It all began in 1983 under the name Xymox, a musical project founded and spearheaded by Ronny Moorings. Shortly after, the project evolved into Clan Of Xymox, marking the birth of a band destined to leave an indelible mark on the Dark-Wave scene. Signed by the legendary British label 4AD, the band released two seminal albums that would become classics in the genre. While they briefly returned to the original name, since 1997, they have been known exclusively as Clan Of Xymox. What makes Clan Of Xymox truly special is not only their pioneering role in the New/Dark-Wave movement but their unwavering ability to create valuable and impactful music over the decades.

Unlike many of their contemporaries, who often rely on the nostalgia of 80s hits, Clan Of Xymox has consistently released strong, fresh material, proving that their creative spirit remains as vibrant as ever. With a career spanning over 40 years, Clan Of Xymox has firmly established themselves as one of the most influential forces in Dark-Wave. Ronny Moorings has remained true to the essence of his sound while allowing it to evolve, ensuring a timeless yet contemporary edge. Their latest and 18th studio album, “Exodus”, released via Trisol (Germany) and Metropolis (USA), is a testament to this balance. Featuring a collection of masterful tracks, the album combines melancholic, dark, atmospheres with Pop-infused arrangements that are both haunting and danceable.

I felt it was the perfect time to take a retrospective look at Clan Of Xymox’s incredible journey. In this interview, Ronny Moorings graciously shared his insights, reflecting on the band’s beginnings, their evolution, and their current work. I am deeply thankful for his enthusiastic cooperation and for taking the time to answer in such detail. His dedication to crafting inspired music over such a long period is remarkable, as is the man behind the artist. Respect! (Courtesy by Inferno Sound Diaries)

‘I Wanted To Be A Part Of Things Which Were Happening In Front Of My Eyes’

Q: Getting back to the early 1980s which marked the rise of New-Wave music and subgenres like Dark-Wave, Cold-Wave, and Post-Punk. How do you reflect on those formative years and what do you recall from the very beginning of your career? Specifically, what events or circumstances led to the formation of Xymox and, later, Clan Of Xymox and what was your original dream when you first started making music?

Ronny: I will make this a short story because there is so much to say about how it came to be. I was in bands from on my childhood in my birth town Roosendaal (NL) where I already played live at the age of 11 with older 15 year old friends. When it was time for me to study, I first moved to The Hague, deciding after a year of Social Academy that I’d rather do a Sociology study in Nijmegen.

In the early 80’s there was a lot going on. Musically we had the Deutsche Welle and from the U.K. came New-Wave. This appealed a lot to me and DJed (what I also already did in Roosendaal as a teenager) this type of music in the local venue Doornroosje. It was volunteers work, but I got to see all the cool bands coming in.
The alternative scene was thriving in the whole of The Netherlands. Naturally many British bands were on the fore front of innovation. The Goth / Wave movement came also to Doornroosje. I remember especially Bauhaus and The Virgin Prunes making a big impression on me because they sounded and looked visually stunning. The Virgin Prunes making a complete theatre out of their show; it looked like genuine madness with a lot of stuff flying about on stage. With Bauhaus, Peter Murphy just looked the ideal part, a new ‘thin white duke’ with white light shining under his chin and the rest of the band in fluorescent colours, exposed with a black light.

Every week there was a brilliant band to be seen in Paradiso (Amsterdam) or in Doornroosje, like Echo And The Bunnymen In an army outfit with camouflage nets hanging over the stage, The Sound, Dance Society, The Birthday Party with Nick Cave swinging like a monkey from left to right from the light supports, giving it a high energetic performance, Siouxie And The Banshees, The Cure ( they played in a circus tent) and later seeing Robert Smith playing guitar with Siouxie in Rotterdam , Theatre Of Hate, Eyeless In Gaza, Black Flag, The Comsat Angels, Sisters Of Mercy, in the Milkyway Amsterdam,  of course with Wayne Hussey,  Further The Slits, Liaison Dangereuses, U2 ( played in Arnhem for 400 people) who was pretty unknown still etc. Too many to mention!

All bands not jet known by the majority of people but making a big impact on everyone alternative seeing them live. New-Wave, Deutsche Welle, Punk, Synth-Pop and New-Romantics was now a major alternative movement perfectly fitting the times we were living in.

Also the Netherlands produced influential bands who made quite an impression on me, like I already mentioned Mecano & Minimal Compact from Amsterdam, Nasmak from Eindhoven, Coitus Interruptus from Utrecht, and ‘famous’ local bands from Nijmegen like Mechanic Commando and Vice.

By seeing all these brilliant international and national bands I knew there and then that I had to start something new and interesting too. I wanted to make music like these bands. I was totally inspired. I wanted to be a part of things which were happening in front of my eyes. I wanted a band instead of just making things late at night on my own on a 4 track for no one else to hear.I wasn’t the only one feeling this way. It seemed that nearly anyone in the local scene started a band. In every squat people started a band and rehearsing was no problem in these industrial buildings we all occupied. Music was becoming a way of life, a means to express your views. There were enough opportunities for bands to play. There were always some old factories freshly squatted. One of the first shows I did was on a festival in De Plu Fabriek, a desolate disused umbrella factory. The festival had a social awareness theme about ‘Acid Rain’ of which maybe a handful had heard about. It was not taken very serious yet by the general public. It was the first ever show of Xymox there.

Round the same time at the University we had to do a video project. We had to film something about a socially significant social subject, so I started filming and interviewing the squatters local bands I knew. I still have the V2000 video tape but because of its backdated discontinued format, I haven’t been able to see it since the presentation at the University of Nijmegen.

In the beginning of 1980 in Nijmegen I had no real serious relationship with anyone. I was fairly new in town and most people I found quite uninteresting. The typical jeans and long hair student types, freshly coming from their cosy parental homes, with only one aim in life and that is to study, graduate and getting a job. Also most people were just coming out of the seventies and their clothes reflected that, very colourful shirts, a lot of blue jeans and mostly having long hair. In Rotterdam long hair in the back and short in the front was accompanied by a little moustache was the local fashion there.

Anyway, just after my initiation weeks of the University back in Nijmegen, one night I went out, going to a bar where I would normally not come with my fellow student friends. I was standing there drinking beer with my mates until I spotted this girl in the distance. She had the same kind of image as me. Out of place I thought. I simply had to talk to her and soon we were engaged in conversation and ended up spending the night together in her basement flat.. She told me she came from Nuenen, a small village close to Eindhoven but very famous for the house of Vincent Van Gogh. Her name was Anke.

In this period I wanted to start a Live band with the name I already had:  Xymox.  One day I showed her my songs I had recorded and asked if she would want to be in my ‘band’ which was just me at the time 😉 I said it would not matter that it was only the two of us because a lot of bands played with a drum machine and it would be a cool thing to do; she agreed. The songs were most of the time two or three chords so it was not too difficult for her to learn the tracks. I released this tape at the time, sold it for cheap (some people still have it). She liked the songs and decided to learn and play the bass guitar so she could play live. We started rehearsing together in 1982. I started sending my old Xymox demos to various venues and to my surprise a dozen clubs or so liked it.

Soon we played live with the two of us in various alternative clubs. I was singing, playing guitar and the synth plus operating the rhythm box. She played the bass by now and did some backing vocals . The songs were all mine, if you could call them songs 😉 For transportation I had my old cheap orange Renault 4 with a shift stick. All the equipment fitted in beautifully. Because we were just with the two of us and the fuel was very cheap, the money earned was very reasonable for those days.

Later we got asked by the locally known band Vice to support them. We did so and managed to play quite a bit of shows in the South of the Netherlands again. We felt we were getting somewhere.

Later a few friends to join our ‘band’ live. They were hitting metal pieces or doing backing vocals etc. Inspired of course by Einstürtzenden Neubauten. We started rehearsing in the empty vaults of a squatted bank building. Soundproof and safe it luckily was 😉

Anke wanted to move to Amsterdam in 1983, when she changed her study. She wanted to study Psychology and since I finished my Sociology ‘Candidates’ phase holding an official diploma. I was looking for a relevant Masters study so I decided to go to Amsterdam as well, I chose for  ‘Media Studies’ at the ‘University of Amsterdam’. Apparently you would have a lot of freedom with this study as well.

In Amsterdam I was asked by a friend in 1983, if I wanted to DJ for a local pirate radio station WHS. The show; ‘De Lege Huls’, translated ‘The Empty Shell’, would be late at night which of course I gladly accepted. I did this for quite some time well into 1985 until I got too busy with Clan Of Xymox and its many obligations.

As I already said I saved for a while every penny in order to buy my much desired object, a Teac 4 track multi tape recorder. I bought it in Antwerp, Belgium, November 1982. After many recordings of songs and ideas in Nijmegen I started a new In April 1983, frantically starting to record some new songs; the old ones were already more than a year old and I wanted to have new ones. With the help of the Teac 4 track recorder I could be more creative with writing and recording, bouncing previous recordings and build on that.

The instruments I had access to were: a Yamaha synth, Korg Poly 6 Synthesiser, Korg MS10 and MS 20, a rhythm box K500 , an electric Framus guitar, Welson Keyboard, a standard Shure 58 mike of course, my fantastic vintage space echo, melodica, guitar pedal effects and a bass guitar. A later valuable asset was later a Solina Strings but this one was borrowed once and a while.

All instruments were played in real time on tape. No sequencer used. That was too expensive.
These were the days computers were only academic and hardly used by anyone at all. Computers were just those big main frames standing in a government building or only portrayed in science fiction. Today our ears are completely trained to sequenced patterns, then it was something new, the ear was untrained to these sounds and pattern uses.

Soon things were ready. I asked Anke if she wanted to sing one song on the track I already prepared for her. It ended up with the title “Call It Weird “, so now  all tracks were done and everything was set up to bring these recordings to a mastering plant near Amsterdam called  Dureco. This was a vinyl factory specialised in producing Dutch product, the type like ‘Dutch Schlager’ like Vader Abraham known internationally for his “Smurf” songs. He was prominent on the wall everywhere in the factory offices. The main earner. Newer versions of this first EP exist: “Muscoviet Musquito” ( deliberately spelled this way) and “Going Round”. Both have various versions over the years.

‘I Felt That The Xymox Days Were Not The Right Way To Go’

Q: Xymox became Clan Of Xymox when you signed to 4AD, but later you reverted to Xymox before ultimately returning to Clan Of Xymox in the late ’90s. How do you view these shifts in retrospect? What, in your opinion, distinguishes Xymox from Clan Of Xymox?

Ronny: I started with the name Xymox and released my first EP “Subsequent Pleasures“ under this name. When Xymox got signed by 4 AD and the first debut album was called “Clan Of Xymox” I decided it was a slightly better name also because I had found people to play the songs live, so hence the ‘Clan’. I considered Xymox as my Pseudonym.

When Clan Of Xymox got signed by Wing / PolyGram USA I felt this was a significant change and wanted to underline this with shortening the name and perhaps with the reasoning that it would be easier for people in general to remember our name when it was shorter.

After 4 albums under the name Xymox, with the album “Phoenix” it had gotten too commercial in my opinion. With the 2 UK releases “Metamorphosis“ and “Headclouds” which were too Experimental and nothing much to do with the early material on 4 AD I decided in 1997 it was time to reintroduce Clan Of Xymox again with the same approach and attitude as in the earl 80’s. I felt that the Xymox days were not the right way to go and that it was better to stick to my own opinion instead of letting people influence me in one way or the other.

The result was the album “Hidden Faces” released worldwide on Tess Records and Pandaimonium Records in Germany in 1997. This was the start of Clan Of Xymox again. Since Phoenix I didn’t tour anymore. Had actually no live band anymore. I started to find again people who could play live with me and soon I had a live band ready to start promoting “Hidden Faces” and the older works on 4AD. Mojca my partner was there already since 1991 with me learning to play an instrument, keys and bass. She already designed the artwork from on 1992. In 1995 I decided to play in The Netherlands and promote “Metamorphosis” and “Headclouds”. The old live members from the 80’s Frank Weyzig and Will Anvers joined me on stage together with Mojca on Keyboards. This tour made me realise I missed playing live and soon since 1997 Clan Of Xymox played live each and every year till now and will keep on playing live.

I have a steady crew for more than a decade now with Mojca from on 1991 (of course), Mario ( more than 20 years), Sean and Daniel. I stay with the labels Metropolis (USA ) and Trisol (Germany ) as well as I run my own label Xymox Control now for decades a steady course with Clan Of Xymox, only expanding with my band, slowly but gradually. It manifests in the vast amount of sold out shows we are having each year.

‘We Were In Our Extravaganza’

Q: You were closely associated with 4AD, one of the most groundbreaking labels of the early New-Wave era. How did an unknown band from the Netherlands find its way onto such an iconic label? And how did your time with 4AD influence your evolution as an artist?

Ronny: Back in 1983 I felt that my former town Nijmegen ‘deserved’ a few copies of “Subsequent Pleasures” too. I was doing all the distribution myself. I sold 150 through Rough Trade UK, 150 in New Waves France and 150 export to Essen in Germany. Anyway, so I went to Nijmegen the night of the ‘Day of the Dead’, 1st of November.
I decided to visit a friend but he was not at home so not knowing what was going on that evening  I soon found out The Cocteau Twins were playing in Doornroosje that night, so I had to see them. There was still plenty of time left so I decided to have something  to eat in my favourite eating cafe De Plak. Whilst having dinner I heard English was spoken on another table, so my interest was aroused. Maybe this couple were The Cocteau Twins? Had to be! An English male and female.  Without any hesitation I went to their table and asked them all sorts of questions about their band The Cocteau Twins. They informed me politely that they were not The Cocteau Twins but were their supporting act called Dead Can Dance and if I wanted they could put me on the guest list; which I naturally did not decline since I was no longer active in Doornroosje anymore. In return I gave them a copy of “Subsequent Pleasures” for them to listen to.

Having seen Dead Can Dance they blew me away, just like of course The Cocteau Twins. After the show I went boldly to the dressing room and drank some beer with both the bands as they were sharing the dressing room and already established that we were all like-minded, talking to each other, or trying to, because Robin Guthrie of the Cocteau’s had a very heavy Scottish accent. Difficult to understand for a  Dutchman who knew and spoke only ‘school’ English. That night I learned then that Brendan was Irish, lived in New-Zealand, moved to Australia, met Lisa in Melbourne and moved to London to work on their musical career. A similar story was true for The Cocteau Twins who moved from Scotland to London to work on their career. All was very interesting and at the end of the night we swore to keep in contact and said our goodbyes.

During that time I kept in contact with Brendan and Lisa who lived together on the Isle Of Dogs. They invited me to their London home and I stayed at their place quite a few times. In those days I had to travel by ferry to the UK, a long journey. They lived on the 11th floor with a fantastic view over London. The flats were those typical council flats, ashen grey and reeking of urine in the elevators. They had a staggering amount of locks installed on their front door. With all their equipment at home I could understand their mistrust of their surroundings. It was all very depressing but very exciting for me. Brendan worked the same way as I did. We ended up with almost the same equipment in 1986. Brendan and Lisa were then still living together and were really dedicated to music. Every day they recorded or rehearsed. Lisa mainly singing and playing the Yang Ching. I slept in the living room and later on some visits they had a closet, like the one of “Harry Potter”. I slept there and was pretty cosy;)

Xymox started playing live in 1984 again. One day Brendan Perry called me up and asked me if we wanted to support them on a tour in the UK.  Without any hesitation I agreed to do it and almost a week later we were in London. Unfortunately when we arrived nearly all the dates of Dead Can Dance got cancelled and there were only three dates left:  one in London, Huddersfield and one in Dudley. We stayed with Brendan and Lisa, sleeping all on the floor in the living room, which I knew already too well.

During our first concert In London I nearly disappeared through the hole in the stage, I had to walk very carefully  because they did not manage to cover all the holes under the stained carpet. The father of Brendan was I believe the tour manager and his mother made sandwiches for Dead Can Dance when we went on the road to Dudley. The town looked nothing much and the bar we had to play likewise.. our dressing room was between beer barrels and if we wanted to have a drink we had to buy it at the bar said the promoter resembling “Dell Boy” of “Only Fools And Horses”. Still we had a great time hanging out with Brendan and Lisa, who were very generous to give us some money for covering our ferry expenses, which I know for sure they were paying out of their own pockets. After that we did more shows all over The Netherlands till summer.

Brendan Perry was the first one who told me about 4AD.  Before that I only paid attention to bands and not too much to record labels strangely enough.  He said he gave “Subsequent Pleasures” to Ivo Watts Russell , the label boss of 4AD, and so I followed up with sending a demo to 4AD with some newer additional tracks in July 1984, recorded in the Amsterdam Octopus 8 track studio. The demo I had sent 4AD after our shows in Paris’ old theatre La Seballe Club, several Dutch and the 2 UK dates. I was getting impatient as always. I gave Ivo Watts Russell a phone call. I was complaining about how the Dutch music industry sucked and that his label was the only independent label appealing to me. A week before that,  I had a meeting with the Dutch division label EMI but this meeting reminded me of all the cliches I ever heard about Major labels. To my absolute delight and surprise Ivo told me he liked what he had heard from the demo so far and wanted to meet, to see us in person and talk about it.

Ivo wanted to meet the band, so arriving in London, me and Anke  were heading to the private home of Ivo Watts Russell and his girlfriend Debby who also worked for 4AD as their press agent. They lived together in a residential SW12 London area. We stayed in their house for a week.

Anke and I had placed these long extra hair extensions in our hair so we looked a bit like ‘Uber Goths’ with a lot of make-up and special clothing we had designed for us by a friend who was handy with the sewing machine and wanted to become a fashion designer. I saw the surprise on Ivo’s face when he saw us for the first time. We were obviously not looking the way he expected us to look. Most of his bands on the label looked actually quite normal with no real image to speak of; so here we were in our extravaganza.

Luckily Ivo and Debby liked us or the music enough to offer Xymox a record deal and with that great news we went back home. The news had spread that we were the first band 4AD signed since two years of their last signing of Dead Can Dance. After this published fact my phone started to ring frequently and offers for radio and new Dutch live shows offers came in by the plenty.

When the self-titled album “Clan Of Xymox”’ was released funny enough nearly all the journalist thought we were Scottish by origin judging by their reviews. An Englishman is always very sensitive to accents. I saw it as a compliment though. Of course ‘Clan Of’ was suggestive enough 😉 . Most reviews were ecstatic, full of praise with five star ratings, the highest you could get. I guess we got lucky with my intention not to advertise we were Dutch. Having no names on the artwork and let the album speak for itself.

The British can be real chauvinists regarding their music industry, they didn’t take foreigners making music too seriously in those days. Of course the weekly music magazines Sounds, Melody Maker, New Music Express etcetera made up their ‘mistake’ in the eye to eye interviews, clearly pointing out us being Dutch and using the usual stereotype references, with headlines like ‘Dutch Bake’, ‘Dutch Courage’, ‘Going Dutch’, ‘Hollandaise Sauce’ and any phrase relating to the war between the Dutch and the Brits a few centuries ago. Anyway it did not matter anymore because we got the attention;  had a proper selling debut album. We did a lot of photo shoots with an English photographer using drapes in the back ground giving us a more Gothic image. This was used as our promo picture.The Music Maker and Sounds were giving us regular features and interviews afterwards, which gave us finally an international standing. Soon 4AD set up a few shows in Croydon and the University of London plus a John Peel session, which was very important to establish up and coming bands.

‘We Had To Prove Ourselves Time And Time Again’

Q: You’ve already mentioned several legendary British bands that were prominent in the 1980s and shared strong connections and camaraderie. What was your experience of the Dutch music scene during that time? How do you reflect on it now?

Ronny: I only had French, British and Scottish bands as friends. I could not get along with any band in The Netherlands in the mid-eighties. In the Netherlands there was a very strong Rock culture with no space for bands like us. We had to prove ourselves time and time again. I didn’t understand the provincial attitude towards synths coming from the Dutch critics. In a very first review the national music magazine Oor reviewed synths as magic boxes which made them nervous listening to them. When our first album came out we finally got greeted by the more alternative media which just got a foot in the door and were played on radio and TV, MTV and the like. Suddenly we were part of a movement to be reckoned with. Sometimes we even played live twice on a day in The Netherlands.

