By implementing tools like the Impala Carbon Calculator, companies can prepare for future regulations and tax incentives, ensuring long-term financial resilience.
7. Attracting and Retaining Talent:
   • Sustainability initiatives have positively impacted employee recruitment and retention. Companies noted that a focus on sustainability fosters a purpose-driven work environment, attracting younger generations who value social responsibility.
8. Attracting Artists:
   • Labels with strong sustainability reputations attract more artists. Artists increasingly engage with labels on sustainability practices, contributing to positive public perception and industry leadership.

Survey Methodology

The survey was conducted through ‘qualitative interviews’ with selected Impala member labels from different territories, sizes, and stages of their sustainability journey. Research projects from entities such as Music Declares Emergency, British Phonographic Industry (BPI), and Key Production supported the survey findings, showing that music fans prioritize climate action and are willing to pay more for sustainable products, so Impala claims.

Impala itself offers tools like the Carbon Calculator to help members track and report their carbon footprint. The program aims to halve greenhouse gas emissions before 2030 and achieve net-zero emissions before 2050. It encourages members to take action by measuring their carbon footprint, reducing emissions, and investing in environmental projects.

About Impala

Established in 2000, Impala represents over 6,000 independent music companies across Europe. Known for their innovation and artist discovery, these companies produce more than 80% of all new releases and account for 80% of the sector’s jobs.

Bernard - Side-Line Staff

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

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Chicago-based electronic rock band, The Children’s Crusade, announces the release of their new EP, “Remixes Vol. 1”, set to debut on Friday, July 26, 2024. The band which draws influences from groups such as Ministry, Skinny Puppy, Nine Inch Nails, and Depeche Mode, presents a fresh take on their sound through this collection of remixes.

The EP features three remixed tracks: “Mechanical Love”, “Confess”, and “For You”. The remix for “Confess” was crafted by Faulty Radiator, while Apothecurio handled the remix for “For You”.

The Children’s Crusade, led by vocalist Jason Schmal, is a one-man endeavor in the studio, but transforms into a full band featuring Oscar Peck-Dorr and Max Hatlem during live performances.

Below is the original version of “Mechanical Love”.

Bernard - Side-Line Staff

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

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Out on July 26 via COP International is the newest album from the industrial metal act Beasto Blanco, “Kinetica”. The new release features tracks such as “Run For Your Life”, “Nobody Move”, “Heavy Is The Head”, “Unreal”, “Kill Us Off With A Smile”, “Skull Rider”, “Slide”, “Lowlands”, “Diamond In The Dirt”, “Bad Thoughts”, and “Fight”.

Calico Cooper says this about the creative process and influences behind the album: “We were looking for a sound inspired by Rob Zombie, Ministry, and Glenn Danzig. Chris Harms (Lord of The Lost) instantly got that vibe. We flew to Hamburg to track the vocals and finish the writing in February, and the sessions were just amazing. Great energy in that city!”

Chris Harms adds, “Working with Beasto Blanco was one of the most creative and exciting productions of my career. For a few months, I was allowed to dive into the band’s world, so deeply that it felt like I was part of the band. We wrote, recorded, and produced songs together, with great attention to detail and no genre boundaries. Everything that felt good was right. I’m very proud of this album, which for me is a milestone in BB’s career!”

Beasto Blanco was formed in 2012 by Chuck Garric and Chris Latham, and also includes Calico Cooper, daughter of Alice Cooper, and a German rhythm section. The band consists of Chuck Garric on vocals and guitar, Calico Cooper on vocals, Brother Latham on guitar, Jan Legrow on bass, and Sean Sellers on drums.

“Kinetica” was produced by Chris Harms, mixed and mastered by Benjamin Lawrenz and Chris Harms at Chameleon Studios in Hamburg, Germany. The engineering and editing were handled by Benjamin Mundigler and Gerrit Heinemann, with programming by Chris Harms and Corvin Bahn. Additional guitars and bass were provided by Benjamin Mundigler and Chris Harms. The cover art was created by Greg Rolfes, with layout by DCore.

