Genre/Influences: Minimal-Electro, EBM.

Format: Digital, 2CD.

Background/Info: French-Spanish Pedro Peñas Robles is a renowned artist who has been involved with different sonic projects but he’s also a DJ, performer, author and label owner (Unknown Pleasures Records). This work is getting us back to his most ‘famous’ music project HIV+ featuring a fine selection of twenty nine songs he released all over the years with other artists.

Content: Robles collaborated with very famous artists like The hacker, Millimetric, Chris Shape, Blind Delon, Adriano Canzian, Maman Küsters ao. The album is featuring original songs, cover versions (from Liaisons Dangereuses, DAF and The Normal) and remixes (by bands like Absolute Body Control, Radical G, Equitant, Marc Hurtado, Cruise [CTRL] ao) but also songs from one of his side-projects Adan+Ilse. The work brings us back to Minimal-Electro/EBM on which Pedro added his vocals.

+ + + : I first of all salute the artwork of the CD-edit but next there’s the content. I think it totally stands for the EBM-style the artist has often revealed by different releases on his own label. Solid bass lines, danceable beats, and a few, harsh, Industrial elements, bringing 80s EBM alive. On top of it all there’s the powerful and sexy voice of Robles. The list of ‘friends’ he has worked with is impressive and often resulted in a great symbiosis between music and vocals.

– – – : I’m less convinced by the different cover versions (cf. “Warm Leatherette”, “Los Niños Del Parque” and “Der Mussolini”). It’s always tricky covering legendary songs which I think are more suited to live performances instead of an album.

Conclusion: This is a great opportunity to re-discover HIV+ (which seems to be no longer active) and his collaboration with great, Electronic, artists.

Best songs: The Hacker & HIV+ “Novö Diskö – Remix by Alek Drive”, Dave Inox & HIV+ “Miss Conceptual – Remix By Raul Parra”, Oliver & HIV+ “Neither Wise Nor”, Radikal Kuss & HIV+ “Ça Suffit!”.

Rate: 8.

Artist: www.facebook.com/havoc2027

Label: www.zoharum.com / www.facebook.com/zoharum

Listen to “Spanish Electronic Body Music”:

About HIV+

HIV+ is a project of Pedro Peñas y Robles, a French-Spanish artist native to southern Spain and based in France. He began working as a DJ in 1987 and started an experimental music career in 2000, citing Esplendor Geometrico, SPK and Throbbing Gristle among his influences. He also runs the label Unknown Pleasures Records. “Spanish Electronic Body Music”, a double-CD collection of twenty nine songs released on Zoharum on October 30, 2023, gathers scattered singles and collaborations from across his catalog.

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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Ahead of the forthcoming limited edition 5th anniversary release of “Damage”, Kill Shelter has launched an official video for “In Decay [ V ]” featuring Antipole and Delphine Coma. The new version is taken from the “Damage [ V ]” CD which features new versions and remastered tracks.

The original debut CD release was launched in November 2018. Released again on Unknown Pleasures Records, “Damage [ V ]” features vocal contributions and collaborations from a host of global underground artists including; Hante. (FR), Buzz Kull (AUS), Delphine Coma (US), Antipole (NOR), undertheskin (PL), Killjoi (US), The Shyness of Strangers (CA), Iamtheshadow (PT), Ultrviolence (CA), New Haunts (UK) and Bragolin (NL).

“Damage [ V ]” is slated for release on 1st December 2023 with pre-orders starting on 27th October 2023.

Below is the official video for “In Decay [ V ]” featuring Antipole and Delphine Coma.

Kill Shelter is UK based alternative artist and producer Pete Burns. His work blends elements of darkwave and contemporary electronica with processed guitars.

His debut album “Damage” (2018) was originally released by Unknown Pleasures Records. This was followed up by the 2021 release, “A Haunted Place” with Antipole. His 2022 release “Asylum” is currently available via Metropolis Records and Manic Depression Records. In 2023 Kill Shelter released “The Sex Tape Sessions” EP and VHS with Death Loves Veronica on Cold Transmission.

Following a series of remixes including She Past Away’s “Soluk” for their tenth anniversary release “X” on Metropolis and Fabrika Records, The Wake’s “Emily Closer” and “Spectre (Love is Dead)” by Christian Death on Cleopatra Records amongst many others, Kill Shelter is currently working on new material. Read the review of ‘Damage’.

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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Pete Burns started playing guitar when he was nine years old and has always retained a passion for creating music. He was the outsider kid at school who listened to alternative music and didn’t conform even at that age. Some things never change. Pete was (and still is) a big fan of Modern Eon’s “Fiction Tales” and that album epitomises Post-Punk for him. Other notable and influential releases from that time included “Quiet Life” and “Gentlemen Take Polaroids” by Japan, “Systems Of Romance” by Ultravox, “JuJu” and “Peek-A-Boo” by Siouxsie And The Banshees, “Black Celebration”, “Music For The Masses” and “Violator” by Depeche Mode, and the early Sister Of Mercy singles as well as “First And Last And Always”. Laterally bands like She Past Away, Trentemøller, The Soft Moon,  Soft Kill, M!R!M and the now disbanded Ascetic have all, amongst many others, played a part in refueling Pete’s for the genre. Kill Shelter stands for pure Cold-Wave music. A first album “Damage” got released in 2018 by Unknown Pleasures Records. Four years later he strikes back with “Asylum” –released by Manic Depression Records for Europe and Metropolis for the US. Pete Burns worked together with guest singers and accomplished a true masterpiece. I talked about Kill Shelter with this genius Scottish multi-instrumentalist and producer.

(Courtesy by Inferno Sound Diaries)

Q: You’re a so-called ‘multi-instrumentalist’ playing guitar, bass, e-bow, synths. Do you’ve a favourite instrument and is there a kind of hierarchy in the instruments when composing songs?