‘The Only Disappointment For Me Was That I Actually Never Got To Meet John Peel’

Q: During that period, you worked with or crossed paths with notable figures like the aforementioned Brendan Perry. But what about John Fryer, David M. Allen and John Peel? What can you share about those interactions and their impact on your journey?

Ronny: Our first John Peel session was in the beginning of  November 1985. It was pretty stressful for me. We had to record 4 to 5 songs with the live band in one working ‘BBC’ day of 6 hours or so. It didn’t occur to me that I should have taken adaptors for English power plugs with me.  Because it is the BBC, no one is allowed to change a power plug without the assistance of a fully qualified engineer, so it took them already one hour to find such a person as labour union regulations dictated that the technician supposed to have his tea break of an hour. We were already losing valuable time! We didn’t have computers in those days. My first Commodore computer with TV monitor I got in 1988 when I wrote the “ Twist Of Shadows“ album.  The Macintosh 128K a normal mortal could not afford. Clan Of Xymox did however use an 8 track recorder for the backing tracks, like Depeche Mode or The Cocteau Twins used as well. It consisted of individual drum tracks, sequenced bass triggers and strings. This made life a bit easier.  We could thanks to the ‘eight track’ finish within the timeframe of the BBC.

The only disappointment for me was that I actually never got to meet John Peel. Even then he was a legend, especially to me, because it was the best program for discovering new exciting bands. I only got to call him from the 4AD office, thanking him for the opportunity he gave us. He declared in his program that we were the pioneers of Dark-Wave. That was a huge compliment and recognition for Clan Of Xymox. Soon Dutch radios started to follow suit. We got to record a live show for Radio Veronica in Hilversum. Several TV shows invited us for music programs like the VARA. MTV picked us up too. We felt we were on a roll!

John Fryer I instantly liked as a person and sound engineer. He was the in house sound engineer of 4AD and knew what he was doing. He was not afraid to experiment with sampling sounds and replacing them. The AMS delay was his secret weapon. I remember sitting evenings together with John mixing tracks by hand. So I had to pull and push knobs on my side and he on his side. It was a lot of fun and very educational. Later in live John made me a remix for “Big Brother“ from the album “Limbo” (2021).

I worked with David M. Allen on tracks like “Out Of The Rain” and “Sing A Song” together with Jools of Nitzer Ebb. It was in Leamington Spa in John Rivers’s studio. I worked with John Rivers already on the “Blind Hearts”-EP for 4AD and several B-sides for later PolyGram. Now I was working with John on the “Hidden Faces”-album (1997) and we thought it would be very cool to have Dave M. Allen involved. This certainly worked. I wished we had the budget to work on all the songs but I was already glad these two songs worked out fantastically. Dave is a very likeable person with an air of mystique around him. He gives suggestions for you to try and they always make sense. He taught me to delve deeper when needed.

‘Without Me There Is No Clan Of Xymox’

Q: Both Xymox and Clan Of Xymox included founding members Anke Wolbert and Pieter Nooten. What role did they play in shaping the band’s identity, and how do you reflect on the line-up changes over the years?

Ronny: They were both not founding members. They joined me in the beginning of the Xymox period. First Anke as I told you and later in 1985 Pieter. Because they were the first ones joining they are seen as founding members but I am sorry to say; it was always my thing. I was and still am the driving force behind the band and it’s musical direction. No one else. They concentrated mainly on their own songs like “Masquerade” or “Stumble” and “Fall” back in the days. The bulk I wrote. I participated also on their songs as well.

Regarding the songs it is true we worked more together like a band should. In the beginning we rehearsed the songs for live shows and many got changed during this process. This was only sustainable for a short while as nobody liked to rehearse together.

We ended up as 3 individuals writers with different taste and musical directions so it was inevitable it wouldn’t work out long because we were all to egocentric to begin with. When I officially broke up with Anke it was also the end of working together as a collective. We all went our own way.

Indeed we had many changes but maybe the irony is in the word ‘Clan’, a group of close knitted people. So in the end there were many LIVE musicians joining the band for a short or longer period. Joining ‘the Clan’. The red line was and is simple: without me there is no Clan Of Xymox.

All happened really fast in those days. It was a learning process for all involved. Books about the music industry and bands hardly existed. Everyone was left to do whatever with their experiences, positive or negative.
I never knew or expected that just making music could make me enemies but also gaining a lot of friends of course. Jalousie and spite can make people really vicious and vindictive and yet equally so many fans or friends treat you with the utmost respect or even adoration. To me it is just music but soon you realise it is something more than that. 

Former friends or partners turning into your personal enemy. It is the worst thing that can happen, because they know your weaknesses and irritation points and will not shy away from using this against you if they have no pride, dignity or integrity.

Thinking back on this short period between 1985 and 1989 stir more negative emotions then positive ones in me. It wasn’t all bad of course but I can’t remember real long good periods. I realise looking back that I am only happy with the band since the beginning of the  mid 90’s to now, at least 33 years so far:)

Q: How does the young Ronny Moorings compare to the musician you are today? What traits have endured, and which aspects of your younger self do you miss in your music or approach to life?

Ronny: I was definitely very naive in the beginning. When I wrote a song for example I just split the rights between the band members because I thought it would motivate my band to pull more their weight in the band and…. after all I was a socialist and not a capitalist 😉

Soon I discovered that when people sense they don’t have to do too much and can simply lay back whilst I do the heavy lifting because they get paid anyway.

I started to get annoyed with this uneven situation and learned from this that I should not give away my rights that easily just to please band members or partner. So I ended this naive approach and never looked back.
Equally I used to work with bigger crews, managers, tour managers, lawyers and all the professional people they told you would need to have in order to make it as a band.

After many annoyances about the enormous bills I decided I could do most jobs way better. I know I am a control freak. You have to be. You have to understand the way things work. Now I have a lean machine and I like it a lot. Later I also learned to delegate things and that is also very rewarding. I guess ‘live and learn’ is true in my opinion.

‘Dark-Wave Has A Strong Hold All Over The World Like In The 80’s’

Q: Many legendary New/Dark-Wave bands achieved their greatest success in the ’80s. Why do you think those years were so special and unique for the genre? How do you see the evolution of New/Dark-Wave music from its origins to today, particularly in terms of its spirit and cultural significance?

Ronny: Yes, it was a new style taking over with fashion unseen before, It was against the Hippy culture, the jeans wearing long haired pot smokers. It was a clean break from all of this, plus the ‘no future’ feeling with all the political turmoil and nuclear threats hanging over our heads. Remember Thatchers England. Ronald Reagan as president.

These bands made the sound track of our lives and guess what? It is happening again. Dark-Wave has a strong hold all over the world like in the 80’s. Yes, it’s not on the dying radio or TV stations as we know it but streaming like crazy, this time on internet radios, YouTube, Spotify It feels a bit like maybe the pirates in the 80’s.

It feels the same to me and also we have the same nuclear threats back again. In a way it feels coming ‘full circle’.

Q: Over the decades, the music industry has undergone tremendous changes -rising social media, streaming platforms, declining physical album sales, advances in technology, and shifts in performance venues from intimate gigs to massive festivals. How have you navigated these transformations, and what are your thoughts on the (r)evolution of the industry?

Ronny: I navigate these changes just fine I think. I always welcomed change and will ever do. We need to improve. We need to move forward and not backward. When for the very first time in the 80’s I could get my hands on a computer I embraced it as a big help with sequencing and programming. It made endless rehearsing patterns on keyboards so much easier. Later it became my entire virtual studio platform. Streaming is now the most important thing now in the music industry and some artists do not like it, but remember when music was pirated and artists would get nothing from it financially and no insight how many like to listen to your music etc. I love Spotify and as an artist you have access to all date regarding what your fans are listening to.
Most music I listen to these days is from platforms, on my phone with airpods. This gives me more time to listen to music when I am on the move or outside. Everything in one device is just brilliant I think. Of course I have at home all old media devices still in place. I do play vinyl as well when I am in the mood. I still love vinyl and the looks of it. The best format for the artwork to shine.

Q: While it’s difficult for any musician to choose a single album or song as their best, is there a particular piece in your discography that holds special significance for you? Or do you believe that your most recent work is always your finest?

Ronny: I have to agree with my fellow musicians. My recent is indeed the best so far as I can see and feel 😉 It is simply because new songs are for the one who wrote and recorded it the most exciting, the most fresh and recent to your current experiences. You have to play them live which you haven’t done before and in the end they will sound different then when it came out. If you don’t have that feeling the artist should not release the album in the first place 😉

‘I Let The Listener Feel What I Feel’

Q: Your lyrics often feel deeply expressive, sometimes addressing social and political themes, other times delving into introspection. Do you see your lyrics as a reflection of your true self? What value and purpose do they hold for you?

Ronny: Sometimes yes and sometimes no. It’s complicated 😉 I definitely sing about emotions I feel or felt. Say I sing about Evelyn, Louise or Michelle. That doesn’t mean I know a person with that name or sing about a real person. All these names are fictional but the feelings and thoughts what went into these songs are real. Sometimes more than one person I think about finds its place into a song lyric. It all depends. Political themes are the ones which affected me like in the Lockdown periods in the early 20’s. It comes home, becomes personal and I describe more the situation than anything else. I let the listener feel what I feel.
Sometimes I write a song to blow off steam and feel good afterwards. Most of the time it’s about a person who doesn’t want to leave me alone almost my entire life 😉 I can keep going on like that. I always delve the lyrics out of the depths of my mind where it lay buried until I get it out through some type of instrumentation deciding for me what the topic is going to be. A new to be written song has most of the time its own will and direction.

Q: Clan Of Xymox has consistently attracted new fans over the years. What do your fans mean to you, and how does it feel to have a lasting influence on the Dark-Wave scene?

Ronny: Fans are the most important to me. Without a doubt. We meet so many dedicated fans, traveling to all of our shows they can reach within reason. We always talk to anyone after the show who’s interested, have selfies taken, give autographs, give something a fan would like to experience, a closeness you can’t give onstage. A hand shake, a look in the eye.

I am honoured to contribute to the Dark-Wave scene as it is today. All bands who are now big I met when they were still beginning and were our support one time or the other. I know that we had an influence on them but now they are an influence on me the same. So it works in the end both ways. To me this scene is the best scene ever for me.

Q: Looking back on your career, what do you consider to be your biggest milestones? And what were the most significant disappointments?

Ronny: I am still working on my biggest milestone 🙂 My quest is to see how long I can still play live with the band. That is my ultimate quest in life. Disappointments enough, especially in people, but to me that is also an inspiration to write songs about so in the end all turns out for the best. I am lucky I have many good friends in my life to compensate for the negative. Unfortunately I am a person who has to be on the darker side of things in order to feel inspired. So I don’t mind 😉

Q: How have you managed to keep finding fresh ideas and challenges over the years? Were there periods where inspiration waned, and if so, how did you overcome those creative blocks?

Ronny: I think in the beginning it was harder to write as it is now. To me writing comes very natural I think. Maybe because I have more to say now than when I was in my twenties. In that time I read a lot of books in order to get lyrically inspired. For a long time now I just write from what comes up in my mind and put it into lyrics. Way easier I think and less time consuming 😉 The music was never a problem. Finding words to it is a harder nut to crack sometimes.

A creative block I handle very easy: I put the song away and start with something else. Sometimes its years later that I have a look at it again, if I can do something with it and often that’s the case. So for me I don’t like to force a song if it doesn’t present it by itself.

‘Joy Division, The Sisters Of Mercy And The Cure Were Very Important To Me’

Q: One of the most surprising entries in your discography is “Kindred Spirits” (2012), a cover album featuring renowned songs and artists. How did you choose the tracks, and what connection do you have to those songs? Would you consider them key sources of inspiration?

Ronny: When I was young, the only means of getting to know music was the radio or “Top of the Pops” later in the 70s. In the Netherlands we had bands like Shocking Blue, Brainbox, Earth And Fire, Focus, The Golden Earring and such, which appealed to me a lot. These were the bands I was interested in. On TV we grew up with The Beatles, The Rolling Stones and of course The Monkees especially grouped for US TV. These bands made me want to play an instrument at a very young age. After that I always stayed on the alternative side of music. On my album “Kindred Spirits“ you can see and hear which artist influenced me in the direction I was going. Bands for example like Joy Division, The Sisters Of Mercy and The Cure were very important to me.

I gave or restricted myself to make a choice for ten songs of bands who had in one way or the other an impact on my musical taste. I wanted to give an ode to these bands and revive these songs in my memory to keep and make them as my own. In the end I did 11 tracks of my all-time favourite bands or songs.

Too many bands like to hide their influences or deny them. I decided to give them my own pedestal.

Q: This year marks the release of Clan Of Xymox’s 18th album, “Exodus”. What does this album represent within your extensive discography? Can you share insights into its creation?

Ronny: I finished and released the album “Limbo” in 2021 and I wrote the “Exodus” album after writing “Save Our Souls” in 2022 in 2023. The last song I wrote for this album was in January 2024 and here we are. In a way keeping the tradition of one album release in every two or three years.

We toured an awful lot so the little time I had, I spend in the studio taking my mind of things. The late general developments in the world I felt writing about. Instead of introspective lyrics I felt more like describing our current times we live in. After “Save Our Souls” I wrote “Fear For A World At War”, especially after all the rhetoric of Putin threatening Europe or the world with nuclear strikes. Because the world is massively gearing up for war.

When I was born there was the biggest world crisis between the Soviet Union and the USA about the missiles in Cuba.

It is ironic that now we are living with almost the exact conditions but this time closer to home, having a nuclear missile threat. History repeats itself . I certainly hope this is not getting out of hand but the signs are that we seem to step up our war talk more and more. SOS indeed. The world is at turmoil and nothing good will come out of this. Exodus for me as well when it gets out of hand. Anyway, this is the back ground for writing all these songs for “Exodus”.

Q: Talking about “Save Our Souls”, there clearly is a sense of commentary on the state of the world. Do you see music and this album as a unifying force in troubled times? How do you perceive its broader impact on society?

Ronny: “Save Our Souls” was specific about the invasion of the Russians into the Ukraine. It was a shocker for me. Especially after just having toured there in September 2021. I see music in troubled times more as a safety blanket you can wrap yourself in. It gives comfort and soothes your mind and well-being. An escape as it were from the daily sorrows we get bombarded with each and every minute. So far music can change or influence politics when masses cry out for social change. I don’t see that happen with this album or any of my albums;) Never intended for it either.

Q: Authenticity seems to be a hallmark of your music. Many fans describe a sense of genuine emotion and connection in your work. How do you experience this dynamic and interaction with your audience? How powerful or influential do you think music can be in bridging gaps and inspiring change?

Ronny: Wow, if you talk about the grand scale of things you might have a chance to do so but in the cult circuit we are maybe just the inspiring factor. That which might work on a small scale. I should certainly hope that our fans and other listeners get the music of Clan Of Xymox and feel the emotions I feel when I perform these songs with my band. Live you notice this the best. During the show I always look at people and there are so many various expressions on people faces, you feel that you are almost privileged to see an expression of someone when they sink into the song with mind and body. I love it!

‘Contrast Works Always The Best In A Way’

Q: Your music often combines dark, melancholic themes with an energy that makes people dance and feel alive. How do you reconcile these contrasting elements?

Ronny: Contrast works always the best in a way. I defines, it outlines. I have a lot of slow songs with equally dark lyrics but playing live I want to entertain people, want to make them move inside and out. I have luckily lots and lots of songs to choose from and during the years it taught me a lot about which songs people like to hear when they go to our concert. That means the classics are always included and never ignored.

Q: Finally, let’s end with a few rapid-fire questions:

• ‘Sex, Drugs, and Rock ‘N’ Roll’: does this resonate with you?

Ronny: During my long career all certainly resonates at one time or the other. Experimenting with drugs I steered away long time ago. It was perhaps hip in the 80’s or attractive to experiment but the same goes for smoking or anything else unhealthy. I value a healthy life style with perhaps an alternativee: Sex, Wine and Wave 😉

• Is there a band or artist you would have loved to collaborate with?

Ronny: It’s a shame I never got to work with David Bowie. I met him once in LA when he came to see our concert in the Palace. I was too starstruck to even think of asking him. What a missed chance !

• Do you feel a spiritual connection with any particular artist or band?

Ronny: Yes, plenty! I have got so many great friends in the current scene who make great music. Backstage is always fun when we meet.

• In a world without music, what do you think you’d be doing?

Ronny: Not breathe.

• Which Clan Of Xymox song would you recommend to someone who has never heard your music before?

Ronny: “A Day”, “She” or “Loneliness” as a starter.

• How many albums has Clan Of Xymox sold, and which remains the most successful?

Ronny:  Wouldn’t you like to know 😉 “Twist Of Shadows” was still the most successful in terms of hard record-CD/Cassettes sales because it was at the time people could only buy that and did. There was no piracy then, apart from the classic copying on a blank cassette. In terms of streaming and overall impact I have to point to my later works.

• What is the ultimate dream for Clan Of Xymox?

Ronny: To carry on like the last two years.

• What would you want written on your epitaph and that of Clan Of Xymox?

Ronny:  

See you on the other side.

I am the sunlight on ripened grain.

I am the gentle autumn rain.

Do not stand at my grave and weep.

I am a thousand winds that blow.

I am not there, I didn’t go.

I didn’t die, so you know. 

See you on the other side.

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

Industrial music legend En Esch, renowned for his work with KMFDM and PIG, is back with his first full-length album in eight years, “Dance Hall Putsch”. The album is out now via GIVE/TAKE. The LP is available in a limited translucent Coke bottle clear vinyl, CD, and digital formats.

Featuring collaborations with members of bands like PIG, Hanzel und Gretyl, Lords of Acid, KMFDM, and Pigface, “Dance Hall Putsch” showcases Esch’s signature blend of industrial, electronic, and electro.

Esch began working on “Dance Hall Putsch” during the early days of the COVID-19 pandemic, aiming to create a danceable record to help escape the bleakness of that era. However, when war broke out in Ukraine, the album took on a darker, more political edge.

“This current conflict is just 500 miles from Berlin. It became a rather political album that reflects on the senselessness and nastiness of all the current wars around us,” says Esch. His lyrics dig into the devastating effects of war on the innocent, focusing on the long-term suffering of those without power.

En Esch is also gearing up for a tour this fall, playing guitar for PIG in select cities. Prepare for a sonic revolution—Dance Hall Putsch is set to be one of the year’s most incendiary releases.

Bernard - Side-Line Staff

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

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Douglas P. of Death In June has offered signed records to be auctioned in support of Musicians Defend Ukraine. The releases are currently being auctioned on the Death In June Facebook page, with help from Neformat from Ukraine.

So far they have raised 3290€, including the sale of “Brown Book” which topped at 2500€. They still have two records being auctioned, “Rose Clouds Of Holocaust” closing today, and “But, What Ends When The
Symbols Shatter”, ending in a week, which are currently both around 1200€.

All auctions can be found on the Death In June Facebook page.

Here is a round-up of past and current auctions.

1 x Come Before Christ And Murder Love/Torture By Roses 12″ single (1985 Whiphand 6 version)

• Silver foil blocked logo version with “UKRAINE, HEILIGE! DOUGLAS P.” written on the front cover.
• Auction period: 15.08 – 21.08 (6 days).
• Starting bid: 60 euros.
• Sold for: 260 euros.

1 x The World That Summer double LP (2nd 1987 Edition)

• Embossed roses on both the outside and inside of the sleeve with “VICTORY TO UKRAINE! HEILIGE KRIEG!! DOUGLAS P.” written inside.
• Auction period: 18.08 – 24.08 (6 days).
• Starting bid: 80 euros.
• Sold for: 270 euros.

1 x Come Before Christ And Murder Love/Torture By Roses 12″ single (1985 Totenkopf 6 version)

• Silver foil blocked version with “UKRAINE, HEILIGE LEBEN! DOUGLAS P.” written on the front cover.
• Auction period: 21.08 – 27.08 (6 days).
• Starting bid: 100 euros.
• Sold for: 260 euros.