Bernard - Side-Line Staff

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

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

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

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

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

Bernard - Side-Line Staff

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

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Swedish post-punk outfit Then Comes Silence has kicked off a string of European tour dates in support of their seventh album “Trickery” (out now via Metropolis Records), also presenting “Ghost House” featuring tandem vocals by Emma Nylen (Emmon). You can check the track below.

Formed in Stockholm in 2012, Then Comes Silence is made up of frontman Alex Svenson, drummer Jonas Fransson and guitarist Hugo Zombie (Los Carniceros del Norte). The new album is the follow-up to their 2022 album “Hunger”, released via Nexilis Records / Schubert Music (Europe) and Metropolis Records (North America).

The 13-track record features guest appearances by Gözde Duzer of Aux Animaux, Emma Nylén (Emmon), Jörgen Wall of Whale, Thåström and Dusty Gannon of Vision Video.

Recorded by Jörgen Wall (Jay-Jay Johanson, The Hellacopters) over three days at Stockholm’s Kapsylen Studio and mixed by Tom van Heesch (Rammstein, Apocalyptica, Backyard Babies), the album was mastered by Svante Forsbäck / Chartmakers (Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica).

Then Comes Silence Europe Tour Dates

• Jul 27, Cologne DE 🇩🇪
• Aug 23, Ostend BE 🇧🇪
• Sep 15, Berlin DE 🇩🇪
• Sep 19, Oberhausen DE 🇩🇪
• Sep 20, Liege BE (sold out) 🇧🇪
• Sep 21, Rouen FR 🇫🇷
• Sep 22, Paris FR 🇫🇷
• Sep 23, Toulouse FR 🇫🇷
• Sep 24, Nantes FR 🇫🇷
• Sep 25, Marseille FR 🇫🇷
• Sep 26, Liege BE 🇧🇪
• Sep 27, Frankfurt DE 🇩🇪
• Sep 28, Skurup SE 🇸🇪
• Nov 1, London UK 🇬🇧
• Nov 2, Whitby UK 🇬🇧
• Nov 15, Gothenburg SE 🇸🇪
• Nov 16, Copenhagen SE 🇩🇰
• Dec 5, TBA ES 🇪🇸
• Dec 6, Bilbao ES 🇪🇸
• Dec 7, Zaragoza ES 🇪🇸
• Dec 8, TBA ES 🇪🇸

Bernard - Side-Line Staff

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

side-line.com

(Photo via London Records) London Records will mark the 40th anniversary of the iconic Bronski Beat debut album, “The Age of Consent”, with a series of deluxe reissues available on October 18, 2024. Fans can pre-order these reissues at bronskibeat.tmstor.es.

In conjunction with the reissue, London Records has released a new remix of “Smalltown Boy”’” by Planningtorock. This artist, known for queering sound and visual art, has previously collaborated with Lady Gaga, Robyn, and Christine and The Queens. The remix can be listened to below.

Jimmy Somerville, reflecting on the album, said, “When there is something we do in our life that can have such an impact on other peoples’ lives, and to be told this by others, it’s humbling. ‘The Age of Consent’ is, and always will be, such a special part of my life.”

Planningtorock shared their thoughts on the remix as well: “I first saw ‘Smalltown Boy’ on telly back in 1984 when I was twelve. I remember it having a big impact on me even then. Just loved how it told the story so directly like a mini documentary but as a music clip sharing a gay experience that was sad to watch but at the same time so empowering. Those early years as a queer trans kid were so lonely for me and Bronski Beat made me feel less alone showing me how music can help you translate a painful experience into something liberating.”

Released in 1984, “The Age of Consent” was a pioneering album addressing LGBTQ+ rights and struggles. The album remains relevant today, reflecting ongoing issues faced by the LGBTQ+ community. Its original release included a listing of ages of consent worldwide, symbolizing both the progress made and the challenges still ahead.

The 40th-anniversary reissue will be available in various formats, including a 5-Disc Deluxe Edition (4CD+DVD), a 2CD set with new reworks, a 2LP set, a yellow 1LP edition, and a Super Deluxe Edition exclusive Blu-Ray. The deluxe edition features essays, remixes, rarities, and restored promo videos.