Pete: Definitely. I always start on the guitar. In some cases like “The Necklace”, it’s the bass but mainly my go-to instrument is the guitar. I’ll write the main riffs and themes first and once I’ve got those down, that forms the basis of the demo. In some cases those guitars will stay to the final edit or some may be completely removed. I’ll put down the bass after that and then start to work on the drums. Synths, guitar processing and textures come last. The vocals will always come in after the song has most of the parts written. I’ll then arrange the song around the vocals before doing final production work.

Q: I’m deeply impressed by your guitar play injecting a true, dark, spirit into your work. How do you see yourself as a guitarist? Who are your favorite guitar players and what do you especially like in their play?

Pete: Thank you so much. That really means a lot to me. I still see myself as a guitarist first but I think most people know me for my production work.

When it comes to guitar I will happily listen to a lot of stuff even if I don’t particularly like it from a style perspective. I’m always open to learning. I prefer guitarists who have tried to do something different like Christian Fennesz, Robert Fripp, Adrian Belew, Robin Simon, Rob Dean, Tony Iommi, Mick Karn, Andy Summers and John McGeoch. Gary Marx wasn’t a technical guitarist but he had a wonderful sense of melody and he’s one of my favourite guitarists because of it.

I’ve been working on something that isn’t for Kill Shelter which is mainly guitars. I’ve developed Dupuytren’s disease and arthritis in my hands so I’m keen to get as much recorded as possible before playing becomes impossible. I already struggle on some days but, whatever happens, I’ll find a way to make a noise in one way or another.

Q: Your new album “Asylum” comes four years after the great debut album “Damage”. How do you look back at “Damage” and how did the transition in between both albums happen? Did you focus on new/different elements of the production?

Pete: I was extremely fortunate with “Damage” to have the support and buy-in from so many like-minded people from around the world. I am still very grateful that they agreed to work with me, especially as I was (and still am to some extent) a totally unknown artist. I think I was finding my feet with Kill Shelter through “Damage” and the early remixes but I’ve had a plan for the trilogy of multi-collaboration albums from the outset.

At the time, “Damage” focussed solely on emerging talent. In contrast, I wanted “Asylum” to reflect the last four decades of Dark-Wave. At first I thought “Asylum” was going to be a double album but the delivery was fraught with difficulties as people who were scheduled to appear could no longer commit for one reason or another. It wasn’t straightforward and that’s one of the reasons it was four years in the making.

I think I was more confident and determined tackling “Asylum”. Adding my own vocals and having a guitar-only track (“Time Will Come”) were very conscious decisions that pushed me out of my comfort zone. I think working with others always pushes my production skills but I find that harder to achieve when I’m working on my own, especially when it comes to gauging if it’s good or not. I am undoubtedly my harshest critic.

Q: “Asylum” sounds like a dark and tormented title which is also reflected in the lyrical themes. What did you, together with the guest singers, try to express and/or eventually externalize? What is it all about?

Pete: I always work with an overriding concept when I tackle albums be it “Damage”, “A Haunted Place” or “Asylum”. It makes the collaborations more cohesive. The core approach with “Asylum” was to explore the duality of the meaning of the word, highlight global humanitarian issues such as human trafficking, domestic violence, exploitation and the plight of asylum seekers, as well as exploring themes of personal disillusionment and mental health. For example, domestic abuse has risen by 33% and over 75,000 migrant deaths have been recorded globally – these numbers speak for themselves.
Remembering that “Asylum” was written with the backdrop of a global pandemic, Brexit here in the UK, destructive international politics, Black Lives Matter, Me Too, increased effects of global warming and, more recently, the war in Ukraine.

We’ve seen a lot of things happen in the last few years. It’s not an overtly political album but these threads run through the overall themes and narrative and, as with many of my lyrics, they can be interpreted in various ways.

Q: Kill Shelter is much more than simply a solo-project as you’re working with guest singers –and even very famous ones like Ronny Moorings. What are your main criteria to work with a guest singer and how do the collaborations happen? The most surprising name among the list is for sure Stefan Netschio so how did you come to work together?

Pete: The starting place for me is always people with outstanding vocals and that have written songs that I think ‘I wish I’d written that’. I’m not a great singer and I also like to work with other people – it always takes the material in an unexpected direction and I can listen more objectively when someone else is involved.

I write demos with specific people in mind and I think that really helps the process. I don’t just write a track for the sake of it then try to desperately find someone to sing on it. It’s far from that. I’ll either have the demo ready or float the idea with the artist first. I always ensure that they are part of the process and that they are totally happy with the way that they are represented.
Stefan has an incredible voice and “Daisy Cutter” is one of my all time favourite songs. He is very personable and professional and is a producer’s dream to work with. I was delighted he was so open-minded as he hadn’t heard of Kill Shelter when I originally spoke to him so there was a big leap of faith on his part to work with me. We got on really well through the process and I had the absolute pleasure of meeting up with him recently. They say never meet your idols but in this case I would say that definitely doesn’t apply.

I was absolutely delighted when “In This Place” reached number one in the Deutsche Alternative Charts and I really hope we can work together again soon.

Q: In between “Damage” and “Asylum” you also released an album together with Antipole. I noticed a true chemistry between both of you, but how do you look back at this experience, which I think was inspired by personal themes like loss, addiction, isolation and remorse? Can we expect a new album? Any other plans in the pipeline?

Pete: Karl has become a really good friend of mine. After sharing the same label (UPR) for our debut albums, working on remixes together then Karl appearing on “Damage” we have kept in touch for years now. We got the chance to meet at the Cold Transmission Festival in 2019 where I did a Rule of Three DJ set. We got on incredibly well over that weekend and decided there and then we should do an album together. We are very like-minded. Troubled and sensitive but determined at the same time. We share a lot of ideals and philosophies.