1 x Brown Book original 1987 LP

• Hammer embossed sleeve with double printed sepia insert featuring lyrics and digging soldier. “VICTORY + PEACE TO UKRAINE. HEILIGE KRIEG! DOUGLAS P.” written on the front cover.
• Auction period: 24.08 – 01.09 (8 days).
• Starting bid: 200 euros.
• Sold for: 2500 euros.

1 x But, What Ends When The Symbols Shatter? Original 1992 LP

• Black vinyl with full color inner sleeve designed by Enrico Chiarparin, plus 4-page inner lyric sheet in English, Italian, German, and French. “SLAVA UKRAINI! DOUGLAS P.” written on the front cover.
• Auction period: 01.09 – 09.09 (8 days).
• Starting bid: 300 euros.

1 x Rose Clouds Of Holocaust original 1995 edition Black vinyl LP

• Silver printed inner sleeve with double lyric sheet/poster, promo poster, and postcard. Douglas P.’s personal copy in mint condition. “HEROIAM SLAVA!! UKRAINI DOUGLAS P.” written on the front cover.
• Auction period: 27.08 – 04.09 (8 days).
• Starting bid: 250 euros.

Bernard - Side-Line Staff

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

side-line.com

Out now is the second single from Штадт (Stadt) since joining Artoffact Records. “Wild High” holds a broad reach of ingredients including industrial, synthwave/retrowave, and post-punk.

The single follows last month’s label debut single, “Вплив Бездіяльності (Impact of Inaction)” which the band commented “is a song about being trapped in the vacuum cage of darkness and self-destruction.”

Штадт (Stadt) is an EBM/post-industrial project created by Dmytro Filiushyn from Donetsk, Ukraine. Throughout its career, the project has released three EPs and two LPs, performing across Europe at solo gigs and festivals. The latest album, “Мразь” (“Scum”), features a collaboration with the EBM project Qual.

Stadt was founded after Dmytro left Ukraine in 2018. Following Russia’s invasion of Ukraine in 2022, the project relocated to Serbia.

Bernard - Side-Line Staff

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

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“Remnants Of War” is a collaborative effort between Tineidae (Ukraine) and Sole Massif (Lithuania), drawing inspiration from AI and its potential impact on the world. The album is a pure Ambient journey, tinged with a vintage feel that pays homage to early pioneers of the genre. The composition is personal and dark, with subtle ties to Experimental music. Some tracks are particularly striking due to their intense, sonic blasts. (Rating:7½).

Listen to “Signal Triangulation”:

About Tineidae & Sole Massif

Tineidae is the project of Pavlo Storonsky, a Ukrainian artist now based in Poland. He debuted in 2012 with the album “Lights” on Tympanik Audio, a release rooted in IDM, before the project became part of the Cryo Chamber roster and moved toward a more Ambient and Cinematic sound. In a prior Side-Line interview, Storonsky described “Remnants Of War” as a reimagining of a possible futuristic aftermath of war, a theme he linked directly to the ongoing war in his home country. Sole Massif is a Lithuania-based ambient project.

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

Philip Glass, the American composer, has publicly condemned the unauthorized use of his music by the Sevastopol Opera and Ballet Theater in Crimea. This protest stems from the theater’s plan to premiere a ballet adaptation of “Wuthering Heights”, based on the novel of the same name by Emily Brontë with music by Philip Glass, without his consent.

Glass expressed his outrage in a letter posted on X, saying that the use of his music and name without permission violates the Berne Convention for the Protection of Literary and Artistic Works. He described this action as “an act of piracy” but also acknowledged that the current political situation in temporarily occupied Crimea renders him powerless to legally enforce his rights. However, he made it clear that he strongly objects to the unauthorized use of his work and name.

pic.twitter.com/A0mp2atmyx

— Philip Glass (@philipglass) July 25, 2024

The ballet is set to include not only Glass’s compositions but also music by Icelandic composer Hildur Guðnadóttir.

The theater’s director, Sergei Polunin, a known supporter of President Vladimir Putin, is expected to perform a leading role in the production​.

In 2019, the Paris Opéra Ballet revoked an invitation for him to perform due to backlash over his homophobic and sexist social media posts. Polunin is also an outspoken supporter of Vladimir Putin and the Russian invasion of Ukraine, which has alienated many in the dance community. Sergei Polunin also has three tattoos on his chest and shoulders depicting Russian President Vladimir Putin.

A full blown fanatic in other words.

Bernard - Side-Line Staff

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

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(The visual is AI generated) In July 2024, German composer, musician and producer of electronic music Uwe H. Schmidt (aka Lassigue Bendthaus, Atom™, Atom Heart, or Señor Coconut) headlined the Russian Outline festival, which returned after its last edition in 2016, and this amid the ongoing conflict with Ukraine.

Run by the team behind Moscow club Mutabor, the house, techno and experimental festival took place last week (18-24 July) in Taldom, a small town on the outskirts of the capital. Playing were international acts like Atom™, Margaret Dygas and Le Syndicat Electronique who joined local DJs and live acts including Tim Aminov, Denis Kaznacheev and Sofia Rodina.

Present at the festival also was a military recruitment tent and vehicles marked with the letter “Z”, symbols associated with the Russian military effort against Ukraine.

Moscow region July 2023. Outline festival. I pointed out that u should remember those artists in the lineup. Can we tell now that they are officially support genocide of Ukrainians and act as an entertainment at the points of recruiting (mobilization) of russians for the war? pic.twitter.com/gxi5G6SgJf

— Maya Baklanova (@mayabaklanova) July 7, 2023

It didn’t take long before critics, such as Ukrainian activist Maya Baklanova, said that Western artists performing in Russia were normalizing the war and supporting the Russian regime by their participation.

Schmidt responded to the criticism by calling it a “smear campaign” against him. He defended his performance, implying that the accusations were unfounded and intended to damage his reputation. And he added: “It is also painful that at this point in my career I have, for the first time, to make a non-musical public statement of that sort, yet it seems that times require this to be done. (…) I consider myself a profoundly non- or rather trans-political person. Many years ago I had decided to take the path of making true human bonds through music. Unlike politics, which is the mode of separation, I had chosen music, which is the mode of connection.”

Surprisingly Schmidt’s recent performance in Russia was backed by an official support letter, issued by the German Embassy in St. Petersburg.

Liebe deutsche Techno-Community, um @Atom_TM_news, liebes deutsches Generalkonsulat in Sankt Petersburg @germania_online, habt ihr sie noch alle? Im kriegführenden russland die kriegsbejahende Masse mit deutschen Techno-Acts belohnen und damit diesen Terrorstaat normalisieren? pic.twitter.com/8BdGFjA7z8

— Ukrainki_UA (@Ukrainki_UA) July 28, 2024

This letter was accompanied by a meeting with the general consul Mr. Schimandl of which an official post was made on VK by the German Embassy itself. We took a screenshot of said post below.

Criticism continues as for instance even Russian techno producer Pavel Milyakov (aka Buttechno) accused the artists at the festival of attracting people to a war effort, stating that their performances indirectly supported the military budget used for the invasion of Ukraine.

Und wie wird sich versucht rauszureden? @Atom_TM_news will Verbindungen schaffen. Ich bezweifle, dass auf dem Festival Ukrainer sind. Zwischen wem werden also diese Verbindungen geschaffen? Zahlenden Kunden und einem deutschen DJ…? pic.twitter.com/9rfXdDRLaC

— Ukrainki_UA (@Ukrainki_UA) July 28, 2024

His official statements contains some disturbing clues, such as, “this link may be blocked in your free, democratic country,” “this situation, the one of being forced into political obedience,” and “(it) has poisoned music and other arts as it enslaves them to ideology.” He seems to suggest that condemning Russian aggression equates to political obedience.

And that is when, regrettably, we recognize a kind of responses that are typical among artists who support Russia, like for instance Simone Salvatori (Spiritual Front). It’s clear now that Uwe H. Schmidt decided to follow the Russian propaganda narrative instead of using is name and fame to condemn the Russian invasion. His defensive line as if music should be non-political is hereby completely destroyed. Rumor has it also that the DJs playing at the fest received exceptionally high fees.

Sad to see this happening from an artist we used to admire. Not anymore after this.

About Uwe H. Schmidt

Uwe H. Schmidt, born on August 27, 1968, in Frankfurt, Germany, began his musical journey in the early 1980s. Initially playing drums, he soon transitioned to programming a drum computer inspired by the sounds of the Linn Drum. In 1986, Schmidt co-founded the cassette label N.G. Medien, releasing works by international artists, including Frontline Assembly, and his own project Lassigue Bendthaus with “The Engineer’s Love”. His first official Lassigue Bendthaus album, “Matter”, was recorded over four years and released in 1991, establishing his early career.

Living in Frankfurt, Schmidt was influenced by the burgeoning house and acid house scenes. He adopted the alias Atom Heart and released several dance-oriented 12-inch vinyl records under various project names. In 1992, he produced tracks for DJs Pascal F.E.O.S., Ata, and Heiko M/S/O, contributing to the early trance movement. Collaborations with Tetsu Inoue led to the formation of the Datacide project in 1993. Despite challenges with record labels, Schmidt continued to innovate, founding his own label, Rather Interesting, in 1994 to explore diverse musical ideas.

In the mid-1990s, Schmidt collaborated with artists like Bill Laswell and Haruomi Hosono, producing albums under multiple aliases. He met Chilean musician Dandy Jack, and in 1997, they relocated to Santiago, Chile, where Schmidt completed the first Señor Coconut album, “El Gran Baile”. This period marked the creation of his “electrolatino” style, blending traditional Latin music with electronic elements. He continued to release a monthly album on Rather Interesting.

Schmidt’s last Lassigue Bendthaus album, “Pop Artificielle”, released in 1999 under the name LB included electronic cover versions of famous pop songs. His next major project, “El Baile Alemán” by Señor Coconut, featured cha-cha-cha versions of Kraftwerk songs and received approval from Kraftwerk themselves. The album’s success led to international tours, including Europe and an intended U.S. tour. During this time, Schmidt also released innovative works like Geeez ‘n’ Gosh and collaborated with Bernd Friedmann on the Flanger project.

Schmidt continued to remix prominent artists, including Depeche Mode and Air, while touring extensively with his 9-piece Señor Coconut orchestra. The album “Yellow Fever!”, featuring covers of Yellow Magic Orchestra songs, became a major hit in Japan. Schmidt also released the Señor Coconut album “Around the World”, collaborating with artists like Stephan Remmler and Louie Austen.

Bernard - Side-Line Staff

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

side-line.com

(Photo by Benedikt Walther) Following the release of the album “Gates of Europe” (2023), which focused on Russia’s assault on Ukraine, and a subsequent extensive European tour, Jérôme Reuter, the mastermind behind Rome, took a brief hiatus. He will now return with a new album, “World in Flames“, on Trisol Music Group GmbH next month.

“World in Flames”, set for release on CD and Black 180g 12″ vinyl, signed by Jérôme Reuter and limited to 500 copies, presents a stark and raw analysis of contemporary society. Unlike previous albums, this mini-album is a direct and unsparing critique of the modern world, divided into two distinct parts.

Rome was founded in 2005 by Luxembourgish artist Jérôme Reuter and brings a blend of martial industrial, dark folk, and neoclassical music. Reuter’s songwriting often addresses historical and political themes, with previous albums delving into subjects such as the Spanish Civil War, the French Resistance, and post-war Europe.

Tracklist: Read the review of ‘World In Flames’.

1. Vol De Nuit
2. First We Take Berlin
3. Submission
4. Eagle Wings
5. Todo Es Nada
6. World in Flames

Bernard - Side-Line Staff

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

side-line.com

Update: Yesterday Russia deliberately hit Ukraine’s largest children’s hospital, Okhmatdyt (abbreviation for “Mother-and-Child Care”, Okhorona Matery ta Dityny) resulting in the death of over 30 people and many wounded children, including babies. Simone Salvatori – as usually – spread the Kremlin propaganda that Ukraine would have hit the hospital themselves, whereas all available evidence clearly shows it was a Russian missile.

Spiritual Front, signed to the German label Prophecy Productions, is getting more and more backlash from the general public due to its founding member Simone Salvatori (online also active as ‘Alex Vice’) being a very vocal pro-Putin fan supporting the war launched against Ukraine.

That he is quite pro-Putin is not exactly news, you can see it clearly below.

On Friday 10 November 2023 for instance, Simone Salvatori announced two special solo shows in Moscow and Saint Petersburg, Russia, right after dates planned in Tbilisi (Georgia), Almaty (Kazakhstan) and Istanbul (Turkey). The announcement led to a huge shitstorm to the point where Salvatori deleted the announcement and issued a rather poorly formulated ‘apology’.

Fans from Ukraine and elsewhere started to point out certain posts that were liked by Simone Salvatori, now nicknamed ‘Zimone’, including a post by Fabrizio Giannese (Aborym). Simone replied that he ‘didn’t understand the post’ which was posted in Italian to start with, Simone’s mother tongue…

As a result the concert in Warsaw (Poland), scheduled on 12 November – just two days after the Facebook post on 12 November – was immediately cancelled by the promoter upon learning about Simone’s Russian concerts. Also the concert in Vilnius (Lithuania), scheduled on 20 April 2024, was canceled by the promotor. It didn’t stop there, the promotor Pink Hearts furthermore canceled the concerts in May in Tbilisi (Georgia), Almaty (KazakHstan) and Istanbul (Turkey).

Oh, and also Side-Line gets mentioned, although we never had any dealings with Simone.

Simone is also a regular troll on our Instagram page where he tries to push Kremlin lies and continues to attack Side-Line for its role in denouncing vatniks like Simone and their creepy agenda.

You can read a whole lot more on how Simone acts online and his real agenda from this website that is going to list all bands from the dark scene who have been pushing Putin’s agenda. It’s clear: Side-Line will not entertain or propagate Kremlin rhetoric.

About Spiritual Front

Spiritual Front is an Italian neofolk and dark folk act from Rome, founded in 1999 by vocalist, guitarist and lyricist Simone Salvatori, the band’s sole constant member. The project’s style blends neofolk, neoclassical, tango and art-rock influences. Key albums include “Armageddon Gigolo'” (2006, later reissued via Prophecy Productions), “Open Wounds” (Trisol, 2013) and “Black Hearts in Black Suits” (Rustblade, 2013); the band is currently signed to German label Prophecy Productions. Salvatori has faced public backlash over pro-Russia statements, including announcing and later canceling planned shows in Moscow and Saint Petersburg in November 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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Out now is the new Gothica Magazine, issue 47 already of this fine Ukrainian magazine. You can download it straight from the magazine’s website in English for free.

This new issue features a whopping 108 pages and holds for instance an article celebrating the magazine’s 18th anniversary, extensive coverage and backstage photos from the Within Temptation feat. Alex Yarmak video shoot in Kyiv and so on. It also includes a report on Gothica Fest 2023, enriched with comments from participants like Kaelte, Hyperhate, Violet Raymoor, and Spokusy. There are also interviews with Sidus Atrum, Meat Beat Manifesto, and Dawn of Ashes.

Highlighted in this issue as well is our most recent free download compilation, “Electronic Bodies – Nightside Sessions”, which brought together over 20 artists to support Ukraine. In the article you get a double interview with DJ Shane Aungst and our chief editor Bernard Van Isacker.

Additionally, the issue presents the traditional annual Top-13 best LPs from the Gothica Magazine Music Awards 2023.

About Gothica Magazine

Gothica Magazine was established by Andrey Featon in 2006 as a print publication in partnership with the Ukrainian Gothic Portal. It explores the aesthetics of Gothic, avant-garde, and dark romantic art. The magazine comprehensively covers the diversity of Gothic and dark culture, including music genres such as gothic rock, gothic metal, industrial, EBM, dark folk, dark ambient, neoclassical, love metal, darkwave, dark electro, synth pop, folk metal, future pop, dark trance, ritual, and noise.

It also delves into literature and cinema across various styles including modern, post-modern, avant-garde, dark romance, fantasy, non-standard, thriller, suspense, apocalyptic, decadence, psycho, and existential themes. Additionally, it features photography (including dark erotic and fetish), industrial images, painting, architecture, and more. Renowned for showcasing the most famous and unusual bands, notable and provocative figures, exquisite art, and intellectual literature, all these elements are vividly presented on the pages of this magazine.

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

Russian exiles VEiiLA have shared a new music video for “Do You Hear Me” from their latest album “Sentimental Craving For Beauty”, out on Projekt Records. The video is compiled of various bits of footage taken by the band while touring in Armenia, as well as fan-made concert-videos shared on the internet.

This is what VEiiLA themselves have to say about this video: “We always have a camera with us. Every time we climb a mountain pass, or ride through a snowy fog-covered plain, or check in the hotel room that looks nothing like a hotel room, but more like a photo studio, or crush somebody’s couch and try to gain trust of their scared dog in the wee hours of the morning, before you need to pack up and move on, or see the venue hosts hurriedly trying to heat up the stone cold room, because no one could expect that winter, with snow and razor sharp cold wind would start exactly today (not the weathermen at least), or play a show at the tiny wine cellar, even though yesterday it was a huge echo-y warehouse, or pass through the same town 6 times and each time it is completely different… This is the time when the chaos exposes itself, when one sees life for what it is – a stream of orderly absurd, meaningful nonsense and presupposed accidents. This is also when life finally makes sense… This road movie collage of random impressions is our homage to the life of a musician, a chaotic rambling of the modern gypsies, which we crave, love and miss when it’s over”

VEiiLA, who call themselves “a band without a country”, had left their home in Russia in March 2022, in protest of the war with Ukraine and the atrocities of the horrible autocratic regime. After finding temporary sanctuary in Armenia, they recorded their second full-length album “Sentimental Craving For Beauty”, which was released in September 2023 on Projekt Records (Portland, Oregon, USA).

You can our interview with VEiiLA for extra information.

“Sentimental Craving For Beauty” is Name-Your-Price at Bandcamp and available at all major streaming platforms.

Bernard - Side-Line Staff

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

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VEiiLA was formed around 2015 by Russian duo Vif Nüte and Bes Eirid. As they explain they were already making music together  for quite some time before VEiiLA. They  shifted to synthesizers and made a conscious decision to focus on Electronic music. They by the end of 2023 released their second full length album “Sentimental Craving For Beauty”. This work released on Projekt Records is a true masterpiece mixing different influences like Ambient, Trip-Pop and Cinematic music. The album is an artistic creation standing for grace and emotion. Behind the writing and release of “Sentimental Craving For Beauty” also hides tragic events. Vif and Bes decided to leave their homeland right after the start of the war in Ukraine. They’re now living in Armenia. I got in touch to ask them a few questions about music and the terrible events they’re still going through.

(Courtesy by Inferno Sound Diaries)

Q: You last year released your second album “Sentimental Craving For Beauty” which I can imagine must have been really special to you, right? What does this release mean to you – and especially after you guys left Russia because of the war in Ukraine?

Vif: Leaving everything known behind for unlimited unknown. Knowing no one in a new country. I didn’t know that it would be like this. But it felt that it was the only right choice at the time. The transformation was pretty harsh. I remember this overwhelming loneliness that wrapped us so thick. I thought one could surely suffocate in it. It seemed like the only way to survive was in making this album. Concentrate everything in one direction and shut the reality away.

Bes: Yes, like a horse that wears blinders, so it can see only what’s directly ahead.. And, yes, it is special. Not specifically the release (as something that we presented to the world), but more in a personal way, the impact that writing this album had on our life. It was the way of despair that led to these songs, but the process of writing, playing and recording them was for us that proverbial straw to which a drowning man clings as the last resort. Whatever we may think or feel now is going to be pale in comparison to that deluge of despair that swept us away when we heard the war news for the first time. And when you leave your life and just wander like a vagabond, there is no time to catch a break, your life will basically alternate between two states –anxiety and despair. If you just drift like this you’d either collapse or drown. Thankfully Nature provided us with self-preservation instinct, like all the other animals, so we frenziedly focused on the creative process. That first year, when our life was the most uncertain, unsteady and stressful, was the most creatively productive time, and I think that is the reason we are still here, alive and considerably sane.

Q: So in which way did these tragic events had an impact on the writing of your album?

Vif: It turned everything inside out. And it doesn’t stop really. The separation and alienation of spirits. It’s so ruinous in so many ways. At least I can tell that the desire to make music didn’t leave us and makes even more sense now because nothing else does.