Tracklisting for the 4CD+DVD Deluxe Edition

Disc One: The Age of Consent – The Album Plus

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love and Money
6. Smalltown Boy
7. Heatwave
8. Junk
9. Need a Man Blues
10. I Feel Love / Johnny Remember Me
11. Smalltown Boy (DJ 7” Edit) – Bonus track
12. Why? (Remix) – Bonus track
13. It Ain’t Necessarily So (7” Version) – Bonus track
14. I Feel Love (7” Version) with Marc Almond – Bonus track
15. Run from Love (Radio Version) – Bonus track
16. Hard Rain (NME 7” Version) – Bonus track

Disc Two: Hundreds & Thousands – The Remix Plus

1. Heatwave (Harvey Goldberg Remix)
2. Why (Harvey Goldberg Remix)
3. Run from Love (Dominic Maita Remix)
4. Hard Rain (Harvey Goldberg Remix)
5. Smalltown Boy (Harvey Goldberg Remix)
6. Junk (Harvey Goldberg Remix)
7. Love and Money (Hundreds & Thousands Remix) – Bonus track
8. Infatuation / Memories – Bonus track
9. Close to the Edge – Bonus track
10. I Feel Love (Cake Mix) with Marc Almond – Bonus track
11. Cadillac Car (Extended) – Bonus track

Disc Three: Consent Extended – The 12 Inches Plus

1. Smalltown Boy (12” Version)
2. Why? (12” Version)
3. It Ain’t Necessarily So (12” Version)
4. I Feel Love (12” Version) with Marc Almond
5. Run from Love (US Club Remix ‘85) – Bonus track
6. Smalltown Boy (US Club Remix ‘84) – Bonus track
7. Red Dance
8. The Potato Fields
9. Puit D’Amour
10. Signs (And Wonders)
11. I Feel Love (Fruit Mix)

Disc Four: Ignore at Your Peril – The Rarities Plus

1. Smalltown Boy (Capital Radio Session, May ‘84) – Bonus track
2. Heatwave (Capital Radio Session, May ‘84) – Bonus track
3. Hard Rain (Capital Radio Session, May ‘84) – Bonus track
4. Why? (Early Version, March ‘84) – Bonus track
5. Crazy Maraquitta (Studio Session) – Bonus track
6. It Ain’t Necessarily So (Early Version) – Bonus track
7. Upside Down (Studio Session) – Bonus track
8. Screaming (Early Version, March ‘84) – Bonus track
9. The Power of the Gold (Studio Session) – Bonus track
10. Love and Money (Early Version) – Bonus track
11. First Church (Feel Love) (Studio Session) – Bonus track
12. Junk (Early Version 2) – Bonus track
13. Walking (Studio Session) – Bonus track
14. No More War (Early Version) – Bonus track
15. Go (You & Me) (Studio Session) – Bonus track
16. Close to the Edge (Early Alternate Extended Mix) – Bonus track
17. Heatwave (Early Version) – Bonus track
18. The Other Side of the Tracks (Studio Session) – Bonus track
19. Smalltown Boy (Early Version, March ‘84) – Bonus track

Disc Five: The First Chapter – The Videos Plus [DVD]

1. Official Music Videos
   • Smalltown Boy (Restored Promo)
   • Why? (Restored Promo)
   • It Ain’t Necessarily So (Restored Promo)
   • I Feel Love (Restored Promo) with Marc Almond
2. Top of the Pops Performances
   • Smalltown Boy (BBC ‘Top of the Pops’, June ‘84)
   • Why? (BBC ‘Top of the Pops’, September ‘84)
   • It Ain’t Necessarily So (BBC ‘Top of the Pops’, December ‘84)
   • I Feel Love (BBC ‘Top of the Pops’, April ‘85) with Marc Almond
3. Original TV Adverts
   • The Age of Consent – TV Advert #1 (December ‘84) – Bonus track
   • The Age of Consent – TV Advert #2 (January ‘85) – Bonus track

About Bronski Beat

Formed in 1983 in London, Bronski Beat was an influential British synthpop trio known for their groundbreaking music and outspoken advocacy for LGBTQ+ rights. The original lineup included Steve Bronski (keyboards, percussion), Larry Steinbachek (keyboards, percussion), and Jimmy Somerville (vocals).