Karl really supported the idea of me doing vocals on “A Haunted Place” even though it was originally going to be an instrumental album featuring mainly guitars. Because it was entirely my voice on the album, the songs had to be very personal to me. I always wear my heart on my sleeve and, in a way, writing the songs on “A Haunted Place” was a very cathartic process for me.
We still chat most days and I’m looking forward to the day I either head to Norway or he visits here. We do have plans to do another album together but there’s no immediate rush or pressure on that. I have the working title and concept and we have a few demos already so the process has started. I want it to be different from our last album though. It needs to feel like a development not more of the same.

I contracted Covid in August and have had some ongoing issues following that so, unfortunately, I’m having to take some time away. Both my hearing and voice have been affected so I need that to settle down before I begin that journey again. I’ve had to pull quite a few things from my schedule and it’s never great to have to let people down but things aren’t great at the moment.
I’m looking forward to things getting better all round for all of us…

Inferno Sound Diaries

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

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The Avignon, France based label Unknown Pleasures Records announces that Phil Von will release his all new album “Von Magnet” on September 1st via its imprint. A rather bold choice since Phil Von is part of the Von Magnet collective.

This is his 7th solo album. His first was “L’Autre Nuit” (2001) with Gnawa music and the musicians of Fès (Prikosnovénie records), followed by the “Deadline Now” (2006) soundtrack of performance for the Portuguese company Persona (Thisco records) and in 2015 the more intimate “Blind Ballet” on Ant-Zen Records. A selection of his best soundtracks written for the street theatre company Underclouds, entitled “Made Underclouds”, was released in February 2019 on Zona Music (LT) and Ant-Zen. In 2019 Phil Von self-released the album “Imagerie”. The album holds a selection of experimental & abstract soundscapes written for art projects and visual environments. His concert collaboration “Eiti Ramyben” with classical piano musician Rokas Zubovas revisiting electronically some piano works of famous Lithuanian composer Mikalojus Konstantinas Čiurlionis was released on vinyl in 2021 on Zona Music.

With his latest solo album “Von Magnet”, a way of closing this artistic life chapter as well as giving another token of his love for intertwined flamenco and electronic music, he again combines electronics with Arabo-Andalusian music. On the album we find contributions from such musicians as Hugues Villette, Tit’o, Flore Magnet, Def, Hugues Vincent, Dani Barba, Yana Maizel and Algirdas Klova. The mastering was executed by Norscq while Svetlana Batura covered the photo work. The design was in the hands of Karim Gabou.

You can already check a few tracks below.

About Phil Von

Parallel to his work with Von Magnet Phil Von is composing as well as performing for different dance-theatre and street-theatre companies. He worked together with Norscq on the “Atlas Project”, wrote the piece “Compass” for Art Zoyd and the Musiques Nouvelles Ensemble of Jean Paul Dessy which was performed in Brussels. With Mimetic he created “Groundspace” for the GRM (Group of Musical Research) and the Radio France festival.

He was also a musician and performer with the Russian/German company Do Theatre (Anatomy of Fantasy), French performance company Materia Prima (Body Without Wings, Insomnia, Eternal, Batailles, Choir, Cabaret Rouge), Street Theatre companies Entre Terre et Ciel (Neige de Feu, Physalis, Alma, Envol) and Underclouds (Funambus, Petites Histoires sans Gravité, VerSant) & U-Structure Nouvelle (Strip-Tease Forain, Melankholia).

In 2016. together with Somekilos from 2 kilos & More, he created the tribal electro project Meta Meat and released the album “Metameat” on Ant-Zen and Audiotrauma.

In 2017/18 he wrote and performed the music of the theatre play Medea written with rage in London for François Testory (DV8 Physical theatre, Gecko, etc.) which they toured in Great Britain. He worked with butoh choreographer Sakurako in Paris for her company Re-United Now-Here (Banzaï 2.0, Corsonor, Not a Love Story) and in Lithuania he was composing for Sakurako and her new Baltic butoh dance-theatre company Okarukas (Now-Here, Voyager, Dolls, Spells, Here-After, Birds).

In 2019, he created in Lithuania his first solo dance-music performance “Human, Lost and Found” which was performed in MO Museum Vilnius, Post Gallery Kaunas and Menu Spaustuvè Vilnius. In 2020, he produced the solo album of Lithuanian folk musician Algirdas Klova.

About Von Magnet

Von Magnet is a theatre music band originated from the post-industrial musical current from the 1980s. Founded in 1985 in London, the group gathered around Flore Magnet (stage direction, actions, vocals) and Phil Von (composition, feet percussion, vocals) initiating a style of their own which they named “Electroflamenco”. Becoming rapidly well known in the underground because of their new approach to electronic music, firstly by incorporating the bases of flamenco (rhythms, dances and melodies) then later adding influences of Middle Eastern music.

Their compositions, either instrumental or vocal melodramas, poetic, lyrical, cabaret crooning are sung or spoken in different languages; English, Spanish, French, and also in Arabic, German, Turkish or Russian. Since 1985, even before the “Computer music” era, they experimented within the likes of the post-industrial musical movement (Greater Than One, Cabaret Voltaire, SPK, Coil…) using intensive sound collage and sampling techniques. This work would give birth to their motto: “Sample us as we have already sampled you”.

After a collaboration with Robert Rental with whom they prepared their first demo tapes, Von Magnet, helped by Hugh Griffiths at the Remaximum studios, composed their first auto-produced E.P : “I”.

The band’s last release was the 2012 album “Archipielagos”.

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-Wave, Post-Punk.

Format: Digital, CD, Vinyl.

Background/Info: This album resulted from the common efforts between Pete Burns (Scotland) and Karl Morten Dahl (Norway). Their respective projects Kill Shelter and Antipole both released an album each  on Unknown Pleasures Records. They now joined hands together to achieve eight songs inspired by personal themes like loss, addiction, isolation and remorse.

Content: Kill Shelter reminded me of The Sisters Of Mercy while Antipole is more connected with The Cure. Both artists together achieved a pure Dark-Wave production featuring slower, melancholic pieces at one side and a few harder cuts at the other side. Pete Burns is singing with an expression of sorrow, but still passion. The guitar play brings us back to the darkest hours of the 80s.