Bes: I think it is still to unfold and the real impact is still to be realized and understood. Now we are in a psychological limbo, we are only beginning to see the effects, but we have no idea of the long-term effects that are to come. What I can say for sure is that us, and many other Russians, who had to leave the country, those who left for ideological and moral reasons, are in a transitional state. We are like Romani people to the world, not homeless, but without home; with the exception that those had been living with no home for centuries, and we are complete dilettantes in this lifestyle. But I feel it, when talking to other drifters who we meet sometimes, to old friends who are all scattered around the world now – most of us slowly but surely accept this nomad state. It’s strange, because you know that you can’t go back, you are an alien to your ex-homeland. Your ex-countrymen don’t see you as one of their own anymore, and honestly the feeling is mutual. But wherever you are now, however welcoming the land and people are, this is not home either. And so you accept the transient nature of your existence, you stop thinking in terms of home, roots, future or past, you drift in the now and just try to occupy yourself with whatever comes your way, just for the sake of not going insane. Because once you stop and think for a moment the hopelessness and despair creep in. And so the immigrants are always busy running around, doing something, planning grandiose deeds for the next week, yet never speaking about the future.

Q: You already had songs from the album finished before you left your country and had to write everything back again. How do you look back at the composing and production of this work? And what kind of album did you want to achieve – before and after you left?

Bes: Yes, we had something that we thought would be the album, but it just didn’t feel right anymore. I guess the acuteness of everything that we felt revealed some new sides of us to ourselves and the songs that we had at that moment no longer correlated with our current state.

Vif: It felt natural to leave the past and embrace the present in its raw and painful way. To get it through and find the melancholy beauty that makes any sadness look refined.

Bes:  Also we shifted away from our ‘old’ approach to production, which was mostly revolving around nerding out in front of the computer screen. Instead we focused on playing live, and that required new arrangements, new imposed minimalism, which engaged the more creative way of thinking. And this is a much more interesting and fulfilling experience than moving things on the screen with the mouse.

Q: I read that the title of the album was inspired by the famous “Forsyte Saga” of John Galsworthy. Tell us a bit more about it and what do you especially like in the writing of Galsworthy plus how did you adapt it into music?

Vif: The connection is more of a subtle type. But I’ve always been fascinated with  literature and all these abundant different ways to deliver the thoughts and the truth. And this phrase touched me profoundly the first time I read it.

Bes: It’s funny, we’ve already seen explanations provided by other people who find connection in our music with the social themes of the “Forsyte Saga”. Every time we see it mentioned it looks strange, like it’s about some other band, not us really. What I mean is that the fact that the line ‘sentimental craving for beauty’ came from Galsworthy doesn’t really mean a direct reference to the theme of the book. It was a beautiful phrase that meant and means something deeply personal to us, it’s like one of those moments when you read something in a book and you think it’s about you. But that’s the beauty of expression, the language, the personal allegory to our own soul. For example, our first album is called “The Nation Of One”, which is the derivative of ‘the nation of two’ in Vonnegut’s “Mother Night”. Does it mean that the album explores the same themes as “Mother Night”? Of course nobody yet connected that album to “Mother Night” or the themes of Holocaust, spies, moral responsibilities, passive contribution to evil or whatever else you could pull from that. Why? I think because we failed to mention it anywhere and therefore didn’t give the direction to these thoughts.

With “Sentimental Craving For Beauty” we mentioned Galsworthy, for the obvious reason of giving credit and of course because we have a passion for literature and we think it’s a good consequence if someone would want to pick up a great book after listening to our album. But with all that it becomes weird at times, that we have to put on a defense and explain that ‘no, our album isn’t concerned with the class-division of the English society of the 19th century’. But I guess it’s true that between what I think, what I want to say, what I think I say, what I actually say, what you hear, what you think you hear and what ideas you extract from what you think you heard, lies an enormous gulf filled with foaming chaos. Still worth a try though.

 Q: When listening to “Sentimental Craving For Beauty” I feel emotion, grace, sensuality but also reverie. I finally get the impression there’re positive vibes running through it. Did I catch the essence of what you tried to express? And what did you really want to express and what are the images coming into mind when you listen to the album?

Vif: Our songs in this regard are stark naked. Life is a very complex matter, so many delicate things run through us. But art helps to put it into perspective, to sieve through, to focus on the important things. I can say that making this album helped me get through the depths of darkness. Maybe we subconsciously wanted hope to be at least in our songs, because we didn’t see it in real life. I think we were searching for beauty that would startle us, seize our attention and show us the way out. To see a new day that would dazzlingly shine through the thick black fog of reality…

Bes: But it is hard for us to perceive our work objectively. And it makes me sad at times. I wish I could somehow listen to our music as a listener, you know, subjectively, without estimating it as our work. But I don’t think it’s possible. I also think that whatever you hear and feel in the songs is true and right, because that’s the beauty of music: it is the universal language, it is free of the cage of logic, as it lives in the province of feelings, and therefore it can speak to a soul directly. As for our own perception – it constantly changes, as we play the songs, they take new shapes, the same words appear to have new meaning in the light of new events or new personal discoveries. I can say for sure that we still like and enjoy playing these songs and that means something.

Q: What are the future plans for VeiiLA and for you as Russian exiled citizens?

Bes: Plans? What’s ‘plans’? The word sounds familiar, but the meaning escapes me. Seriously though, as musicians we are always busy with something, playing shows, writing, recording. As human beings, we stopped making plans. What’s the point? Future is a vicious heartless beast. The present is no better at times, but at least it passes, and sometimes it can be interesting and even pleasant.

Vif: Can you be more outcast then you were before? The thing is: we were always like this really, we’ve never belonged to anyone or anything, it just became clear and acute, but not essentially different after all, it just adds some new shades to our outcast lifestyle.

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 now is the all new Pororoka track “Aidar”. This time the Ukrainian dark folk band band went for a more experimental approach adding various vocalizations. The song aims to reveal the voice of the river Aidar from the occupied territory in the east of Ukraine.

Founding member Svitlanka Sugak explains why she chose this theme: “Aidar is a memory of my parents’ native home. A bright symbol of my childhood. It could have taken my life, but it did not. Unpredictable, dangerous, and magnetic.”

Pororoka is Ukrainian dark-folk band founded in Kyiv (Ukraine) in 2017 after taking part in the song contest “She.Pisnia” devoted to Ukrainian poet Taras Shevchenko. The band uses ethnic vocal technics and ethnic instruments and has its roots firmly in Ukrainian folk music. The name ‘Pororoka ‘ means a wave, which appears twice in a year on the Amazon River, when Atlantic Ocean invades into it.

The band was one of the biggest surprises on both of our “Electronic Resistance” charity compilations featuring darkwave / post​-​punk acts from Ukraine.

The previous single was the folk ballad “Hey, Look Around” devoted to the Armed Forces of Ukraine.

Bernard - Side-Line Staff

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

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The Berlin-based post-punk duo Circolo Vizioso have released their debut album “Verrückt”. The music was created mainly with electric violin, guitar and drums. The band is heavily influenced by the sound of 1990s American post-punk and indie rock (i.e. Fugazi, Sonic Youth) and 80s-90s Eastern German and Eastern European punk bands.

Circolo Vizioso is made up of Tony Scafidi (guitar, bass, drum, hi-hat, vocals) and Paul Geigerzaehler (violin, snare drum, vocals).

Earlier, the band presented the singles “Walls”, written in outrage over the Russian invasion in Ukraine, and “Choppy”, a high-octane song spawned from a bout of depression brought on by a failed love story.

“On ‘Verrückt’, we wanted to stretch the potential of the bass drum, the high hat, the snare and the tambourine to the utmost. As two people having to sing, play guitar and violin and drums at the same time makes it challenging to come up with refined and intricate drumming. But it does give us an interesting opportunity to exert a furious, instinctively ancestral and liberating beat on a few drums,” says Tony Scafidi.

Paul Geigerzaehler adds, “We wanted to make an album that could express anger, frustration and disaffection against an unfair world and all the discomfort entwined therein. And we wanted to do it with direct and bare lyrics abrasive violin lines, fat distorted guitar solos and big fuzzy riffs. Yet we wanted people to let go of this batshit crazy world in a sort of self-exorcising dance, where one can go to sleep with the illusion of having sweat their demons off at least for the night.”

Formed in March 2020 on a balcony in Friedrichshain, Berlin during the first Covid-19 lock-down, Circolo Vizioso was born as an attempt to keep art and music alive and to provide support to their neighbours during a time when no concerts were happening and no cinemas, museums or galleries were open. Circolo Vizioso is these artists’ attempt to resist the isolation and the lack of social and human contact, as well as the hunger for music and art during this unusual time.

The “Verrückt” album is available via Bandcamp, and from other music platforms, including Apple Music and Spotify.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Dark-Electro, Industrial.

Format: Digital.

Background/Info: Hailing from Ukraine this is the second EP by BlazerJacket. “The Second” is inspired by sci/fi and ‘cyberpunk aesthetics’ and ‘pays homage to iconic franchises like Star Wars, Ghost in the Shell, Terminator, and Watch Dogs.’

Content: The EP features 5 songs taking off with heavy blasting sound treatments carried by stumping kicks and progressively evolving towards a more melodic approach featuring a few vocal lines.

+ + + : The debut songs are a heavy blast; kind of smack in your face revealing impressive sound treatments. There are empowering guitar parts while the very few vocals/samplings add a cool, little extra. This is heavy, powerful, dance stuff.

– – – : I’m sure some of the tracks could be a little bit more sophisticated but there’s no reason to complain.

Conclusion: This EP sounds like a heavy piece of Electro-dynamite; let’s keep an eye on this band!

Best songs: “Dark Side”, “The Power”, “DedSec”.

Rate: 8.

Artist: www.facebook.com/BlazerJacketMusic Read the news on ‘The Second’.

About BlazerJacket

The project is a Kyiv, Ukraine-based duo formed by Denis Cherryman (Dirty Bird 13, The Cherry Men) and Hybri.Mod. The project debuted in 2020 with the EP “The First,” followed by singles through 2022 and two 2023 EPs, “Terrorstate” and “The Second.”

Their music blends cyberpunk aesthetics with dark electro and industrial influences.

“The Second,” reviewed here, is one of those two 2023 EPs, drawing on cyberpunk and sci-fi references to Star Wars, Ghost in the Shell, Terminator, and Watch Dogs, and includes the earlier singles “Dark Side” and “DedSec”. The full-scale Russian invasion of Ukraine in 2022 reinforced the project’s darker thematic direction, reflected across the EP and the singles that followed.

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, CD.

Background/Info: VeiiLA is a Russianduo driven by Vif Nüte and Bes Eirid. They’re living in exile since the war in Ukraine. This is the band’s second full length which was written -because of the tragic events, over a wider lapse of time, and is featuring thirteen songs.

Content: I never heard of this duo before and discovered a down-tempo driven composition with sweet, female, vocals on top. The music has a strong evasive feeling mixing different influences together; definitely Ambient-Pop like but still a bit of Trip-Pop and very few Cinematic passages. There’s a strong atmospheric side emerging at the last part of the work featuring a few more danceable pieces.

+ + + : This album took me by surprise for its deeply artistic and accomplished production. It’s a mature and professional work -which regarding to the context both members have gone through is absolutely amazing. This is an album full of beautiful, emotive, songs featuring refined arrangements and subtle elements. The vocals sometimes remind me of the grace of Lana Del Rey. The slow rhythm injects a sensual touch on top of this artistic beauty. I personally prefer the last part of the album which is a bit more into danceable passages but there’re great, outstanding, pieces right at the beginning as well. No doubt about it this album belongs to the best productions from 2023.

– – – : I sometimes regret there aren’t more danceable vibes running through but you don’t hear me to complain at one single moment.

Conclusion: Simply a beautiful, emotive and artistic work; respect guys!

Best songs: “Push The Pedal – Album Version”, “I Had A Dream”, “Ocean’s Breath”, “Common Decency”, “Can’t Forgive Myself”.

Rate: 9.

Artist: https://veiila.com

Label: www.projekt.com / www.facebook.com/ProjektRecords Read the news on ‘Sentimental Craving For Beauty’.

About VeiiLA

VeiiLA is a duo formed by Russian musicians Vif Nüte (vocals, guitar, synthesizers) and Bes Eirid (keyboards, sound) around 2015. The pair relocated to Armenia following Russia’s invasion of Ukraine in 2022. Their second full-length album, “Sentimental Craving For Beauty”, followed on Projekt Records in September 2023, featuring thirteen songs written over an extended period because of that displacement.

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

Swedish gothic rock act Scheitan have released a music video for their next single “Believe”. “Believe” is taken off their upcoming album “Songs for the Gothic People” and the single is available on all digital platforms.

Scheitan have recently returned following a 24-year hiatus, and will release a new album “Songs for the Gothic People” on 22 May 2024 via the Greek label The Circle Music. The new album further explores the gothic vibe that was present on their ”Nemesis” album, released by Century Media Records in 1999.

The music video for “Believe” can be viewed right below.

Guitarist, multiinstrumentalist and vocalist Pierre Törnkvist comments on the new single: ““Believe” was one of the earlier tracks I wrote for the new album. Ghost had just released their song “My Little Sunshine” and I was inspired by the tempo of the track, I think it has a certain groove to it. Mr. Forge is one of the most prominent songwriters of our time so catching a bit of inspiration from him can’t do any harm. To me, the lyrics have a double edge. At first glance, they could be seen as written from a pure “I” perspective, what “I believe”. But one could also interpret it as a general “I believe” followed blindly by many people. They all claim to believe in some kind of “god” and “goodness” but there is more fire than ever in the world, look at Ukraine, Israel, Gaza and all acts of terror constantly committed in the name of “god”. Maybe your “gods” are not the gods they claim to be?”

Pre-orders for the LP and CD version of “Songs for the Gothic People” are available now via The Circle Music.

About Scheitan

Scheitan emerged in 1996, founded by Pierre Törnkvist on guitar, bass, and vocals, alongside Oscar Karlsson on drums. Initially a black metal ensemble, the group transitioned into gothic/ambient rock over time. Both Törnkvist and Karlsson, were already quite seasoned in death and black metal through bands like The Moaning, Defleshed, The Everdawn, and Gates of Ishtar.

The band’s debut “Travelling in Ancient Times” was unveiled in 1996 through Invasion Records, featuring eight tracks of intense black metal, with the closing piece, “Portals of Might,” hinting at Scheitan’s evolving musical direction. Their sophomore effort, “Berzerk 2000” (1998, Invasion Records), showcased a mix of styles: the first half revealed a gothic/ambient sound, while the latter part marked Scheitan’s departure from black metal. A segment of “Berzerk 2000” was digitally reissued as the “Deathgoth” EP in 2021.

Post-Invasion Records, Century Media welcomed Scheitan, leading to the 1999 release of “Nemesis”. This album fully embraced a gothic/ambient/dark aesthetic, though Törnkvist’s vocals retained their initial harshness. The creation of new material post-“Nemesis” led Törnkvist and Karlsson to form Helltrain, diverging from the Scheitan project.

After a 24-year break, Scheitan returned in 2023 with “Lost In Time”, a single echoing the gothic rock of Sisters of Mercy, Fields of The Nephilim, and The 69 Eyes. Shortly before “Lost in Time”, the band joined Greek label The Circle Music, planning a full-length album release in 2024.

Bernard - Side-Line Staff

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

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(By our Norwegian correspondent Jan Ronald Stange / Indie Recordings press release) Seigmen released the digital single ‘Kollaps’ (‘Collapse’) on January 17th, the follow-up to ‘Berlin’ released a month before. This is the second single taken from the upcoming album ‘Resonans’, which is set to be released this April.

It may be hard to believe that the songs on ‘Resonans’ were written pre-COVID. Before the conflicts in Ukraine and Gaza escalated, and with the United States in a looming darkness forced to choose the lesser of two evils yet again.

Through their devotion to details and their immediate environment and the people populating it. Through their strong use of words and powerful dramaturgy, Seigmen’s lyrics become universal and timeless. The result are songs where love is always at the core, veiled and twisted in a blend of desperation and hope, but always accessible and unmistakably Seigmen.

Seigmen’s universe is filled with clues to their source of inspiration. This is not often brought to light, but on ‘Kollaps’, the initiated listener will recognize text references in both verses and choruses to West German industrial pioneers; “Min venn, was glaubst du denn?“

Some of the sonic elements in ‘Kollaps’ are the recording of an angle grinder used by Kim Ljung’s father in law while assembling shelves for old tape decks, effects, and synthesizers in his home studio. The sound of strings heard in the chorus is generated by almost 50-year-old synthesizers, purchased at Supersonic (a legendary Norwegian music store) before the band recorded their classic album ‘Radiowaves’ in ’96.

Velvet Recording Studio

‘Kollaps’ was recorded at Velvet Recording Studio in Spydeberg with Christer Krogh at the console. The mix was done by Adam Noble (UK), perhaps best known for his work with Biffy Clyro.

The artwork follows the style of the first single, ‘Berlin,’ with a beautiful, but disfigured object, as the centerpiece. This time, a broken lamp that caught Kim Ljung’s eye in an underpass on his way home during a heavy snowfall. The shards of glass positioned like angel wings were shot just as they were found.
A resonance of the text line “Lyset som strømmer inn” (“The Light that Shines In”).

Listen to ‘Kollaps’ in your preferred audio player here: https://orcd.co/kollaps

For more on seigmen, see Migraine induced love and hate combined in new Seigmen song on Side-Line.

Jan Ronald Stange

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

www.facebook.com/jrstange

Genre/Influences: Chanson, Dark-Folk, Folk-Pop, Industrial.

Format: Digital, CD, Vinyl.

Background/Info: The title of this work speaks for itself; this work features songs that were played by Rome this year in Kyev (Ukraine). It’s not the first time since the war started that Jérôme Reuter went to Ukraine to play live.

Content: The work features 22 songs from Rome’s impressive discography. Multiple songs from the last studio-album “Gates Of Europe” have been played but still other songs from previous works and even ‘early’ tracks. Rome has evolved throughout the years; moving from Martial and Neo-Folk towards more styled and Dark-Folk/Chanson music. The engagement has never been different throughout the years and comes through on this album where you can hear the interaction with the audience.

+ + + : It becomes very rare I review live albums but this one has something different. There’s a very special context of an artist who decides to play live in a country involved in a horrible war. Rome wants to bring these people some hope and relief… just for a moment wherein they can forget atrocities of war. But that’s not really true as the songs (cf. “Going Back To Kyiv”, “The Ballad Of Mariupol” and especially “Yellow And Blue”) are dealing with war but are giving people a boost to hold on and keep on fighting for their liberty! The tracklist features some of Rome’s ‘greatest’ songs from the past years. The live versions are cool and Reuter sings passionately.

– – – : You hear a  short cut after each song which in a way ruins a little bit the live impression.

Conclusion: A brilliant live work with a clear message of hope for the Ukrainian people and all those who believe in freedom.

Best songs: “No Second Troy”, “Hearts Mend”, “Yellow And Blue”, “Uropia O Morte”, “One Fire”, “Solar Ceasar”, “Swords To Rust”, “The Brightest Sun”, “Kali Yuga Über Alles”.

Rate: 8½.

Artist: www.romepage.org / www.facebook.com/romeproject

Label: www.trisol.de / www.facebook.com/pages/Trisol-Music-Group/104166526285471 Read the news on ‘Live In Kyiv 2023’.

About ROME

Jérôme Reuter, born on August 2, 1981, in Luxembourg, is the creative force behind the neofolk project ROME, formed in November 2005. Before founding ROME, Reuter was involved in various musical endeavors, including performing under the moniker Reggie Fain, influenced by Tom Waits, participating in the Oi! band the Skinflicks, and contributing to the post-punk outfit Mack Murphy and the Inmates.

ROME’s music is characterized by a fusion of military drumming, atmospheric electronic textures, and ethereal acoustic guitars, complemented by samples and poetic lyrics that often explore themes of war, love, pain, and death. Reuter draws inspiration from literary figures such as Jacques Brel, Léo Ferré, Albert Camus, Ernst Jünger, and Jean Genet. Released on Trisol Music Group, “Live In Kyiv 2023” documents a live set Reuter played in Ukraine, drawing on 22 songs from across ROME’s catalogue including material from “Gates Of Europe”.