Their debut single, “Smalltown Boy”, released in 1984, became an instant hit. The song’s poignant narrative about a young gay man facing homophobia and isolation resonated deeply with listeners. It climbed the charts, reaching number three in the UK. Later in 1984, Bronski Beat released their debut album, “The Age of Consent”. The inner sleeve listed the ages of consent for homosexual acts worldwide. The album produced other hits like “Why?” and “It Ain’t Necessarily So”.

In 1985, lead vocalist Jimmy Somerville left Bronski Beat to form The Communards with Richard Coles. Despite his departure, Bronski Beat continued, recruiting John Foster (also known as Jon Jon) as their new lead singer. The band released the album “Truthdare Doubledare” in 1986, which included the hit single “Hit That Perfect Beat”.

Throughout the late 1980s and early 1990s, Bronski Beat underwent several lineup changes, with the late Steve Bronski remaining the constant member. They continued to release music, though with less commercial success than their early years. In the 2010s, Steve Bronski reformed the band with new members and continued to perform and release new music.

Bernard - Side-Line Staff

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

side-line.com

Out on August 9th via Out of Line is the all new album from Swedish electro/synth-pop act Ashbury Heights, “Ghost House Sessions – Vol. 1”. “Ghost House Sessions – Vol. 1” is the band’s first new album since 2018’s “The Victorian Wallflowers”.

The new longplayer contains 25 tracks of which 15 will be also available on a limited edition ‘glow in the dark’ double vinyl and 25 on a double CD including 10 bonus tracks which are previously released digital only singles.

The album also contains a number of collaborations with singers and projects such as Massive Ego, Ulrike Goldmann (Blutengel), Corlyx, Madil Hardis, Alia Synesthesia and others.

“The past years have been incredibly inspiring. There have been incredible highs and devastating lows. That roller coaster is now being shaped into music”, says the band’s founder Anders Hagström.

Check out the video for “Ghosts Electric” below, followed by “Wild Eyes“.

About Ashbury Heights

Ashbury Heights is a Swedish electronic music duo from Sundsvall, Medelpad, and formed in 2005. The original lineup consisted of Anders Hagström (vocals, songwriting, music, and programming) and Yasmine Uhlin (vocals). Uhlin left after their EP “Morning Star in a Black Car” and was replaced by Kari Berg, who featured on their album “Take Cair Paramour” in 2010. The band faced a temporary disbandment due to disputes with their label, Out of Line, but reformed in 2011 with Hagström and a new vocalist, Tea F. Thimé.

Ashbury Heights’ sound is characterized by a mix of synthpop, futurepop, and electropop. Their discography includes several studio albums, such as “Three Cheers for the Newlydeads” (2007), “The Looking Glass Society” (2015), and “The Victorian Wallflowers” (2018).

Bernard - Side-Line Staff

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

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Diamanda Galás announces the remastered release of “Saint of the Pit” on 13 September 2024 via Intravenal Sound Operations. This fifth studio album, originally released in November 1986, is the second part of her trilogy “The Masque of the Red Death.” The remastering was done by Heba Kadry.

“Saint of the Pit” was created during the HIV-AIDS epidemic and reflects themes of suffering and passion. The album includes compositions based on poems by Charles Baudelaire, Gérard de Nerval, and Tristan Corbière.

Galás began addressing HIV-AIDS in her work in 1984, with “Saint of the Pit” dedicated to her brother, Philip-Dimitri Galás, who died in 1986. The album was produced with the help of Gareth Jones and includes contributions from musicians like FM Einheit of Einstürzende Neubauten.

Here’s the video for “Cris d’Aveugle” (Blind Man’s Cry), a symphonic treatment of Corbière’s poem, about suffering and exclusion.

Bernard - Side-Line Staff

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

side-line.com