+ + + : I’m often skeptical about collaborations, which often result in one shots and poorly inspired songs. “A Haunted Place” doesn’t sound like an occasional collaboration, but reveals a mature production resulting in a few great songs. It reminds me more of Kill Shelter than Antidote and especially the last part of the album is worthy of examination. The dark sphere supporting “The Edge Of Reason” and “Every Walking Hour” will give you goosebumps. And there also is the great and more passionate “Of Roses And Thorns” carried by cool, mewing guitar play reminiscent of the 80s.

– – – : The first part of the album is less convincing, the slower “Into The Fire” sounding less inspired in comparison with the great final part.

Conclusion: “A Haunted Place” is a fully accomplished, dark work, which will appeal for lovers of Dark-Wave and Post-Punk. I hope this duo will renew their collaboration.

Best songs: “Of Roses And Thorns”, “The Edge Of Reason”, “Every Walking Hour”, “Raise The Skies”.

Rate: 8.

Artists: www.facebook.com/killshelterofficial / www.facebook.com/antipoleband

Label: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords Read the news on ‘A Haunted Place’.

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: Industrial, Industrial-Ambient, Experimental.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: Pedro Peñas y Robles became a renowned artist throughout the years. We of course know him from multiple music projects, but also as label owner, DJ, performer and author. HIV+ is a music project he set up more than twenty years ago now. During the past few years he mainly released works in collaboration with other artists. This new opus is a conceptual album meant as a tribute to the famous French poet, novelist and actor Antonin Artaud –who belonged to the famous French surrealist movement.

Content: The album features multiple guests and contributions from artists like Marc Hurtado (Etant Donnés), Barkosina Hanusova (Years Of Denial), Phil Von (Von Magnet), Marc Caro, Alice Botté and Emmanuel Hubaut. I’ve always connected HIV+ with Industrial music and this influence is clearly coming through although transposed into a more Minimal and Ambient approach. I get the sensation listening to an Industrial soundtrack featuring dark and even horror-like passages. Most of the vocals are spoken-like and reveal  a true ghost-like effect.

+ + + : First we have to salute the great concept behind this work; an ode to genius Antonin Artaud by HIV+ and a fine list of contributors. Next there’s the sound approach revealing a somewhat Experimental, but fascinating exploration of Industrial sound treatments transposed into an imaginary soundtrack devoted to the work of Artaud. I like the minimalism of the Electro-Industrial sounds mixed with French samplings and mainly ghost-like vocals. “Extase” featuring Phil Von is pure drama, which is a quite recognizable approach in the theatrical universe of Von Magnet. Two tracks are featuring Marc Hurtado and especially the opening piece (cf. “Amour”) is a brilliant and tenebrous-sounding song. Two other cuts are featuring Marc Caro and I especially recommend listening to “Injection”, which sounds a bit heavier. “Limbes” is the other track with Marc Caro, which is another attention grabber for its global progression.

– – – : Some passages are a little bit too Experimental to my taste, this way missing an apotheosis.

Conclusion: A great concept adapted in a fascinating Industrial Soundtrack approach.

Best songs: “Extase”, “Amour”, “Injection”, “Limbes”, “Amour Sans Trêves”.

Rate: 7½.

Artist: www.facebook.com/havoc2027

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

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: Cold-Wave, Dark-Wave.

Format: Digital, CD.

Background/Info: After having released last year albums on Unknown Pleasures Records and ScentAir Records, Italian artist Marco Cattani (Halo Effect, The Mark) strikes back with a new opus on Wave Records. Chemical Waves have again invited numerous guest singers. Vocalists from Bedless Bones, The Arch, The Purge, Death Loves Veronica, Sara Stuttgart, Then Came The Rain, Velvet Kills, Iris Capricorn, XTR Human and Social Station contributed to the work.

Content: The sound formula hasn’t really changed. Chemical Waves remains driven by the dark legacy of 80s Cold/Dark-Wave music. The singers again each inject a very personal touch to the work, which creates an interesting diversity. From sensual vocals to low, resonating vocals there’s a lot to experience while you’ll also notice two instrumental cuts.

+ + + : Chemical Waves holds on the true spirit of Dark/Cold-Wave music, which is mainly created by the magic of the guitar playing. I heard some good matches with the singers of The Arch, The Purge and especially Su Eko/Velvet Kills, reminding me a bit of Placebo.

– – – : The global approach of this project remains interesting and sometimes exciting although I’m missing ‘the’ singer of this band. I also preferred previous productions, the sound becoming a bit too predictable while the songs are less efficient. Being too prolific is sometimes undermining quality…

Conclusion: This is not the album from Chemical Waves I would recommend listening to first.

Best songs: “Rangers On The Road”, “Demon In Me”.

Rate: (6 ½).

Artist: www.facebook.com/chemicalwaves

Label: www.waverecordsmusic.com / www.facebook.com/waverecords

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: Gothic, Dark-Rock & Pop, Cinematographic.

Format: Digital, Vinyl.

Background/Info: After a self-released debut album (cf. “Step On) and the official albums “Nothing” (released in 2016 on Bunkier) and “Recalling” (released in 2017 on Unknown Pleasures Records), Daniele Giustra (still involved with The Well Of Sadness) released the newest album of Selfishadows at the end of 2020 on Manic Depression. The musician got some help from a few guest musicians to achieve “Again”.

Content: The work is clearly evoking 80s influences and some songs might remind you of Echo And The Bunnymen and The Cure. There’s this typical 80s spirit, but you’ll also discover dreamier cuts, which could be suited for a kind of ‘film-noir’. I also noticed a Rock-Pop touch emerging from other cuts.

+ + + : The 80s influence is one of the most noticeable elements from the work and for sure one of the main reasons why it previously caught the attention of Unknown Pleasures Records and now Manic Depression. The typical low resonating bass lines and guitar playing both express this unique spirit of the 80s Cold/New-Wave sound. That’s why I like the song “Close To Me” (does the title evoke something in you?), but also the debut track “A Way To Cry”. There’s also something to say about the more Cinematographic title song.