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 several years fans have been waiting for Project Pitchfork to release the 3rd installment in the series they promised back in 2018. Project Pitchfork put out “Akkretion” and “Fragment“, the first two parts of a trilogy but since then 5 years went by with nothing new since. But now they launch a tour holding the name of the 3rd part, “Elysium”.

After a long silence, in spring 2024, the last act of this electro trilogy will finally follow. On the upcoming “Elysium” tour, you can not only expect songs from the album of the same name, but also a string of classics and also the new singles “The Dance” and “Learning to Live”.

As special support tAngerinecAt will join the tour. This duo from Wales was founded in Ukraine in 2008 by Zhenia Purpurovsky (Kyiv) and Paul Chilton (UK).

Project Pitchfork concert dates

Bernard - Side-Line Staff

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

side-line.com

The Ukrainian industrial / cyberpunk act BlazerJacket is back with a new single titled “Dark Side”.

The duo has also unveiled a music video dedicated to the Star Wars universe, featuring visuals and footage of Darth Vader to complement the release. This immersive video has to provide a cinematic backdrop that complements the dark, futuristic tones of the track.

The single “Dark Side” is now available on all major streaming platforms, and the music video can be viewed right below.

BlazerJacket was created in Ukraine by Denis Cherryman (Dirty Bird 13 / KAЇND) and Hybri.Mod. Their love for cyberpunk, retrowave, sci-fi, and action films of the 80′s and 90′s inspires them to create a new sci-fi universe and conceptual music releases.

Below is the single on Bandcamp.

Bernard - Side-Line Staff

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

side-line.com

(Photo by Theo Gladkova) IAMX have announced a special added tour date in Lviv, Ukraine on November 1st.

After finishing their six week Fault Lines1 Europe Tour, Chris Corner, his band mate Janine Gezang and the IAMX touring crew will make their way to Lviv to show support for the Ukrainian people “who have given IAMX so much love over the years” so the band precies.

Their live set will feature both new and classic IAMX songs. The last time the band played the war-stricken country was in 2018.

The European leg of the Fault Lines1 Tour begins next week. See all dates below.

• 26 September – Bratislava, SK – Majestic Music Club
• 27 September – Prague, CZ – Lucerna
• 29 September – Budapest, HU – A38
• 30 September – Graz, AT – PPC
• 01 October – Vienna, AT – SIMM City
• 03 October – Sankt Gallen, CH – bruchteil grabenhalle
• 04 October – Munich, DE – Ampere
• 06 October – Barcelona, ES – Apollo 2
• 07 October – Madrid, ES – Sala Mon
• 09 October – Brussels, BE – Ancienne Belgique
• 10 October – Paris, FR – Trabendo
• 11 October – Cologne, DE – Live Music Hall
• 13 October – Leipzig, DE – Täubchenthal
• 14 October – Hamburg, DE – Markthalle
• 15 October – Copenhagen, DK – Amager Bio
• 17 October – Utrecht, NL – Tivoli De Helling
• 18 October – Frankfurt, DE – Zoom
• 21 October – Berlin, DE – Columbia Theater
• 22 October – Warsaw, PL – Progresja
• 24 October – Wroclaw, PL – Zaklete Rewiry
• 25 October – Brno, CZ – Fleda
• 27 October – Stockholm, SE – Slaktkyrkan
• 28 October – Gothenburg, SE – Trädgårn
• 30 October – London, UK – O2 Academy Islington – SOLD OUT
• 01 November – Lviv, UA – FESTrepublic

Bernard - Side-Line Staff

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

side-line.com

Out on October 6th is Rome’s “Live in Kyiv 2023” which comes as a double-CD in an 8-page digipak limited to 1000 copies.

In February 2023 Rome embarked on what Jérôme Reuter calls “its most important, as well as easily its most dangerous live mission in the band’s entire history.” Exactly a year before, in February 2022, with Putin’s henchmen already on Ukraine’s doorstep, Reuter had ignored the travel warnings and played several solo appearances in Ukraine. He had also given his word to his Kyiv fanbase that he would come back with the full band as soon as possible. This happened just mere days before Russia’s full-scale war against Ukraine and a year after, with the war still raging, Reuter played two shows in Ukraine, regardless of travel restrictions and regular missile attacks on the country’s capital. It made Rome the first foreign act to perform a full-length show in Ukraine during the war.

“For the duration of the show, it felt like we had already won,” so one fan said. This historical recording captures that unique moment in the band’s history.

Rome has since then released “Gates of Europe”, an album based on the events of the war, and the band have given several other performances on Ukrainian soil in support of the country’s troops and to help raise money for refugee shelters.

Jérôme adds: “It is anyone’s guess where this war is heading and when Ukraine will be victorious but the heroism of the Ukrainian people will never be forgotten.” Damn right!

Here’s an idea what you can expect. Read the review of ‘Live In Kyiv 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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Genre/Influences: Neo-Folk, Chanson, Dark-Pop.

Format: Digital, CD, Vinyl.

Background/Info: Jérôme Reuter is know for being an engaged artist. He already released several works featuring a strong message and/or critical perception but none of his previous works has been more actual and engaged as “Gates Of Europe” which is entirely dealing about the war in Ukraine. Rome already played several times in Ukraine since the debut of the war and he’s going to continue playing there as a support to the Ukrainian people.

Content: Rome’s music has progressively evolved throughout the years but he always remained faithful to his earlier Neo-Folk influences. All over the years he adapted this style into new directions injecting extra elements as Chanson, Ballads and a kind of Dark-Pop. “Gates Of Europe” moves on this direction and is a diversified piece of music centered around one specific theme. The album features numerous samplings related to the war but also a last song featuring Ukrainian Folk. Jérôme Reuter sings with his familiar deep, timbre of voice. He plays guitar while the songs are also featuring Electronic arrangements.

+ + + : This album deserves respect for its concept but much more for the way Jérôme Reuter illustrates this engagement. A lot of artists from very different music borders and styles have composed songs dealing with the Ukrainian war but how much of those have really went there to support the citizens by bringing them entertainment and showing commitment? Jérôme Reuter has been actively involved but still remains a talented and prolific artist. “The Death Of A Lifetime” is one of these outstanding Dark-Pop/Folk songs revealing melodic arrangements. I also have to mention “The Black Axis” for similar reasons while “Whom The Gods Wish To Destroy” is a sensitive Ballad moving crescendo reaching a true apotheosis. “Yellow And Blue” is a simple title with a strong content and still a beautiful song in Chanson style. I can go on, placing every track under the magnifier. This work is engaged but also sensitive revealing the refinement of Rome.

– – – : For years now Rome achieved masterpiece after masterpiece and it’s not that different for this new opus. I can just say it’s maybe not his best album to date although maybe the one which means the most for the artist.

Conclusion: War remains a great source of inspiration for artists but this work is much more than simply a message; I think it reflects the true spirit of Jérôme Reuter which never has been that exposed into his art.

Best songs: “The Death Of A Lifetime”, “The Black Axis”,  “Whom The Gods Wish To destroy”, “Yellow And Blue”, “How Came Beauty Against The Blackness”, “Eagles Of The Trident”, “Our Lady Of The Legion”.

Rate: 8½.

Artist: www.romepage.org / www.facebook.com/romeproject

Label: www.trisol.de / www.facebook.com/pages/Trisol-Music-Group/104166526285471 Read the news on ‘Gates Of Europe’.

About Rome

Jérôme Reuter, born on August 2, 1981, in Luxembourg, is the creative force behind the neofolk project Rome, formed in November 2005. Before founding Rome, Reuter was involved in various musical endeavors, including performing under the moniker Reggie Fain, influenced by Tom Waits, participating in the Oi! band the Skinflicks, and contributing to the post-punk outfit Mack Murphy and the Inmates.

Rome’s music is characterized by a fusion of military drumming, atmospheric electronic textures, and ethereal acoustic guitars, complemented by samples and poetic lyrics that often explore themes of war, love, pain, and death. Reuter draws inspiration from literary figures such as Jacques Brel, Leo Ferre, Albert Camus, Ernst Junger, and Jean Genet.

In August 2023, Rome released “Gates Of Europe” through Trisol, an album built entirely around the war in Ukraine following live performances Reuter had already given in the country in support of its citizens.

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

Every time Side-Line releases a new compilation, I seize the chance to interview Bernard Van Isacker, the chief compiler for Side-Line and our editor-in-chief. This time around, he has curated the comprehensive 88-track “Electronic Bodies” compilation, predominantly focusing on EBM with a hint of New Beat. I must say, I’m perpetually amazed at how he juggles his time. Not only does he supervise Side-Line, but he’s also engaged with Alfa Matrix, holds a full-time role in online marketing with an international firm, and has recently founded the digital marketing agency, Fox DS.

SL: With such a packed schedule, how do you find the time for these compilation projects?

BVI: Honestly, I often ponder how I muster the time and enthusiasm to initiate and oversee projects of this magnitude, given their time-consuming nature. The motivation largely stems from the Side-Line community; I sometimes feel I owe them my time (laughs). I genuinely enjoy these projects; I’m a person who thinks in terms of projects and concepts rather than daily routines. This mindset is evident even in my day job, where I’m known to favour large-scale, impactful projects over short-term tasks. This approach ensures consistency in my endeavours. As I age, I notice this trait becoming more pronounced.

SL: Merely 12 hours post-release, the “Electronic Bodies” compilation has already clinched the top position on the industrial charts. How do you maintain such consistency?

BVI: The credit goes entirely to our audience. Time and again, I observe the active engagement of the Side-Line community. The volume of personal emails from readers is staggering, and I make it a point to respond to each one, even the occasional critiques regarding our editorial decisions. A prime example is our decision to remove ads from Side-Line, a move purely based on reader feedback. In hindsight, it was probably our best decision, eliminating those intrusive Adsense ads that marred our magazine for years.

Returning to your question, we can now engage tens of thousands of fans with a single click. I always strive for transparency in our communication. For instance, if a project gets shelved (which has happened once in the past two decades), I explain the reasons behind the decision. Honest communication is paramount in everything we do at Side-Line. I’m fortunate to run this magazine alongside one of the most principled individuals I know, Stephane Froidcoeur. I highly regard his opinions, and despite our occasional disagreements, we remain an inseparable duo, frequently deliberating on our future direction. This long-term planning is crucial to our operations.

SL: What drove your decision to spotlight EBM and a bit of New Beat?

BVI: The idea dates back a few years. Sven Lauwers, Andy De Decker (Ionic Vision / Metroland), and Franky Deblomme (Cubic, Darkmen) once suggested that Side-Line should explore EBM and New Beat. This concept lingered in my mind, but with the “Electronic Resistance” projects consuming a significant portion of my time over the past 18 months, it took a backseat. However, a recent conversation with Sven reignited this dormant idea. A brief poll on Side-Line’s Facebook page indicated the potential success of this project. While the popularity of our compilations has been on an upward trajectory, I’m acutely aware that success shouldn’t be taken for granted. It’s imperative to consistently deliver value.

SL: On that note, I was surprised to discover the new Ionic Vision track “Deathrow” in the compilation. How did that inclusion come about?

BVI: When I informed Sven about this upcoming project, I inquired if he had any unreleased tracks to contribute. He mentioned their unreleased album and promptly sent over a track. Ionic Vision has been a staple in my EBM mix from the outset, so it’s gratifying to feature this iconic Belgian act in the compilation. Additionally, Andy contributed a track from his project, Him+He, which leans more towards New Beat.

SL: ELM, which kicks off the compilation, is widely regarded as a trailblazer in today’s EBM scene. Would you concur?

BVI: Absolutely. Musically and in terms of production, Peter is top-tier. Had ELM been active in the 80s, he’d undoubtedly be a superstar. I recently discussed ELM during an interview for Canada’s DJ Moose’s The Gothic Moose podcast. Fabrício Viscardi from Aesthetische was also a guest, and we delved into the production quality of various releases. Fabrício (just like Peter), in my opinion, possesses exceptional production skills. Both ELM and Aesthetische consistently deliver top-notch productions.

SL: Not surprisingly that I also see Aesthetische featured on this compilation.

BVI: Indeed. Upon hearing the masters for “Boiling Over (Celsius Version)”, I was convinced it deserved a spot on the compilation. I sought Seba Dolimont’s (Alfa Matrix) opinion, and his response echoed my sentiments. This track epitomises the evolution of EBM in 2023, infusing a contemporary touch while preserving its roots. Coupled with superior production, it’s undeniably a gem.

SL: I’ve observed that only a handful of bands in the compilation are established names in the scene. Are other labels hesitant to collaborate?

BVI: I never pressurise scene labels to contribute. They receive an invitation, and their participation is entirely voluntary. Our compilation series has always been independent of label contributions, although a few labels consistently support our vision and concept. The majority of submissions are from emerging bands eager to expand their audience. Our primary objective remains to nurture and promote new talent. We’re always open to collaborations, and labels willing to contribute are always welcome.

SL: Do you maintain communication with all these numerous bands post-release?

BVI: I consistently encourage bands involved to keep me informed about their subsequent activities once the release is out. Many do, and this way we ensure to track their progress and share updates when there’s noteworthy news. Our approach isn’t just a one-off; it’s only fitting that these bands know they can rely on our continued support.

SL: Was the process of selecting bands for this compilation straightforward?

BVI: The response we receive when we issue a call for submissions is always overwhelming. Sifting through the plethora of material is a weeks-long endeavour. Once I’ve shortlisted the bands, the next step involves securing contracts, which proved challenging this time around due to the sunny weather. Chasing contracts during the summer holiday season is far from ideal, that I knew and know now even more. One contract eluded us, resulting in 88 bands on the compilation instead of the initially announced 89. So, for those fixated on the number 88, the missing 89th slot isn’t our oversight but a consequence of the band’s oversight (laughs).

SL: What inspired your focus on Ukrainian victims of post-traumatic stress disorder (PTSD)?

BVI: I recently came across an article detailing the psychological toll of the war initiated by Russia against Ukraine. The repercussions are devastating, with families torn apart and a surge in divorces and suicides. Many are grappling with PTSD, a condition that arises after experiencing traumatic events. Symptoms disrupt daily life, manifesting as flashbacks, avoidance behaviours, and a host of other issues. If we’re in a position to assist, we should.

SL: Doesn’t immersing yourself in such grim realities depress you?

BVI: While it’s undeniably sombre, it’s essential to recognise our privileged position compared to their plight. Rather than symbolic gestures, I advocate for tangible action. The West should be doing more. The disparity between resources squandered on frivolities and the valiant efforts of the Ukrainian populace defending their homeland infuriates me.

SL: I’ve noticed a decline in the presence of Russian bands in this scene. Have you observed this trend?

BVI: They haven’t vanished; they’ve chosen to either keep a low profile or relocate from Russia. In a few instances, some even openly support the controversial regime led by Putin. For example, Side-Line has a policy not to feature bands that align with Putin’s views. I’m in regular contact with many Russians. A majority express their dismay at the current situation, foreseeing significant repercussions as their nation faces increasing isolation, contrary to what some media outlets suggest. Do you think the BRICS nations appreciate having such an outlier in their midst? A few others I converse with remain reserved, but their sentiments suggest they don’t necessarily disagree with their nation’s actions in Ukraine. It’s disheartening, but I believe in maintaining open communication, hoping they’ll recognize the gravity of the situation. Decades of propaganda have left a profound impact.

The future of Russia’s dark music scene remains uncertain. I hope they recognize the extensive damage their nation has inflicted. With a death toll exceeding 300,000, there’s no room for national pride. The current oppressive environment will likely stifle these bands’ voices, leading me to anticipate a decline in activist lyrics and public positions in their work. This shift should serve as a stark indicator for those still questioning the integrity of their government and its societal constraints.

SL: Why hasn’t Side-Line ventured into establishing a full-fledged label? Given the magazine’s dedicated readership, it seems like a logical progression, doesn’t it? I remember discussing this with you before.

BVI: Yes you did, and my stance hasn’t changed (laughs). Side-Line collaborates with thousands of bands. Focusing on a select few could compromise our credibility. I’m meticulous about ensuring my involvement with Alfa Matrix doesn’t influence Side-Line’s operations. Managing bands under the Side-Line banner would blur these lines further. While I frequently receive proposals to release albums, I remain committed to Side-Line’s vision of being a platform for all bands within our genre. Our audience’s trust and respect are paramount. Their unwavering support is the lifeblood of Side-Line. Without them, there’s no magazine, and consequently, no compilations.

SL: During this project, were there any bands that particularly resonated with you?

BVI: Conditions Extrm and their side-project Balsab, both hailing from Bordeaux, intrigued me with their raw EBM sound. Their music evokes memories of the tape demos Side-Line received in the early 90s. They encapsulate Side-Line’s ethos of amplifying young bands’ voices. Numerous other bands contributed, but these two immediately come to mind due to their interconnectedness, despite submitting their tracks separately.

SL: What’s on the horizon for Side-Line? I’ve heard whispers of a potential Turkish compilation. Can you shed some light on this?

BVI: Those aren’t mere whispers; I’ve alluded to it occasionally. I’m liaising with Turkish partners to assess its feasibility. I often encounter criticism for not featuring bands from the Muslim world in our compilations. While I’m open to the idea, the scene in these countries isn’t as expansive. However, the prospect intrigues me, and I’ve initiated preliminary research. No promises, but the groundwork has begun. For now, enjoy the current compilation, it holds plenty of good stuff!

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

Available now from Bandcamp is our brand new 88-track strong EBM charity compilation “Electronic Bodies”.

This collection dives deep into the rhythms of EBM (Electronic Body Music), New Beat, and their contemporary offshoots. The compilation features artists from countries spanning from Germany to Australia, the United States to Estonia, and many more. It’s clear: EBM still resonates worldwide and this after the genre was established more than 40 years ago!

The compilation features known and completely new bands.

Bernard Van Isacker who compiled the release explains: “Our commitment to showcasing a blend of emerging talents and seasoned bands remains unwavering. We remain a platform to launch new talents after all. And while not every artist boasts high-end studio equipment, a special shoutout to Erlend Eilertsen (Lights A.M, Essence Of Mind) for masterfully enhancing some of the tracks when needed.”

The compilation is a tale of two halves: the first immerses you in old-school vibes, while the latter offered the bands some extra freedom as far as sound is concerned.

All donations this time will go to psychological support for Ukraine soldiers and citizens suffering from PTSD (Post-Traumatic Stress Disorder). Van Isacker: “We have to realize really well that these traumatized people will need to return to society, and they will need all the help possible to fight their demons and become part of the daily life again. Hence why this time we are going to support some NGO’s that work on this specific topic. They have a huge task ahead of them, so every help we can provide, we will provide.”

Tracklist

Merchandise

For those who love a tangible connection to the music, we offer an exclusive ‘Electronic Bodies’ T-shirt (for men and women) and, in true EBM spirit, you can get a combo package holding also a limited edition, hand-numbered Electronic Bodies flask. Each merchandise order also includes a download of the compilation, ensuring the beats never stop.

Shipping takes places in the first week of October. Please make sure to place your order as soon as possible so we know what stock we need to order.

Thanks for your continued support!

Our previous compilations

• Various Artists – The Insane Vaults
• Various Artists – Face The Beat: Session 1
• Various Artists – Face The Beat: Session 2
• Various Artists – Face The Beat: Session 3
• Various Artists – Face The Beat: Session 4
• Various Artists – Face The Beat: Session 5
• Various Artists – Shane Aungst vs Face The Beat 5 – Megamix
• Various Artists – Face The Beat: Session 6
• Various Artists – Shane Aungst vs Face The Beat 6 – Megamix
• Various Artists – Post-Punk (Genesis)
• Various Artists – Face The Beat: Session 7
• Various Artists – Electronic Resistance – A Darkwave / Post​-​Punk Compilation From The Ukrainian Underground
• Various Artists – Electronic Resistance – Reconstruction
• Iwan Lovynsky & KingSMarine – Ukraina EP
• Various Artists – Electronic Bodies: session 1

Bernard - Side-Line Staff

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

side-line.com

(Photo by Elvira Akzigitova) Crime & the City Solution have announced details of a new album, “The Killer”. It’s their sixth studio album, and their first in over a decade and is set for release via Mute on vinyl, CD and download on 20 October 2023.

You can already listen to a first track shared from the album, “Peace in my Time”. Simon Bonney explains the song is “about acceptance, more than just ‘peace’; I don’t think there’ll ever be ‘peace’ – nothing surprises me any more about what people to do to each other; but the song is about the acceptance of uncertainty, and also an acceptance of who you are.”

The video was made by Berlin based artist Elvira Akzigitova.

Working briefly in post-invasion Ukraine following the album’s completion, Simon Bonney saw that uncertainty again: “There was a building that was absolutely destroyed by a missile that was half a mile off the actual target. The buildings on either side were perfectly intact, but in the middle was a crater. Yet, in the face of such uncertainty, there was this incredible resilience that seemed to be born of accepting life as it was at that moment, no matter how challenging and uncertain.”

“The Killer” was recorded in Berlin by the second incarnation of the band to be based in the German capital. Core members Simon Bonney and Bronwyn Adams were joined by Frederic Lyenn (Piano, Bass, Synth), Donald Baldie (Guitar), Georgio Valentino (Synth, Guitar), Chris Hughes (Drums, Percussion) and Joshua Murphy (Piano, Guitar), and for the first time they worked with a producer, Martin J. Fiedler, who also added synth and mellotron to the album.

The band will also depart on a EU tour later this Fall:

• 23 Nov – Haacht (BE), Can’t Live In a Living-Room
• 24 Nov – London (UK), The Moth Club
• 25 Nov – Bristol (UK), The Cube Cinema
• 26 Nov – Colchester (UK), Colchester Arts Centre
• 29 Nov – Paris (FR), La Boule Noire
• 30 Nov – Geneva (CH), L’Usine
• 1 Dec – Karlsruhe (DE), P8
• 2 Dec – Ebensee (AT), Kino Ebensee
• 3 Dec – Zagreb (HR), Vintage Industrial Bar
• 4 Dec – Milano (IT), Arci Bellezza
• 5 Dec – Munich (DE), Muffatwerk
• 6 Dec – Prague (CZ), Fuchs2
• 7 Dec – Hungary (HU), Turbina
• 8 Dec – Linz (AT), Stadtwerkstatt
• 9 Dec – Poznań (PL), 2Progi
• 10 Dec – Warsaw (PL), Niebo
• 12 Dec – Dresden (DE), Chemiefabrik
• 13 Dec – Hamburg (DE), Hafenklang
• 14 Dec – Copenhagen (DK), BETA
• 15 Dec – Oslo (NO), Salt
• 16 Dec – Stockholm (SE), HUS7
• 17 Dec – Gothenburg (SE), Musikens Hus
• 19 Dec – Berlin (DE), Urban Spree

Bernard - Side-Line Staff

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

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Out via Trisol Music Group on the 25th of August 2023 is the all new Rome album “Gates Of Europe”. And as you will notice Jerome Reuter’s musical project Rome again connects to its Ukrainian audience apart from the occasional live appearance.

Since 2015, shortly after Ukraine’s Revolution of Dignity and Russia’s covert invasion of the Donbass, the Luxembourgish singer-songwriter has regularly been including various Ukrainian cities on his European tours. Furthermore, Rome happened to give solo performances in Kyiv and Odesa only a few days before Russia’s full-scale invasion in February 2022; a time at which foreign residents and visitors were urged most strongly to leave the country at once.

A few months later, after having played several online charity shows in support of Ukraine, he returned for a solo appearance and thus was the first foreign artist to play a full-set show on Ukrainian soil since the beginning of the war. This appearance in July 2022 was used to gather donations for a refugee shelter in Lviv. In addition to that, one year to the day after Reuter’s last appearance in Kyiv, Rome played two already legendary full band shows in Lviv and Kyiv to commemorate the first anniversary of the beginning of the war.

Below are some videos that documented Jerome Reuter’s support for Ukraine.

“Gates Of Europe” starts off with a burst of the sounds of February 24th, 2022, the beginning of the full-scale invasion and proceeds almost chronologically through the first year of war. The 14 songs offer a glimpse on the inner life of a country that against all expectations is facing the storm with absolute resolve and courage.

Rome will also be hitting the road throughout the remainder of 2023 (including 3 dates in Ukraine). Dates include: Read the review of ‘Gates Of Europe’.

• 29.07.2023 UA-Lviv / Faine Misto Festival
• 25.08.2023 UA-Lviv / !FESTrepublic
• 26.08.2023 UA-Kyiv / Volume Club
• 01.09.2023 DE-Deutzen / NCN Festival
• 08.09.2023 PL-Aleksandrów L. / Summer Dying Loud Festival (solo)
• 16.09.2023 IE-Dublin / Wheelans (solo)
• 28.09.2023 FI-Helsinki / TBA (solo)
• 29.09.2023 SE-Stockholm / Bar Brooklyn (solo)
• 30.09.2023 NO-Oslo / Revolver (solo)
• 01.10.2023 SE-Gothenburg / The Abyss (solo)
• 06.10.2023 CH-Aargau / Musigburg
• 07.10.2023 DE-Frankfurt / Nachtleben
• 08.10.2023 DE-Cologne / Yard Club
• 10.10.2023 DE-Münster / Gleis 22
• 11.10.2023 DE-Hamburg / Nochtwache
• 12.10.2023 DE-Berlin / Frannz Club
• 13.10.2023 PL-Gdansk / Dizzly Grizzly
• 14.10.2023 PL-Krakow / Poczta Glówna
• 26.10.2023 DE-Dresden / Bunker
• 27.10.2023 DE-Nuremberg / Stereo
• 29.10.2023 DE-Munich / Backstage
• 01.11.2023 HU-Budapest / Dürer Kert
• 02.11.2023 RO-Cluj Napoca / Form Space
• 03.11.2023 RO-Bucharest / Fabrica
• 04.11.2023 BG-Sofia / Live & Loud
• 05.11.2023 RS-Belgrade / TBA
• 07.11.2023 AT-Vienna / Viper Room
• 08.11.2023 SI-Ljubljana / Orto Bar
• 09.11.2023 IT-Milano / Arci Bellezza
• 10.11.2023 DE-Freiburg / TBA
• 11.11.2023 BE-Aarschot / Porta Nigra Festival
• 18.11.2023 NL-Utrecht / Tivoli Vredenburg

Bernard - Side-Line Staff

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

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When Russia invaded Ukraine, not willing to support the ugly war and the horrible autocratic regime, Vif Nüte and Bes Eirid aka VEiiLA packed their lives in a couple of suitcases, left their homes and embarked on a journey without destination. What followed was a period of wandering through Armenia, living in strange hotels and apartments and slowly drowning in depression.

This experience led to the songs featured on “Sentimental Craving For Beauty”.

Out on September 8 via Projekt Records as a 4-panel digipak, “Sentimental Craving For Beauty” mixes dark cold wave and alternative pop featuring female vocals. This is the second album for VEiiLA and instead of taking a well-worn path of lush studio production, for this album Vif and Bes focused on writing songs that could be played live in real time with their own four hands, a drum machine and a vocal looper. This resulted in a stripped down production with only a few occasional extra layers. Read the review of ‘Sentimental Craving For Beauty’.

Bernard - Side-Line Staff

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

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Genre/Influences: Cold-Wave, EBM.

Format: Digital, CD.

Background/Info: Belgian solo-project Enzo Kreft strikes back with a new album which again appears to be a conceptual work or at least driven by one, central, topic. “Shelter” is a reflection about war which is clearly inspired by the war in Ukraine. After having released a few productions on Wool-E-Discs Eric Vandamme (real name of the artist) self-released this opus in the purest D.I.Y. way.

Content: If you’re familiar with the artist’s work “Shelter” will have less surprises. The sound remains driven by good-old 80s elements and sounds into Electro-Wave with some extra, harder, EBM, influences on top. From EBM bass lines to string parts reminding me of the magic of Gary Numan the songs are one by one reflecting atrocities of war now with explicit lyrics and then with cynicism. 

Listen to “Duck And Cover”:

+ + + : If you already liked previous works of Enzo Kreft you are definitely going to like “Shelter” as well. I prefer the most ‘danceable’ cuts with this noticeable 80s touch on top while carried by simple, but carrying choruses. I’m referring to “Duck And Cover”, “No To These Atrocities”, “A Refugee Song” and “Blood Diamonds”. The particular way of singing -somewhere in between narration and singing, remains another typical trademark of this artist. Last but not least I salute the professional artwork and global D.I.Y. attitude of the artist.

– – – : A few ‘softer’ cuts are injecting diversity and/or a little break but definitely aren’t the best exponents from this artist.

Conclusion: Enzo Kreft stands for ‘refreshing-retro’ electronics’ and remains an artist to discover.

Best songs: “Duck And Cover”, “No To These Atrocities”, “A Refugee Song”, “Blood Diamonds”, “On The Run Looking For Shelter”.

Rate: 8.

Artist & Label: www.facebook.com/enzo.kreft

About Enzo Kreft

Enzo Kreft is the solo project of Belgian artist Eric Vandamme. He started composing electronic music in the 1980s, with his most prolific period beginning a few years ago; each album is built around a single central theme. Earlier work appeared on Wool-E-Discs before Vandamme moved to self-releasing his albums in a D.I.Y. process that covers writing, recording, mixing, mastering, and artwork. The 2023 album “Shelter” centers on war, a theme Vandamme has described as “my protest album where I could actively speak out against war and violence”, drawing on Electro-Wave, EBM and Minimal-Electro influences.

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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Ghost Dance belong to the collective memory of Dark-Wave and Post-Punk music. Set up in 1985 by Gary Marx (ex-Sisters Of Mercy) and singer Anne-Marie Hurst (ex-Skeleteal Family) the British formation started to release a few singles and EP’s which were compiled at the legendary “Gathering Dust”-album (1988). The album “Stop The World” got released in 1989 which also was the year Ghost Dance quit. Thirty four years later Anne-Marie without Gary Marx but with a totally new line-up released a new album of Ghost Dance. Released by Voltage Records “The Silent shout” brings the early spirit of the band alive while exploring other influences like Rock and Ballads. The album stands for a new beginning and as Anne-Marie says ‘a second chance’.

(Courtesy by Inferno Sound Diaries)

Q: Did you ever expect to bring Ghost Dance back alive and how did this ‘resurrection’ finally happened?

AM: I always intended to bring Ghost Dance back at some point but it was a case of finding the right time. When I left Skeletal Family in 2018, it seemed like a good opportunity.

Q: I think it’s much more than simply a come-back but also a new beginning with a new line-up. What happened to Gary Marx and how did you get in touch with the new members?

AM: I got in touch with Gary Marx about a reunion, but although he didn’t want to be involved, he gave me his blessing to go ahead. I’d known all the new guys since the early days of Ghost Dance, as they often supported us in their bands Harlequyn and Original Sin and we stayed friends over the years. Tim had done some bits of engineering on the “Day Of All Days”-album, so I phoned him and said ‘I need a guitarist’. It turned out he’d been talking to the other guys about a new band project anyway, so it all fell into place.

Q: I noticed Gary has written two songs featured at “The Silent Shout”. Can you give us more details about both songs?

AM: They were both old songs that Ghost Dance used to do live, but were never recorded, apart from home demos. We asked fans which unreleased songs they’d like to hear recorded and “A Town Called Sympathy” and “After The Rain” were top of the list, plus we thought they would also fit with the new songs we were writing for the album.

Q: How much of the early Ghost Dance do you still recognize in “The Silent Shout”?

AM: The original Ghost Dance evolved fairly quickly anyway, but we did have our own sound, driven by the two guitars, so we wanted to retain that sound. From there it was a case of updating the sound and bringing it out of the 1980s, without losing the feel of Ghost Dance within the songwriting.

Q: What have been the triggers and inspiration for the album? And what have been the different stages you’d to go through to achieve “The Silent Shout”?

AM: Partially it was Covid lockdowns. We had done just one live show before everything was closed down, so we decided to start writing new material. Everyone in the band is a writer, so it was a case of picking the songs that sounded like Ghost Dance. We rejected a lot of ideas along the way, but eventually we felt we were developing something that sounded new, but stayed true to the original Ghost Dance feel. We were writing and recording in the studio at the same time, rather than rehearsing and trying the songs on the road first. We were fortunate that Tim runs Voltage Studios, so we could take our time getting it right. None of us knew what the songs were really going to sound like until the mixes were finished. It was very exciting as most us hadn’t recorded anything new for quite a long time!

Q: I experienced the songs as quite diversified; from Post-Punk influences to explicit Rock music; from harder songs to nearly ballads. It sounds a bit like the album goes with the flow but what are your feelings about it right now?

AM: We’d not written together before, but it happened quite naturally as we all grew up in the same time period, with Punk, Post-Punk and Rock & Indie music. Rather than try to sound like any specific genre, we just allowed our likes & dislikes to influence us. We did have a list of bands it was OK to sound like – and NOT OK to sound like though!

Q: The album has been released in a period of turmoil; written during Covid-19, Brexit and political instability in the UK, increasing populism and extremism worldwide, the war in Ukraine, social- and ecological issues… What’s your perception about the current situation and did it have an impact to the lyrical content?

AM: To start with, there was a deliberate avoidance of writing anything about Covid! Also we’ve never been a political band and not interested in developing those ideas in music. It’s an album of emotional expression rather than social comment. There are some really personal thoughts in there lyrically and musically. If anything it’s an escape from the current situation, rather than a comment on it.

Q: You’ve been always a great live performer so what does it mean to go on stage again and playing new songs? And what are the further plans?

AM: It’s been refreshing doing something new, with new people. The gigs have been amazing and fans have embraced the new material as much as the old. Live performances are still my favourite part of being in a band and it’s great doing all that with people you really like. More UK dates are coming up and then we’ll have some shows in Europe. Also we’ll keep writing new material and some other unreleased Ghost Dance-songs may finally get recorded.

Q: Next to Ghost Dance you’ll always be connected to Skeletal Family. Even after the split you worked again with Roger Nowell and Stan Greenwood releasing the album “Day Of All Days” (2011) and even reformed the band a few years ago till you quit. How important has been Skeletal Family in your career and are you still in touch today?

AM: That was the band that started everything off for me, so it was very important. It was great to be able to express myself and be a trailblazer in new music & fashion at that time. It was a very exciting period and just browsing charity shops for stage clothes was a thrill. I don’t have any contact with Skeletal Family at the moment but I wish them all the best.

Q: Evoking your career, you’re now into music business for more than 40 years, right? What comes directly into mind evoking this career? What makes you proud and what makes you angry?

AM: Being fortunate enough to do it in the first place, but also again now being given a second chance. I’m really proud of previous achievements but also of the new album and how the new album has been accepted by the fans. What makes me angry is not being able to do this full time. I’d like it to be a job, not a hobby.

Q: What would you say today to the young Anne-Marie making her first steps in music business around 1980?

AM: Be yourself and follow your heart.

Q: The 80s have been exceptional years when it comes to music and still today remain a source of inspiration for young artists. Back then did you realize something special was happening and how do you look back at this legendary decade?

AM: I think we were lucky to live through that time. You could express yourself without having much money. That meant you had to be inventive. Britain has been at the forefront of so many music explosions – especially Leeds & Bradford, where we came from. It was wonderful to be a part of it all and still be influenced by it today and still see its impact around the world.

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

The Kyiv, Ukraine based post-punk / indie pop act Lybid_1 is back with an all new album, “Х​і​т​ь”, which was recorded and mixed in 2022 and which is now available on Bandcamp.

You will know the band from their participation in the first volume of our “Electronic Resistance” charity compilation series with the track “Tatata”. A new version of that track is now available on their new album which you can check out below. Warmly recommended!

You can also check the band life at work in the below video.

Bernard - Side-Line Staff

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

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(Photo credit Anders Larson) The Swedish industrial band The Below has a new single and video out, “Artificial Lights (Dystopian Haze)” featuring Aaron Sutcliffe. Aaron Sutcliffe is an alias of Johan Malmgren (of S.P.O.C.K) used for recording electronic covers of classic rock songs. The single is out on the 9th of June but we can already present you the video today which was shot in Lviv, Ukraine, in April 2023 by an all-Ukrainian team..

The single explores the theme of fear and the experience of living in bomb shelters after the brutal Russian invasion of Ukraine.

This is not the first time that The Below and Aaron Sutcliffe have collaborated on a politically charged single: “Our previous release, ‘No Place is Safe’, explored the violence and destruction of Israel’s assault on Gaza in 2014 and gained a lot of attention, particularly in Palestine.” Regarding the new single The Below says: “I am excited to be collaborating with Aaron Sutcliffe again on this project. The events that took place, and still are taking place in Ukraine are truly horrific, and we hope that this music can help raise awareness of the plight of those affected.”

Kate Tiuri, the director of the video, commented on the production, stating: “War doesn’t stop culture! We continue to stand, to speak, and to create. In this musical piece, I want to grasp that tragedy can go alongside beauty. We demonstrate the beauty of Ukraine through dance – a contemporary duet that embodies the strength, resilience, pain, and indomitability of the Ukrainian people.”

About The Below

The Below is a solo project by Bo Magnusson, the sound engineer/bass player from the Swedish industrial experimentalists Dr. Evil & The Boys From Below (1985-1992). A band that had a strong local following thanks to their spectacular stage performances featuring pig’s skulls, hovering washing machines, a truck load of scrap metal etc. After the band took an indefinite break in 1992 there were no plans to continue producing music.

However, in 2015 things changed and a few saved objects and instruments were dusted off and slowly new noises were created under the moniker The Below. So far, The Below has released five singles: ”Knives and Heights” b/w ”Grind Me Down”, “Unarmed (An American Nightmare)”, “I’d Like to Punch Him In The Face”, “Change is Coming” and “No Place is Safe”.

Bernard - Side-Line Staff

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

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Thirty years after their official debut album “Tybalt” German Electro-Pop formation Beborn Beton strikes back with their ninth album to date. “Darkness Falls Again” (Dependent Records) deals with the dark, contemporary, times we’re living in. Music wise the album holds on the familiar and very personal Electro-Pop style of the band; danceable and melodic songs featuring a professional production. I talked about this masterpiece with singer and front man Stefan Netschio.

(Courtesy by Inferno Sound Diaries)

Q: I realized that your first official album “Tybalt” has been released thirty years ago now. How do you remember the first steps of Beborn Beton and how do you see the evolution of the band throughout the years?

Stefan: After such a long time one questions the validity of one’s own memories. For sure there are certain milestones that will always stay with you, but everything else in between is a blur. There are lots of things lying dormant. It would probably require a night or two with all three of us reminiscing. I remember the nights we spent in the studio recording the first albums. And even before that, the studio time we had when recording our first songs with Carlos Peron in Switzerland and Cologne (Germany). Lots of people we met. The many different bands from that time, some are still active musicians and some have quit the business. The early tape recordings. Back then there was a tape scene with labels that put out compilations. I remember it being exciting being chosen for said compilations. And most importantly the many shows we played that had a significance for our evolution as stage performers.

I think the first era ended when we got signed to Strange Ways Records. The recordings with the late José Alvarez-Brill were a big step up, plus the wider exposure as a member of the Strange Ways roster. Super fun times. Touring with De/Vision, Mesh and Icon Of Coil.

Then getting signed to an US label and touring the states supporting Apoptygma Berzerk. An experience of a lifetime. Playing shows in Canada, Russia and all over Europe. We played many shows and festivals in the meantime, but it was only a few years later that we started writing and recording “A Worthy Compensation” with Olaf Wollschläger. That is definitely one of the highlights in our career. The work with Olaf was eye-opening. And we took more time than anticipated because it was so much fun and Olaf was more than just a producer. He profoundly understands our DNA. The new signing to Dependent Records and the return from that long hiatus with flying colours. All that time we have been independent artists. At some point, we were really young, there was the question whether or not to pursue a full-time music career. In hindsight I am so happy that we didn’t, that we are able to do what we want to do and not having to answer to anyone but ourselves.

Q: How much of the young musicians you were at that time do you still recognize in your work and global approach today? And what makes the chemistry throughout the years?