– – – : Despite of the album’s diversity I didn’t really hear a potential ‘hit’.

Conclusion: Call it Dark- or Cold-Wave music, but with an extra Cinematographic touch on top.

Best songs: “Close To Me”, “A Way To Cry”, “Again”.

Rate: (6½).

Artist: www.facebook.com/Selfishadows

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

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

Cristian Camporesi is an Italian musician/producer/live performer/sound designer who has been involved with an endless list of projects. His latest solo-project CHRIS SHAPE is driven by old-school EBM, Minimal-Electro and Techno vibes. He last year released the debut album “Shaped To Deform” on Unknown Pleasures Records, which sounds a true masterpiece. Thirteen songs driven by power and danceable vibes featuring guest singers  HIV+, ALBERTO FRIGNANI, IV HORSEMEN, DAVE INOX, BLACK ASTEROID, RAFFAELLE VENTURELLI, VELVET KILLS and BLIND DELON. It for sure is one of the best EBM productions from 2020.

(Courtesy by Inferno Sound Diaries)

Q: You’ve been involved with an impressive number of projects/bands dealing with very different music styles. What do you consider as your main accomplishments and how did you finally come to set up CHRIS SHAPE?

Chris: This is simple: I’m an old man with a long career: this is why I was involved in lots of projects. My roots are in the 80’s New-Wave, Electronic and Punk music. I started my career in some local New-Wave bands in late 80’s, but in the early 90’s I was hit by Techno music and started to work with the historic Cocorico Club resident DJ in lots of projects from Techno to Psy-Trance to Hardcore to Eurodance. I was involved in lots of projects ‘cause my goal was to raise money, lots of money’.

In the early 2000’s I was very disappointed by the Techno scene and my accomplishment. When I met DJ Franz I realized that my New-Wave origins could mix with Techno giving life to a project without any pretension. A new project made for the pleasure of writing music and not to earn money: FRANZ & SHAPE became one of my greatest success. We started a tour that lasted 10 years and that took us to play all over the world. After the split in 2011 it took me years to start again; I had to understand who I was and what I wanted to convey with my music. In 2017 I decided to start again on my own, continuing what I had done with FRANZ & SHAPE, but also emphasizing leaving messages to try to sensitize people on introspective ‘difficult’ issues and denounce a capitalism that has made us unaware slaves. The first message was ‘Eat the bankers’!

Q: What does this project brings you in comparison with all others you’ve been involved with? Did you’d a specific idea and sound in mind how CHRIS SHAPE had to sound?

Chris: Now I’m naked! I’m myself, without shame, no masks. I understood that art ends where the money goes and I do simply what I feel. Nothing is left to chance, from music production and the use of sounds from vintage analog gear to the production of contents, images, videos everything must follow a logical thread. It took me a long time to find my way, but now I see it well!

Q: You last year released the debut album “Shaped to Deform”, which is featuring an impressive number of guests/friends. Tell us a bit more about how this work took shape and how did the collaborations with the other artists happened? What have been their input?

Chris: During the years in which I was looking for my own way I produced a lot of music, but I left all these songs unreleased because I had to find a wire that could connect all or at least a lot of them. Once I ‘had enlightenment’ it was easy to adapt everything to fit into an album. I have always enjoyed working with singers despite having produced Techno music without vocals for years. I had lots of demos written on purpose to be sung so I started sending them to several friends put together with a long work on social media and it was easy to target the right demo to the right singer. Usually my collaborators send me a vocal part which I then readapted on the song. Except for the song “Mind” where BLIND DELON besides singing have also brought a notable sound contribution.

I have to thank very much Pedro Penas Robles who believed in me and gave me the opportunity to print my album on Unknown Pleasures Records helping me in all aspects of production and endure all my mistakes!

Q: Like you’ve said, the songs are clearly driven by 80s elements like EBM, but still by some Minimal-Electro approach and Techno influences. What does it say about your personal sources of inspiration, the love for analogue equipment and the connection with the 80s vs. the cover version of DEATH IN JUNE’s “Heaven Street”?

Chris: DEATH IN JUNE together with THE SISTERS OF MERCY, THE CURE, BAUHAUS, CHRISTIAN DEATH, DEPECHE MODE and many more… were one of my favorite bands during my New-Wave period. Then during the Techno years I put all these records of mine in a closet. Only recently I discovered that all these records have continued to play in my head and have always influenced my productions. There is no escape from the rule: black is forever! I often found in my productions parts of ideas that I unconsciously ‘stole’ from DEATH IN JUNE or those 80s New-Wave records. When Pedro from Unknown Pleasures Records asked to do a cover for a DEATH IN JUNE-tribute I was very happy because I was finally able to pay homage to one of the groups that influenced me the most. In 2 days I had the instrumental version ready, everything magically built itself.

About my love for vintage analog gear there isn’t much to say: I’ve worked years with digital synths, but when I went back turning on my old synths I discovered the warmth they give off that I wasn’t ready to perceive before. What I love is what drove so many musicians to digital: imperfection. For about 10 years I have forced myself not to use the computer anymore and I have begun to travel to the studios of friends who have mythical synths that I can’t afford or incredible self-built modular systems. I have recorded hours of sessions, a lot of my past and future music comes from these sessions.

Q: Can you give us an idea about your way of working? Do you follow a precise pattern and do you need to be in a specific mood to compose music? And when do you know a song/album is finished?

Chris: The first rule is: there are no rules. The second is: there are never rules. The third rule is: error is human, perfection is for robots. ‘Mr. Mistake’ and I have finally become good friends and have a great time in our studio.