Stefan: Thirty years is a long time to evolve as an artist and of course as a human being per se. We have seen a lot, we have traveled a lot. Played shows on different continents, many still to explore. We tried a lot of things and we wrote lots of songs, spent a huge amount of time in the studio playing with technology. So, we still have the urge to write meaningful songs and use the highest possible technical standards to bring them to life. On the other hand we are not so easily impressed by music anymore. We know the tricks and we know how it’s done. But we still appreciate a good composition or a greatly executed production.

We have always been friends that make music together rather than fellow musicians. And that has not changed ever since. We party together and have spent a fair share of our free time travelling together not on tour as Beborn Beton. I believe, next year Till and I have known each other for forty years. We attended the same school when we found out that we liked the same kind of music. I met Michael in 1989 when we founded the band. That’s thirtyfour years now. I am his daughter’s Godfather and we all attended each other’s weddings. We are like family. Not by blood, but by choice.

Q: There’s already a serious gap (eight years) between your previous album “A Worthy Compensation” (2015) and “Darkness Falls Again”. It gives me the feeling there’s much more than music and Beborn Beton in your lives but how important remains this creative / artistic exposure and what does it mean to you? And what motivated you to start writing “Darkness Falls Again”?

Stefan: Beborn Beton is an integral part of our lives. That is our main outlet and means of creative expression. Sure, we all have very time and energy consuming day jobs. Some of us have another job on the side as Dad. So we do not always have time to meet all three to write music. But we still try to make time to spend some quality time together when we can. In the last few years I spent a lot of time crafting remixes and collaborating with other artists, enhancing my skills. But Beborn Beton is what we are even when we are not playing shows or writing albums. It’s not a coat that you take off at the end of the day. We believe in what we do and we mean every word we sing.

After “A Worthy Compensation” we were arguing whether or not this was the best and maybe our final album. We worked for so long on this and everything about this release was meticulously thought out and heartfelt. We wondered if we still had something to share with the world. And most of all, if we had the energy to make an album that is even better or at least similarly good as this one. Then came the era Trump and his magic box of atrocities. Racism, sexism, climate change and exploitation of earth’s resources, homophobia, sexual freedom, conspiracy theories. You name it. To us it seemed that this man spewed his venom at everything to fuel the anger of a divided nation and the world. We were on fire which resulted in us writing songs. It also made us sensitive to other topics that we weren’t aware of before. For example postnatal gender designation, even at a later stage. Then there was the pandemic that opened the floodgates to right wing extremists and conspiracy idiocracy.

And to top it off, Putin declared war on Ukraine. Dark times for humanity, great times for songwriting.

Q: The album indeed reveals a strong lyrical and engaged content which has been transposed into catchy tunes and danceable songs. I like the contrast of dancing on very serious lyrical topics but how do you see this aspect? And what’s the deeper significance of the lyrical content?

Stefan: That has always been our focus right from the beginning. Writing meaningful and serious lyrics, interesting stories and placing them in a beautiful, yet danceable and uplifting context. That is the core of Beborn Beton’s musical formula. And on “Darkness Falls Again” we address the issues mentioned before. From self-determination of gender, free love and sexual orientation to the fate of our planet and generations to come, but also existential topics, life altering medical conditions and challenges, war in the name of religion, racism and the enforcement of women’s rights. Some of the themes have been covered by songs that have not been released yet, so watch out for more to come.

Q: Can you give us an insight about the writing of “Darkness Falls Again”. What have been the different stages you’d have to go through to achieve this work and what have been the major difficulties and challenges?

Stefan:The songwriting process hasn’t changed over the years. Once the stories and topics are set, we sit together and the music is mainly conceived by playing around with the piano while the vocal melody takes form. And with the storyline in mind I vocalize parts of the vocal melody to get a natural groove and measure and once the chord progressions and vocal melodies are done, I write the verses and choruses while the beat and basslines are being articulated. And as long as I need to fix the lyrics, Till usually adds layers of sounds, percussion and additional sequences. When the music and lyrics are in a raw demo stage, we usually stop and let it rest for a couple of days. When we revisit the song to see if we still like it, we always find things that we feel could be executed better. This way we write the album tracks and in between all the songs get countless revisions. So, if – after months of songwriting -we still love the tracks we have written, chances are good that we are onto something big.

After that stage we get together with Olaf Wollschläger to refine the songs in his studio, work on the arrangements and the sound of the songs and get a cohesive album sound. This is when we record the vocals, get the mix done and give the songs that extra shine.

To be honest, fortunately there weren’t any major difficulties or challenges. In times of lockdown, when we couldn’t be in the studio together, Olaf worked on the songs on his own and gave us regular updates. But that was when all the pieces were finished in their substance and the adjustments were made on a very deep level, where mixing decisions were reconsidered and the overall sound was polished even more. Sometimes a few subtle changes go a long way.

Q: You already mentioned Olaf Wollschläger who produced the album. Less bands today are working with an external and renowned producer so what do you think about this evolution? And what’s the impact of Olaf’s work and production skills on the final result?

Stefan: A lot of bands do not have the budget to work with a renowned producer or they don’t deem it necessary to get a person on board with another professional view on things. For us it really is liberating to have a second opinion. Olaf’s creative input is very important to us and his ideas mostly give the songs that little extra. It isn’t as simple as it sounds, because to get the perfect sound another couple of weeks pass. We knew Olaf from previous album recordings and as a team we worked even better than on “A Worthy Compensation”.

There was a time when we didn’t have the knowledge to produce an album of such quality on our own. Having worked with Olaf on two albums now for a considerable amount of time has broadened our skill set immensely. We have gained so much expertise from this collaboration. But of course, our relationship has become more than just a job acquaintance. We have become friends and just being around him is so much fun. We are on the same wavelength. 

Q: A new album is often connected to live shows and tours, playing at big festivals, clips, remixes etc… What are the concrete plans right now and what brings the future for Beborn Beton?

Stefan: After the production of the album, we filmed two videos and commissioned numerous remixes from artists that we really like and admire. Some of those have been issued on the limited 2CD-Artbook edition of the album and on the “Burning Gasoline”-EP. And we are still not done with the “Darkness Falls Again” cycle. There are still songs that we recorded that did not make it on the album. Not because they are not good enough. They are just different and deserve a release on their own. And there are still a lot of great remixes that have not yet been released for different reasons. So you do the math;)

And of course we will play shows. We have played two shows now in Germany and there is more to come. A definite highlight is the co-headlining slot at this year’s Terminus Festival in Calgary, Canada. Imagine my jaw dropping when I had a look at the bill and right after the main act Nitzer Ebb there stood our name. So, as Beborn Beton, right now we are having the time of our lives.

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

The new single by BlazerJacket is now available, showcasing their unique brand of Ukrainian cyberpunk. Titled “Nuclear Dust,” the track incorporates a distinctive vocal sample from a renowned Russian television presenter and propagandist, whose voice resonates through the post-apocalyptic television landscape. Lines like “Russia… the only country in the world… turning into nuclear ashes…” add a contemporary storytelling element to the song.

You can obtain the track on Bandcamp and other platforms.

BlazerJacket was formed in Ukraine by Denis Cherryman (Dirty Bird 13 / KAЇND) and Hybri.Mod. Their passion for cyberpunk, retrowave, and the sci-fi and action films of the 80s and 90s served as inspiration to create an entirely new sci-fi universe and conceptual music releases.

The band was among several Ukrainian acts featured on our two Ukrainian download compilations, “Electronic Resistance” and “Electronic Resistance – Reconstruction.”

Bernard - Side-Line Staff

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

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The Kyiv-based Ukrainian post-punk act Morwan is back with its third album, “Svitaye, Palaye”. Morwan is a post-punk one-man band created in 2019 by Alex Ashtaui and this new album is the logical continuation of the previous album “Zola-Zemlya”, which was released in 2020. The project also took part in our first “Electronic Resistance” charity compilation project.

Alex : “Initially, when conceiving the album in 2021, it was intended to be lighter, melancholic and somewhat danceable while maintaining the basic sonic style and aesthetics of the previous albums. However, the Russian invasion in Ukraine slowed down the work and made serious changes to the general idea of the album. The main theme of the album is the war. There are no specific stories or descriptions of the events of the war. It’s more of an abstract and emotional thing. First impressions, moods or emotions experienced during certain events. Pain of loss, sadness, fear, hatred, anger, and aggression are all part of ‘Svitaye, Palaye’.”

The album was recorded in Kyiv/Berlin between 2022 and 2023. The material was later on mastered by Will Killingsworth at Dead Air. You can download it below or buy it on cassette too right here on Bandcamp. The tape comes as a 37 minute professionally duplicated cassette in an edition of 150 copies packaged in a 3 panel matte J-card plus download code. You can find the release on all other platforms too.

Bernard - Side-Line Staff

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

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This is news which will have a serious impact on the music world if (or rather when) it materialises.

There is growing concern over Russia’s efforts to disrupt global internet access, particularly within the European Union, as the country has allegedly placed mines on critical underwater infrastructure in the North Sea and Baltic Sea. A NATO official revealed this information to The Times, a British newspaper. These underwater cables are responsible for around 95% of the world’s internet traffic, transmitting data at speeds of approximately 200 terabytes per second. Out of the 400 cables, 200 are considered critical infrastructure by NATO.

In response to this threat, authorities have increased surveillance and monitoring in recent months, deploying autonomous underwater vehicles (AUVs), remotely operated vehicles (ROVs), and underwater sensors to identify any potential dangers, such as mines, in the area.

The potential sabotage of these underwater cables would not only have significant economic and social consequences but also severely impact worldwide internet access, especially in the EU. Given the reliance on these cables for global internet traffic, any damage or disruption could cause substantial connectivity problems.

In addition to the threat to underwater cables, there has been an escalation in cyber-espionage attacks from Russian government hackers against Ukraine and its allies. Recent research from Microsoft Corp. and other security firms has revealed that these hackers have deployed new strains of malicious software, indicating a renewed commitment from Moscow to conduct cyberattacks.

These findings suggest that Russia may be preparing for more aggressive and potentially destructive cyberattacks, which could coincide with the country’s anticipated spring offensive in eastern Ukraine.

Microsoft’s research highlights the development of new ransomware strains and the use of social media to distribute pirated, corrupted software to infect Ukrainian organizations. Furthermore, hacking groups suspected of having ties to Russian intelligence services have reportedly attempted to breach government and defense entities across Central and Eastern Europe, as well as in North America.

And strangely enough, after all what has happened to the Ukrainian people and the continuous terrorist threats coming from Russia, we still see readers praising Putin and co…

Bernard - Side-Line Staff

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

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Yesterday was an unusual day as we experienced a sudden surge in donations from Bandcamp, more than the typical amount. Upon reviewing our page’s statistics to determine the source, it became apparent that something was happening on Twitter. A swift investigation revealed that Robert Smith from The Cure had tweeted a link to our 2022 charity compilation, “Electronic Resistance – A Darkwave / Post-Punk Compilation From The Ukrainian Underground“.

“Electronic Resistance” (and also the follow-up compilation “Electronic Resistance – Reconstruction”) is a 55-track strong compilation which features darkwave / post​-​punk acts from the Ukrainian underground scene only. Compiled in – extremely – difficult conditions it offers you an insight into the Ukrainian dark underground and also reflects what all of them are going through. It suffices to see some of the titles to understand what we mean.

The compilation features artists from allover Ukraine, from Odesa, Kyiv, Kharkiv, Dnipro, Mariupol, etc.. Many of them are right now in the frontline, or help in all kind of services from the fire departement to field hospitals. Others are distributing food, others have been forced out of their destroyed homes.

Stan Przhegodsky (aka Owen Wowson on Twitter), whose band Black Light District is featured on the compilation replied the following to Robert Smith’s initial tweet: “I was 14 years old when I started listening to The Cure. Decades later, you post a compilation that I appeared on (track 17). As a Ukrainian, this is multiple levels of amazing. Thank you very much. Respect & admiration.”

I was 14 years old when I started listening to The Cure.
Decades later, you post a compilation that I appeared on (track 17).
As a Ukrainian, this is multiple levels of amazing.
Thank you very much.
Respect & admiration.

— 🇺🇦 Owen Wowson 🎷 (@technicolorfilm) April 23, 2023

Watching Ukrainian family have their lives destroyed before coming to the U.S. last year, fearful and with little, all things related have my instant support. Heartbreaking artists also lost work and gear. First, partial listen, particularly enjoying tracks 2, 17, 48 so far.

— Ilse (@Ilse_not_that_1) April 23, 2023

Robert Smith is the last in many artists who have been supporting our charity work, earlier on also the cult act Throbbing Gristle pushed decided to give us an online push a while ago.

Electronic Resistance – A Darkwave / Post – Punk Compilation From The Ukrainian Underground 🇺🇦https://t.co/ocpxxKgXfz pic.twitter.com/MvpNFqJS2m

— THROBBING GRISTLE (@ThrobbingGrstle) January 26, 2023

The tweet by The Cure’s frontman has now propelled the compilation back into the bestselling industrial music charts on Bandcamp on spot 3. As you can see it is being joined by Alfa Matrix’s The Cure tribute releases “A Strange Play – Tribute to The Cure“ and “A Strange Play (Vol. 2) – Tribute to The Cure“.

Below is said compilation and it’s follow-up, the recently released “Electronic Resistance – Reconstruction”.

Side-Line also covered The Cure’s ‘Curepedia: The A–Z of The Cure’.

Eldrina Mich

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

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BlazerJacket, a Ukrainian cyberpunk band, has recently launched a new mini-album, “Terrorstate”, that explores the theme of Russian aggression from a cyberpunk perspective. The album, comprised of 3 songs in the band’s distinct style, provides a potent commentary on the ongoing conflict between Ukraine and Russia. The new album is now available as a free download via Bandcamp and on all major streaming platforms.

The band has also established a charity fund called “МІЦЬ:UA” to support Ukrainian military personnel protecting the country from Russian aggression. They express the significant impact the war has had on their lives since 2014, and how nearly every Ukrainian now knows someone fighting on the frontlines. The band appeals for support from donors and media coverage to raise awareness and aid for their cause: “Since 2014, the war has had a profound impact on our lives, altering them significantly. Nowadays, nearly every Ukrainian knows someone, whether a friend or a relative, who is actively defending our country on the battlefield. As a result, we established the charity fund “МІЦЬ:UA” last year to support our military personnel, who are protecting us from Russian aggressors. Your support would be greatly appreciated, and most importantly, our military will also be grateful for your help.”

More information about the charity fund can be found on the МІЦЬ:UA website or Instagram page.

BlazerJacket makes a pointed statement about who they believe shares responsibility for the war, claiming that ordinary Russians are complicit in the invasion of Ukraine and the potential threat to the European Union. They call for the world to isolate Russia before the situation worsens further: “We must realize that we are not fighting against Putin alone. It was not Putin who dropped bombs on innocent civilians in Ukraine, nor was it Putin who assaulted women and children in front of men, only to kill them afterward. These actions were carried out by ordinary Russians. Reports suggest that approximately 80% of Russians supported the invasion of Ukraine, and over 80% of them condone and endorse a potential attack on European Union territory, as indicated by sociological surveys. These individuals are like relentless parasites, spreading destruction and chaos. It is time for the world to isolate Russia before its actions cause further harm and devastation to us all.”

Listeners are encouraged to interpret the album’s tracklist from a Ukrainian perspective, starting with the war’s origins in “Terrorstate”, moving on to its consequences in “They ruined my home again”, and finally, highlighting the Ukrainian people’s determination to defend their land and nation in “Freedom or death”.

Each track title serves as a poignant reminder of war’s brutal realities and its effects on those involved. The album takes listeners on an intense, emotional journey through the experiences of those impacted by the conflict, aiming to galvanize the battle against true evil.

BlazerJacket consists of the Kyiv-based duo Denis Cherryman (Dirty Bird 13 / KIND) and Hybri Mod.

Bernard - Side-Line Staff

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

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“Lost in time” is the first Scheitan track since the release of 1999’s “Nemesis” album on Century Media Records. After a 24-year hiatus, they return with a new single, delving even deeper into the gothic vibe from “Nemesis”. The single can be downloaded from Bandcamp backed by the demo version of the song.

Pierre Törnkvist was at first looking for a new project name to use the track for, but as time passed by, he realised this had to be presented under the Scheitan banner “as it was so close musically to what was presented on “Nemesis,” except for the vocals, which was the last piece missing.” He in the end did the vocals himself.

The song is dedicated to the people of Ukraine Pierre explains: “I wrote the lyrics for the song as the Russian tanks entered the suburbs of Kyiv. Being a father myself, I spent a lot of time thinking about having to make the decision to leave everyone and everything you love for a higher cause. I was thinking about the sacrifices President Zelenskyj made; at that time, he must have been 100% sure of death, but still, he made the choice to stay. I also thought a lot about all the Ukrainian soldiers who went to the frontlines, leaving their loved ones to face death. The lyrics say, ‘I have been turning down the things I have desired’; the desire of most people is just to be with the ones they love – the ultimate sacrifice is to give all that up in exchange for the freedom and safety of other people.”

Pierre Törnkvist played with Helltrain in Kyiv in 2011, both before and after the show, they became friends for life: “I will never forget the warmth and kindness of the Ukrainian people; I highly doubt that I will ever in my life experience such a concert again.”

Since their foundation in 1996, Scheitan has progressed from black to gothic metal, adding ambient elements to develop their unique style. The band has released three studio albums on Invasion Records and Century Media Records in the latter half of the 90s.

Here’s the video for “Lost in time”.

Bernard - Side-Line Staff

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

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Editors note: We completely distance ourselves from the Russian band Ploho on this line-up. They have have done nothing to express their support for the Ukrainian people or to condemn the cruel and unwanted invasion in Ukraine, on the contrary. The organisors of the festival have been made aware of our view on this.

The Greek darkwave and post-punk music lovers are in for a treat as the Death Disco Athens Open Air Festival 2023 announces its line-up. Set to take place at the Technopolis City of Athens on Saturday, July 22 and Sunday, July 23, the two-day event will showcase 14 bands across two stages.

The festival opens on Saturday, July 22, with a diverse roster of acts, including VNV Nation, The Soft Moon, Selofan, Rue Oberkampf, Ploho, Kalte Nacht, and Youth Valley. On Sunday, July 23, the event continues with headliners The Sisters of Mercy, followed by performances from She Past Away, ACTORS, Absolute Body Control, Mecano Un-Ltd., Mechanimal, and Data Fragments.

Located at 100 Piraeus Street, the Technopolis City of Athens is easily accessible by metro, trolley, and bus. To reach the venue, festival-goers can take the Blue Line (Line 3) to the Kerameikos station, trolley No. 21 from Omonoia station to Fotaerio Stop, or any of the following bus lines: No. 049, 815, 838, 914, Β18, and Γ18.

Tickets for the Death Disco Athens Open Air Festival 2023 are now available for pre-sale. For more information about the event and to purchase tickets, visit www.athens-technopolis.gr or call (+30) 213 0109300 or 213 0109324. Don’t miss out on this exciting opportunity to experience some of the best live music in the heart of Athens.

Here is the list of all bands playing:

• The Sisters Of Mercy
• VNV Nation (Do also check out this VNV Nation interview.)
• She Past Away
• The Soft Moon
• Actors
• Absolute Body Control
• Mecano Un.Ltd
• Selofan
• Ploho
• Rue Oberkampf
• Kalte Nacht
• Mechanimal
• Youth Valley
• Data Fragments

Bernard - Side-Line Staff

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

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A new music video by the Ukrainian dark-folk band Pororoka titled “Hey, Look Around” (Хей, подивись) has just been released, and it is a tribute to the Ukrainian Army.

The video depicts the daily routines of military personnel, both in their personal and professional lives. According to the lead vocalist, Svitlanka Sugak, the song was written in November 2022, when the Ukrainian Army successfully liberated the city of Kherson from enemy forces. Originally, Sugak had planned to reference Kherson in the lyrics, but ultimately decided against it, as the song is about more than just one location. Instead, the lyrics focus on the future goals of the Ukrainian Army, which include liberating other Ukrainian cities from Russian occupation.