HAHAH Inspiration is not something linear, it is a large sine wave with a variable wavelength. I write music only when it reaches its highest peaks, I have also spent dark years in which I did not see it return, then I realized that if you call it sooner or later it arrives. I have developed a quite effective recall system and now I can get it to arrive with a few days’ notice: I am a sponge and absorb everything I like until the moment when I am full and everything is downloaded in one or more songs.

Knowing when a song is over is like looking at a painting, seeing that every brushstroke and every nuance are put at the right place and the whole vibrates something inside you. It is something absolutely individual, but when someone who has listened to one of my songs writes to me telling me that he has felt the vibration, I have reached my goal and that pays for every effort of mine, much more than money.

Q: In which way have you been affected as artist and simple citizen by the ongoing pandemic? How did you try to keep yourself busy during the lockdown and what are your further artistic plans?

Chris: I have been living with my daughter and my wife in the countryside for almost 20 years, surrounded by nature between river and hills, I have no neighbors, I have no television, I have not been ill for decades, I cut wood in the woods for heating, I cultivate my vegetable garden. The only information that reaches me is what I decide to come from books or the internet. Living in lockdown is essentially my way of life. Only on weekends I go out to work in clubs. Thanks to all of this I can see this pandemic situation for what it is: a huge propaganda work to promote the globalist agenda. The virus exists, but it is only an excuse, it is not strong enough to justify what they are imposing on us. Democracy is dead; we are in full dictatorship, big pharma is more powerful than any state and can afford to corrupt everyone. I am very sad to see so many people plagiarized by propaganda, but also very pissed off: they have destroyed the art world and left millions of people unemployed. I had to look for a new job out of the club world and now I have a lot less time to devote to my music than before. We will never go back; we are in a new Middle Ages: social networks have replaced our constitutions and allow themselves to censor what they do not like. In any case, history teaches: truth always finds a way to come out and whoever seeks it will find it. I can’t live without music so I’m always working for new stuff, new album, new collaborations, new remix 😉

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: Electro-Wave, Minimal-Electro, EBM.

Format: Digital, CD.

Background/Info: Three years after the debut album “L’Heure De Salir”, the French solo-project driven by Joann Guyonnet is back on track unleashing ten new songs.

Content: The sound of La Main is easily recognizable; it’s a melting pot of 80s influences like Electro/Pop-Wave, early EBM and pure Electro-Minimalism. The vocals are once again sung in French. There’s an interesting progression about the tracklist of this work. The debut songs are rather ‘slow’, a bit ‘lazy’-like, but quite progressively the songs become darker, colder and even harder at “Vif”.

+ + + : I personally experienced this new album in the prolongation of the debut work although it sounds more personal. La Main reveals that the sound is much more than a wink to Taxi Girl; this album has something of its own. I especially like the icy passages and the cold, melodic leads. “Silence” is a cool Minimal track while “Vif” has something more EBM orientated. I like this harder side of the work! I also have to mention the great last song “Cet Hiver”, which sounds as an apotheosis to the album.

– – – : La Main is a pretty accessible Electro project and yet its minimalism is not easy to seize while the French lyrics might be a challenge to catch an international audience. 

Conclusion: If you like Electro-Retro-Minimalism with French lyrics on top, you’re definitely going to like this work!

Best songs: “Vif”, “Silence”, “Cet Hiver”; “Dans Le Coin”.

Rate: (7½).

Artist: www.facebook.com/ecoutelamain

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

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: Cold-Wave, Cold-Rock.

Format: Digital, CD.

Background/Info: IceSun is a French band from Paris. The album “Iceworks” features a selection of songs that were previously edited at the band’s album “Heartquake” (2018) and the EP “Militia” (2015). So we get a total of ten songs. 

Content: You directly hear this band can only come from France because of the typical accent (the songs have been sung in English). The influences of IceSun are clearly bringing us back to the darkest hours of the 80s Cold/Dark-Wave movement, but they also bring a more personal and Rock-inspired touch to the production. The songs aren’t driven by power, but the global atmospheres hanging over the songs seem to be more important and an essential aspect of the production. One of the songs (cf. “Leave”) is a song originally written by Violet Stigmata. It’s not that of a coincidence this song has been ‘covered’ as 2 of the band members were still part of Violet Stigmata.

+ + + : If you like the 80s and its Dark/Cold-Wave sound you definitely will be interested discovering IceSun. But the good thing is this band doesn’t exactly bring an emulation of the 80s, but simply uses some influences to compose their own music. It becomes a mix between different influences although a dark sphere is ruling. “Love In A Panzer” is one of the high lights in the genre, but I also have to mention “The Toxic In Me”. Another cool song is “Cold Inside” for its Eastern-like guitar touch on top.

– – – : I’m missing an extra power boost in some of the songs. This is an easy listening production, but without a true climax.

Conclusion: IceSun is what I would call in French ‘gentil’; a nice album with no highs or lows.

Best songs: “Cold Inside”, “Love IN A Panzer”, “The Toxic In Me”, “Leave”.

Rate: (6½).

Artist: www.facebook.com/icesunmusic

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

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: EBM, Minimal-Electro, Techno-Body.

Format: Digital, CD.

Background/Info: Chris Shape is an Italian solo-project driven by Cristian Camporesi. This artist has already been active for numerous years and has been involved with different projects till he decided a few years ago now to release his work under Chris Shape moniker. In 2019 he released a phenomenal EP “Faked Truths” together with Dave Inox. “Shaped To Deform” is the artist’s debut album featuring thirteen songs.

Content: Chris Shape stands for pure Minimal-Electro music inspired by the power of 80s EBM and with a Techno touch on top. This guy composes his music with the magic of analogue machines. The solid bass lines and multiple effects are carried by danceable kicks while manipulated, fragmented vocals are emerging at the top. Nine songs from the tracklist have been achieved with the help of guests. HIV+, Alberto Frignani, IV Horsemen, Dave Inox, Black Asteroid, Raffaelle Venturelli, Velvet Kills and Blind Delon (2 songs) contributed to this work.

+ + + : It’s simply amazing to see how music inspired by retro influences and vintage equipment can create a futuristic sound. Chris Shape brings us back to the essence of good-old EBM; power and energy! But there’s this passion and love to compose intelligent music; a sound that has been composed with knowledge and not in a hurry. Songs driven by heavy, dry bass lines (sometimes reminding me of Front 242) and accomplished with great sound effects. I also like some passages creating a transcendental sensation, “Holy Ron”being an absolute masterpiece! The different featurings are simply outstanding.

– – – : There’s not one single song from this work to throw away!

Conclusion: “Shaped To Deform” sounds as a phenomenal production and definitely one of the best EBM productions from the past year! Respect!

Best songs: “Holy Ron”, “Near To Silence”, “Diss Out feat. Dave Inox”, “Mind feat. Blind Delon”, “Eat The Bankers feat. Black Asteroid”.

Rate: (9).

Artist: www.facebook.com/chrisshapeofficial

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

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: Dark-Wave, Cold-Wave.

Format: Digital, CD, Vinyl.

Background/Info: French project Blind Delon strikes back with a new album, which comes one year after the last year released “Discipline” (Unknown Pleasures Records). Multiple EP’s have been released as well and in a rather short lapse of time. Mathis Kolkoz who set up Blind Delon as a solo-project has now been joined by Coco Thiburs.

Content: I remember “Discipline” as a rather Minimal-Electro work. “Chimères” sounds totally different although again inspired by the legacy of the 80s ‘Wave’-music spirit. The opening cut is pure Dark-Wave; a kind of tormented song with French vocals on top. This opening song stands for the entire album, characterized by low bass lines, guitar and synth melodies. The low timbre of voice and the mysterious French vocals accentuate the darkness hanging over the work. I also noticed one song (cf. “Elle”).

+ + + : This work sounds totally different to the previous album, but I think it’s an interesting experience, which will rapidly appeal for the darkest souls and 80s lovers. Blind Delon creates an extremely dark work; everything appears desperate and sad. But darkness can be also beautiful and especially when there’s such a great balance between guitar, bass and synth. I already mentioned the debut song “Elle”, but other little pearls like “Mourir Seul” and “Outrage” only confirm the potential of the band. The tracks are moving to a crescendo, creating an uplifting effect. “Discipline” was an okay album, but “Chimères” is a true masterpiece!

– – – : I’m afraid those who became great fans of the debut album, will have some difficulties to recognize Blind Delon’s new work. This is a little metamorphosis.

Conclusion: Cold/Dark-Wave music remains a great source of inspiration for contemporary artists and Blind Delon appears to be one of the most talented ones from their class.

Best songs: “Mourir Seul”, “Elle”, “Outrage”, “Tes Lèvres”, “Cigarette”.

Rate: (8½).

Artist: www.facebook.com/blinddelon

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

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: Dark-Wave, Cold-Wave.

Format: Digital, CD.

Background/Info: 2020 has been a prolific year for this Italian project driven by Marco Cattani (Halo Effect, The Mark). Next to the album “Even When we Fall Apart” released on Unknown Pleasures Records, the band also released this other album on the Russian label ScentAir. Marco Cattani composed the music while he again worked with guest singers.

Content: The vocals have been done by Ill Humans, Pedro/IAmTheShadow (2 songs), Gentle Ropes, L’Avenir, The Sea At Midnight and Kiss the Whip. The work also features 3 instrumental cuts. Sound-wise the songs are not as dark compared to the previous album. The songs sound more melancholic and sensible, but the main characteristic is the duel between guitar and electronics sometimes creating an elevating effect.

+ + + : The melancholic feeling of the work brings us back to the 80s, but Chemical Waves is much more than simply a copyist. The songs still have a ‘modern’ touch and especially the Electronic arrangements create this feeling. The melodies have something magical, which mainly comes through at “To the Deep” feat. Pedro/IAmTheShadow. This song makes me think of an Electronic edit of early The Mission. Another attention grabber is, “Statues” feat. The Sea At Midnight, which has something heavenly-like. Last, but not least, I also want to mention the slow, refined and emotive “Lasting Forever”, which is a noticeable instrumental song.

– – – : This opus is a pleasant listening, but I’ve to admit I prefer “Even When We Fall Apart”, which is darker, but still more poignant.

Conclusion: This album is not exactly the kind of stuff I’m used to hearing from the ScentAir Records roster, but it brings an interesting diversity to the label. 

Best songs: “To The Deep”, “Statues”, “Lasting Forever”, “Slit”.

Rate: (7).

Artist: www.facebook.com/chemicalwaves

Label: www.scent-air.com / www.facebook.com/ScentairRecords

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: EBM, minimal-electro.

Format: Digital, CD, Vinyl.

Background/Info: The French duo Maman Küsters is back on track and has released their new album earlier this year. Gaël Loison (music) and Cyril Pansal (vocals) got some help from famous contributors like Franck Kartell (synths) and Julia Bondar (vocals). Notice by the way the vinyl edition has been released by  Oràculo Records featuring only five songs while the digital and CD edits are featuring twelve tracks.

Content: The album features 6 new songs and 6 remixes. This album is once again inspired by the good-old minimal-EBM connected with the 80s. This is pure analogue music driven by deep bass lines and intriguing French vocals. Remixes have been accomplished by Marc Caro, Franck Kartell, Chris Shape, Years Of Denial, Marc Collin (Nouvelle Vague) and last, but not least The Hacker. The remixes –except the title song of this album, are mainly made from ‘older’ songs.

+ + + : This work totally fits with the philosophy of the French label Unknown Pleasures Records. This is good-old EBM driven by the magic of analogue gear. There’s this typical 80s spirit hanging over the work, but the production also has something refreshing. The songs are carried by solid bass lines and danceable vibes. The vocals are adding something extra; a bit intriguing. I also have to mention some exceptional remixes, and especially the one by Italian producer Chris Shape (who last year released the cool EP “Fake Truths” together with Dave Inox). The other noticeable remixes are the ones by Franck Kartell, Years Of Denial and The Hacker. 