The video footage was collected from open sources, including social media channels that cover the ongoing conflict in Ukraine and especially the videos from poet and Pororoka musician Yelizaveta Zharikova, who has been in the ranks of the Armed Forces of Ukraine since the beginning of the full-scale war.

Pororoka was one of the biggest surprises on both of our “Electronic Resistance” charity compilations featuring darkwave / post​-​punk acts from Ukraine.

You can find the very strong and touching video 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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Cinematic.

Format: Digital, CD.

Background/Info: Dronny Darko (Ukraine) and Ugasanie (Belarus) both are artists who really like to collaborate with other artists. This album resulted from their common efforts and is their second work together after “Arctic Gates”. They again explore an imaginary, hidden, world deep beneath the ice.

Content: The work is an invitation to a fictive voyage throughout the abyssal depths. You’ll notice multiple aquatic field recordings accentuating the concept. Sound-wise the tracks are moving in between pure reverie and darker, desolate passages creating a feeling of solitude.

+ + + : There’s an interesting mic of atmospheres running through the work; now dreamy and relaxing and then tormented and even disturbing. I like this darker side which is reaching its apotheosis at “Presence” which is by far the most ‘visual’ cut from the album. The album has been accomplished with delicate sound treatments.

– – – : I regret there are no more passages like “Presence”.

Conclusion: Both artists are pretty complementary and have composed a cool, intimate, ghost-like experience in sound.

Best songs: “Presence”, “Consequences”.

Rate: 8.

Artists: www.facebook.com/dronnydarko / www.facebook.com/uga5anie

Label: www.cryochamberlabel.com /  www.facebook.com/CryoChamber

About Dronny Darko and Ugasanie

Dronny Darko is a dark ambient project from Ukraine, releasing on the Cryo Chamber label. The project’s second album, “Neuroplasticity”, was released in January 2016, followed by the third album, “Spira Igneus”, in October 2016, and “Abduction” in 2017.

Ugasanie is a dark ambient project from Belarus, also signed to Cryo Chamber. Its third album, “Eye of Tunguska”, appeared in 2015, followed by “Border of Worlds” in December 2016. Both artists have contributed to Cryo Chamber label compilations, including “Cthulhu”, “Azathoth”, and “Nyarlathotep”.

Dronny Darko and Ugasanie first collaborated on the album “Arctic Gates”, followed by their second joint work, “Dark Source Of The North”, reviewed above.

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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On February 22nd we announced that after Rome and some other bands playing in Kyiv, it’s now the turn of Laibach to perform a full show in Kyiv, the capital of Ukraine. The concert was to take place at the Bel Etage Music Hall in Kyiv, Ukraine on 31 March 2023 but has now been canceled.

Unlike the original press promo, in our own news reporting we never talked about the band being the first non-Ukrainian band playing a full concert in Ukraine since the war broke out. That and some other past comments from band members has created some online drama. Sufficient for the band to issue a statement.

In the statement the band says that they “are not coming to Ukraine to be the first, second or third group to perform in your capital during the war, as some media reported, but as a clear expression of support for your country in this war.” Again, a bit odd since the official press release to the media exactly said that, “Laibach to become first foreign band to perform in Kyiv since invasion”, a communication error which never was published by Side-Line. The Guardian for instance did literally took over the press release just like hundreds of other media outlets who also enjoyed copying texts from one another 🙂 .

And we stay with The Guardian who printed the below fragment:

Also this Technik Art interview quote didn’t fare well for obvious reasons.

Regarding this the band says the following: “We must stress here that some of our statements, which may not have been in line with your thinking, were never intended to offend you in any way or to diminish the importance of your just struggle. Since the first days of the Russian aggression against Ukraine, we have taken an unequivocal position and reiterated that there is no place for war in a modern society. Geopolitical issues cannot be resolved by armed attack and political incitement. We also immediately cancelled all planned appearances in Russia and in all interviews condemned Russia’s aggression in this war.” That’s correct, the band was one of the few to act promptly in the first days after the invasion started. They do say though that the war was ‘provoked’, but – and that is actually the main thing we all should focus on – they do also say that invading a country just because of some provocation is wrong, period. What is clear, is that every discussion regarding the pre-war politics remains extremely sensitive right now, but for everyone who has been working on Ukrainian projects during this wartime, it’s also clear that this discussion has – rightfully – no place now, something which Laibach should have understood.

The statement also reads that the band members love Russian literature, music and art but that they side with Ukraine: “We love Dostoyevsky, Bulgakov, Tchaikovsky, Scriabin, Mayakovsky, Tatlin, Rodchenko and El Lissitzky – to name but a few – and we always will. But in this senseless war between Russia and Ukraine, we are wholeheartedly on the side of Ukraine and its people, who – as in the old biblical story of David and Goliath – are fighting with dignity against a stronger enemy. We mourn with you for the innocent victims. We rejoice with you in your victories.”

And if that wasn’t clear enough they add: “To all those who doubt our views, let us therefore once again make it very clear that Russia is the main aggressor in this clash of destructive political and geostrategic interests. Russia’s army illegally entered foreign territory with weapons and started this terrible war. Ukraine therefore has every right to defend itself and must defend itself by all means. We support you unconditionally in this, that is why we are coming to Kiev and on this occasion we call on the world powers to sit down at the green table as soon as possible and end this unbearable slaughter and all other wars and military conflicts around the world.”

The band was to donate all the proceeds from ticket sales to charity, “with no strings attached” they say. The statement ends with the words: “Glory to Ukraine!” Ticket refunds are available from the point of purchase.

Side-Line also covered Laibach’s ‘Amerika’.

Bernard - Side-Line Staff

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

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Roger Waters, the legendary member of Pink Floyd, has had his concert in Frankfurt cancelled by the city’s government due to his “continuing anti-Israeli stance.” Frankfurt officials view Waters as one of the world’s most influential anti-Semites due to his repeated calls for a cultural boycott of Israel, his comparisons to South Africa’s apartheid regime, and his pressure on artists to cancel events in Israel.

Waters – already often referred to as being the Leni Riefenstahl of rock ‘n’ roll – has also been known for promoting anti-Semitic conspiracy theories and featuring a pig-shaped balloon with the Star of David during a previous tour as you can see above. Fans who love his music but are critical of his political views are directed by Waters to the bar during his performance under the guise of “fuck off.”

Despite this controversy, Live Nation, Mojo and other organizers will keep his concerts maintained. Some say that they do not endorse Waters’ political views, but they will continue with the concerts (for the sake of money of course).

The cancellation in Frankfurt was due not only to Waters’ political views but also because of the sensitivity surrounding the Festhalle, where the concert was to be held. During the Kristallnacht in 1938, 3,000 Jewish men were taken to the Festhalle, where they were mistreated and later deported to concentration camps. The venue has a plaque urging people to take a stand against anti-Semitism and hate speech.

It’s highly possible that Berlin, Munich, and Cologne will also cancel the Roger Waters concerts.

More than one incident

There have been several instances where Roger Waters, the former Pink Floyd band member, has been accused of making anti-Semitic comments.

In a 2010 interview with CounterPunch, Waters compared Israel’s treatment of Palestinians to apartheid South Africa and said, “The parallels with what went on in the 1930s in Germany are so crushingly obvious.”

In a 2012 interview with Electronic Intifada, Waters stated, “I think that the Israeli government has been playing the Holocaust card, and it is disgusting. They have been blackmailing the world with it for years.”

In a 2013 interview with CounterPunch, Waters criticized what he called the “Jewish lobby” in the US and accused it of controlling the media and the government’s foreign policy. He later apologized for using the term “Jewish lobby” but maintained his criticism of Israel’s policies towards the Palestinians.

In a 2017 interview with BDS (Boycott, Divestment, and Sanctions) activist Frank Barat, Waters compared Israel’s treatment of Palestinians to Nazi Germany’s treatment of Jews during the Holocaust, saying, “The situation in Israel/Palestine, with the occupation, the ethnic cleansing, and the systematic racist apartheid Israeli regime is unacceptable.”

In 2018, Waters published an open letter urging fellow musicians to boycott the Eurovision Song Contest, which was being held in Israel. In the letter, Waters accused Israel of “ethnic cleansing” and “dispossession” of the Palestinian people, and called for a cultural boycott of the country.

It’s worth noting that Waters has denied being anti-Semitic and has stated that his criticisms are aimed at the Israeli government’s policies, not the Jewish people as a whole. However, his comments have been seen by many as crossing the line into anti-Semitic territory.

A true Putin lover?

Waters has been known for his criticism of Western governments, particularly the United States and the United Kingdom, and has been vocal in his support of political causes such as the BDS movement and the anti-war movement, and has more recently been used by Putin’s Russia to spread the bogus claim that the Russian invasion in Ukraine was provoked by the NATO countries.

He ended up speaking at the United Nations Security Council – at Russia’s request – in early February. While he denounced the Russian invasion of Ukraine as illegal, he also claimed it was “provoked,” drawing sharp criticism from the Ukrainian UN ambassador, who accused him of aiding Russian propaganda. In addition, Waters criticized his former Pink Floyd bandmates for releasing a charity single, arguing that it would only encourage the continuation of the war.

As a result of his controversial statements, two concerts that Waters was due to perform in Krakow, Poland in April were canceled. This followed an open letter in which Waters strongly criticized Ukraine and the West for their actions in the conflict with Russia.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Minimal-Electro, Experimental.

Format: Digital, Cassette.

Background/Info: Ujif_Notfound is an Ukrainian solo-project directed by Georgiy Potopalskiy. He explains his work as ‘the creation of multimedia systems based on the algorithm of the kinetic relationship between man and the program.’

Content: The opening track sounds totally Experimental and not really representative for what’s coming next. Ujif_Notfound is mainly dealing with Minimal-Electronic sounds which are reinforced by Industrial sound treatments. There’s a slow cadence running through the work. You’ll also notice film samplings.

+ + + : The debut tracks is a bit misleading as the essence of this work is based upon retro-like Electronics. I like this minimalism, reminding me of the glorious 80s experiments in electronics. The rhythm makes it all more accessible which even comes to create a kind of Industrial-Dub -especially at the last track.

– – – : Just forget the debut cut and you’ll discover a fascinating Electro experiment.

Conclusion: The album has been composed during the war in Ukraine which makes me say creativity and arts generally speaking remain a true therapy to endure even when a country is in a state of terror and horror. Respect!

Best songs: “Urnext”, “Trembeat”, “Rostrum”, “Pieta”.

Rate: 8.

Artist: www.un2114.com /   www.facebook.com/UN.2114.Ujif.notfound

Label: https://ishallsinguntilmylandisfree.com /  www.facebook.com/ishallsinguntilmylandisfree

About Ujif_Notfound

Ujif_Notfound is the solo project of Kyiv-based artist Georgiy Potopalskiy, active under the name since around 2007. Potopalskiy describes the project as the creation of multimedia systems built on the algorithmic, kinetic relationship between man and program, and is also founder of the Kontrapunkt art space and co-founder of the BLCK BOX Media Art School. “Hypogonadism” was released on the label I Shall Sing Until My Land Is Free, composed during the war in Ukraine.

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

After Rome and some other bands playing in Kyiv, it’s now the turn of Laibach to perform a full show in Kyiv, the capital of Ukraine.

The concert will take place at the Bel Etage Music Hall in Kyiv, Ukraine on 31 March 2023. While the rest of Europe prepares to celebrate its idea of freedom and solidarity on 9 May in Liverpool, Laibach will be taking Eurovision back to Ukraine – where it belongs and where the only true and real vision of Europe is taking place right now.

‘Eurovision’ is also the name of the special concert programme by the Slovenian band which will also feature “The Engine of Survival”, a brand new track set for release in 2023. With this concert in Kyiv, Laibach supports Ukraine and Ukrainians in their fight against Russian, and any other aggression.

All proceeds raised from the Kyiv concert will be donated to charity and animal aid working in Ukraine.

We at Side-Line are more than pleased to see more and more bands showing their support for the Ukrainian people. If you are new to Side-Line, know that in the past few months we have continuously kept Ukraine on the musical agenda via several charity releases that finance Ukrainian aid including also a special photobook.

For more on Laibach, see Laibach issues statement as concert in Kyiv (Ukraine) gets canceled… on Side-Line.

Bernard - Side-Line Staff

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

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The (excellent!) Ukrainian dark folk act Pororoka have released an all new video. The new song is devoted to the Sun cult and is called “Витоки”[Vytoky] which is Ukrainian for “Origins”.

Here’s what frontwoman Svitlanka says about the track’s background: “Many nations in different times honored the biggest star in our universe. Traditionally for Ukrainian culture the Sun is depicted as an eight-pointed star and is called Ruzha or Rozha. This symbol combines two christs – a straight one and an oblique one. The Sun cult has close connections with the honor of a deer. In ancient times people believed that it was a deer who had been taking the sun from the depths of the earth to the sky every morning.”

Pororoka is Ukrainian dark-folk band founded in Kyiv in 2017. The band uses ethnic vocal technics and ethnic instruments and has its roots firmly in Ukrainian folk music. The name ‘Pororoka ‘ means a wave, which appears twice in a year on the Amazon River, when Atlantic Ocean invades into it. The line-up for this track consisted of Svitlanka Sugak, Eugene Kolyada and Andrij Boichenko. The track was mastered and edited by Pavlo Safonov at SoundPlant studio(Kyiv).

Pororoka was one of the biggest surprises on both of our “Electronic Resistance” compilations featuring darkwave / post​-​punk acts from Ukraine.

Here’s the all new video. Note the lovely design by Veronika Kolomiets in the video itself.

Bernard - Side-Line Staff

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

side-line.com

At Side-Line we have always supported charities around the world. Now the time has come to show our support for the people of Turkey who have been hit extremely hard by the earthquake that took place this morning, February 6th.

The massive 7.8 magnitude earthquake shook Turkey and Syria causing massive damage early and a huge number of victims. Those numbers are expected to rise dramatically as many buildings collapsed with large numbers of people buried under the rubble.

We have set up a separate crowdfund page where you can send your donation. If you want to donate via Bandcamp, that keep on reading below.

Also this, ALL proceedings from the compilations on our Bandcamp page at sidelinemag.bandcamp.com this month will go entirely to Turkish Emergency Humanitarian Assistance as there is an urgent need for medical supplies and so on. We are working with local people to distribute the funds and aid.

IMPORTANT: The funds gathered from the Ukrainian charity compilations during this time will be covered by Side-Line so that we can continue to raise funds for Ukraine as well.

Merch: sidelinemag.bandcamp.com/merch
Music: sidelinemag.bandcamp.com/music

Other ways to donate:

• You can also fund directly to our Paypal account at info@side-line.com with subject “Turkish Relief”
• You can also send us Bitcoin at this wallet 3Gg5pi5KVhdTphHxhepvbQD9uWDZvgVZHK Please send a mail to info@side-line.com when done with the exact amount so we know who sent what.

Let’s unite once again to show we can make the world a better place.

There is no time to loose.

Bernard - Side-Line Staff

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

side-line.com

After more than thirty (!) years of involvement and commitment Stefan Schäfer (vocals) and Volker Rathmann (music) gained a serious reputation as (Der) Prager Handgriff. They became a renowned formation during the 90s but still released noticeable productions since then. They last year released the album “Das Letzte Gefecht” by Infacted Recordings which I personally consider as one of their most accomplished works in time. Somewhere in between EBM and Dark-Electro Prager Handgriff don’t make compromises but simply compose the music they like. I talked about it all with Stefan and Volker.  

(Courtesy by Inferno Sound Diaries)

Q: After the “Roburit”-album (2015) it took you seven years to unleash a new album. After more than 30 years of history I can easily imagine you’ve other things in life to care about than music. But what means Prager Handgriff to you and what incited you to compose “Das Letzte Gefecht”?

Volker: Stefan and I have been making music together as Prager Handgriff for 33 years and all in all even for more than 37 years. That’s a pretty long time. Most marriages don’t last that long. Nevertheless Prager Handgriff still means a lot to us. This mainly because we only ever made the music we liked. We did not let anybody tell us what to do and we did not need to chase after every trend. So we simply carried on as before until we had enough songs for a new album.

Q: I realized you this year will ‘celebrate‘ the 30th anniversary of your official debut album “Arglistige Täuschung”. How do you look back at this legendary album and how much of the young musicians of that time do you still recognize today?

Volker: It is difficult for an artist to judge his own work. I think we just were in the right place at the right time. We were pretty inexperienced back then. We didn’t know much about songwriting and producing. We would do a lot of things differently today. Back then we did it without thinking twice. But maybe this inexperience and carelessness was the key to success.

Q: You’re both committed with Prager Handgriff since the early debut. What makes the chemistry between both of you and how did this partnership evolved throughout the years? What have been your most intense and unforgettable moments in the band’s history?

Stefan: Volker and I know each other from our school days. We both played in a band and also attended various independent concerts together. We certainly have a friendship, even though we don’t spend much time together privately because of our different interests and circles of friends. Nevertheless, we have known each other for such a long time that we often just know how the other person reacts, what he prefers, what his opinion is or how the humor works, practically like an old married couple. Of course, in such a long time there are endless stories, experiences and anecdotes. That would blow up the time here. Only so much; it has always been fun and belongs absolutely to our life. We are grateful for that.

Q: Over now to “Das Letzte Gefecht” (translated “The Last Battle”). What is this title all about  and what did you try to express by the lyrical content? How did the composing happened?

Volker: The title of our album “Das Letzte Gefecht“ is actually a quote from the German lyrics of “The International“ (French: “L’Internationale”). The English translation is ‘the last battle’ or ‘the last fight’.

On the one hand this title reflects today‘s situation in which we are. The present society is becoming increasingly brutal and gets more and more radical. This puts us in a kind of doomsday mood. “The Last Fight“ against these apocalyptic circumstances might bring about a decisive change into something good. Consequently a lot of our songs (e.g. “In Moria”, “Black Friday”, “Einig Vaterland”, “Aluminium”, “Pandemie” etc.) on the album deal with current political and social issues.

On the other hand “The Last Fight“ stands for the final struggle of a person in life. We have grown older and have had experiences with the loss of close persons during the last years. We have processed these experiences in our texts as well (e.g. “Alle Zeit Der Welt”, “Abschied”, “Für Immer” etc.). This time it was unusually easy for us to compose new songs. Because of the Corona pandemic we are forced to stay at home. So we had a lot of time and no distraction. Without Corona we would probably still not be finished today.

Q: Prager Handgriff has been always ‘engaged’; I mean you clearly reflect an opinion about the world we’re living in dealing with politics, social themes ao. How important is it to reflect and/or exorcize these themes by music and does your ‘engagement’ goes further than only music?  

Stefan: We always wanted to make you think with our texts. Since we grew up in the 80s, this is certainly in the tradition of early Punk and New-Wave bands. If you have the opportunity to express something with the lyrics, to move something, so it’s almost obligatory. In addition, of course, it also serves to process their own impressions, worries and problems.

With the last CD it was really a huge amount of negative influences that affected us during the development process, such as global warming, the pandemic, the increasing right-wing pressure in society, dealing with refugees and in the end the Ukraine war. The real thread on the album, however, is the transience of life, which naturally occupies us with increasing age. As Volker already mentioned we have lost very good friends in recent years and these experiences we have certainly also processed. So it’s not always just about politics.

Q: Back to music again. I think it’s nearly impossible comparing the time spirit of the early 90s together with contemporary (r)evolutions like social media, streaming platforms vs. decreasing CD sales and labels closing their doors. How do you perceive all these evolutions? What do you see as pros and cons? And how do you see the future of Prager Handgriff?

Stefan: There has actually been a rapid development. At the beginning of our band history we worked with demo tapes. We sold an amazing number of copies of our debut CD. Then came the time of illegal downloads through the mp3 format, so that the music industry had to reinvent itself. Now there are almost no more illegal downloads because of the streaming platforms. That’s a good development for now, even if you can certainly criticize the distribution mechanisms of the platforms.

The artists now produce their albums in order to be able to go on tour. After the pandemic, this works well for the really big acts, but the smaller bands and also small clubs suffer massively from the lack of advance sales. The big festivals always book the same bands and that’s not good for a subculture at all. Personally it’s not relevant for us, because we both have never lived from music and never had to live from it. It’s still a great journey and if it comes to an end, then it comes to an end.

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