– – – : I was less convinced by the remix of Marc Collin, which is just a smooth last ‘outro’-cut made by a famous artist.

Conclusion: Maman Küsters strikes back with style and the magic of minimal-EBM, which clearly inspired other artists to accomplish brilliant remixes.

Best songs: “L’Extase Et La Terreur”, “L’Alpiniste Au Sommet De Son Art feat. Julia Bondar, “MK Ultra” + “Transat En Kit – Chris Shape Remix”, “La Dernière Maison Sur La Gauche – Franck Kartell Remix”.

Rate: (8½).

Artist: www.facebook.com/maman.kusters

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

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

Larme Blanche (which can be translated as ‘knife’ or ‘rudimentary weapon’) is a brand-new project driven by an artist wearing a mask and keeping his name secret. He claims his music is more important than his face and even the label, Unknown Pleasures Records, where he released his debut album “Demain Est Mort” doesn’t know his identity. But music indeed is more important than faces and the minimal-electro composed by this artist is absolutely worthy of examination. All songs are sung in French mainly revealing critical and political subjects recovered with obscure and gloomy atmospheres plus danceable sequences. This album took me by surprise and incited me to get in touch with the man with the mask…

(Courtesy by Inferno Sound Diaries)

Q: You don’t want to reveal your identity, so what fascinates you working anonymously? Or is it just a strategy to keep people busy to guess who’s hiding under the mask you’re wearing? How did you get interested in electronic music to finally set up Larme Blanche?

LB:My identity is not important, but the music is. Wearing a mask (a balaclava, precisely) is not a strategy, or a marketing shit. I’ve read a lot about the symbols of the mask, and I think hiding my face and my own identity is a way for me to be truly myself. I can say whatever I want, without any filters or any fears to be judged. Hiding is for me artistic freedom.

Honestly, playing electronic music is not a choice. It’s just the best set up if you’re alone in a musical project. With my synths and drum machines, I can play nearly everything by myself. I just sometimes need the help of true musicians to reach a higher level, like Quentin Dubarry, who plays saxophone on the song “Overdose d’Épicure”, or my friend Fred that mixed and mastered my music.

Q: What was your initial purpose when starting this project? Did you have specific ideas/criteria in mind about sound, influences, equipment, ao?

LB: At the very beginning, my purpose was to make a lot of noise. At the time, I wanted to play with the industrial/noise codes and techno music. At first, I thought the project will be fully instrumental, no voice. Probably because I like cinematic music. But life is full of surprises, right ? One day, I put my voice on the song “Paris La Nuit”, and I thought it sounded very cool. So in the end, I decided to focus more on the vocals and lyrics.

About the influences, I would say Suicide, Chris & Cosey, Throbbing Gristle, D.A.F., Death In June and a lot of French wave, from Taxi Girl to Etienne Daho. The movies of Gaspar Noé also had a big impact on me.

Q: What’s your main focus when you compose a song and what are the different stages you’ve to go through to achieve a song –and an album?

LB: I don’t have a formula. I can start with a sound, a beat, a synth bass line, sometimes with a sample… It really depends of my mood. Usually I mess around with sounds for hours, and I see how far it goes. I have hundreds of little loops in my archives. The most difficult thing is picking the good ones and turn them into a ‘real’ song. Usually, I pick the ones that inspire me vocally, or the ones that sound weird.

About the lyrics, I like to write down ideas when it comes, wherever I am. Sometimes when I walk in the street, sometimes in the train… So as soon as I have a good instrumental music, I just have to read my notes again and find the idea that fits the best with the track.

Q: All songs have been sung in French while the lyrical content appears to be engaged, critical, political, sensual, sometimes featuring historical samplings (cf. “Le Dernier Soupir”), dark and into poetry. Tell us a bit more about this essential element of the album and your project?

LB: Singing in French is at the core of this project and it will never change (except for covers, like the one of Death In June that I just released). When you play rock’n’roll, it’s easy to sing in English, because it works well with gimmicks. But I think French language work better with electronic music. It’s important for me to sing in my native language, because it forces me to work harder and deeper on the words. Believe me, writing those lyrics was a long process, way longer than the music!

I may hide behind a mask, but lyrically I’m naked here. I don’t know if this record is engaged, but it’s critical and political for sure. A song like “Assez!” was inspired by the yellow jacket movement that happened in France last year. I’ve seen far-right and far-left people crushing my country to the bone, and it made me sick. As a result, I wrote this song. I’m also a huge fan of History, as you can hear in “Le Dernier Soupir”. In that song, I wanted to superpose the values of our past heroes (here a speech of André Malraux for the Jean Moulin funerals, he was a famous resistant that fought against the Nazis) to the vacuity of our current heroes. Do the pop stars, starlets, actors and TV reality people deserves to be our heroes? I’d like to make people dance, but I’d like to make them think too.

Q: The title song “Demain Est Mort” is the last –hidden, song from the album. What did you try to express with this title, which also sounds as one of the most enraged songs of the album?

LB: Enraged, that’s a good word to describe it! At first, this song was just a fist in the face. I came back at home one shitty day, after another crack head of Paris insulted me in the street. It’s those kind of days when everything turns bad and when you want to kill everyone. So instead of turning into a mass murderer, I decided to write about that feeling. And it became “Demain Est Mort”, which means “Tomorrow Is Dead”.

It was a cathartic experience, it all happened very quickly. In a way, I wanted to sound like a nihilistic version of this old French punk band called Bérurier Noir.

Q: You released a few clips and it’s interesting to see the contrast in the themes between “Paris La Nuit” (about the French Capital) and “Taiga” (about nature). What did you try to express here?

LB: The message of “Paris La Nuit” is very simple; it’s all about this city that makes me sick every day. Usually, when I travel, all the people I met are always fascinated about Paris, you know with all the clichés: the city of love, so romantic blah blah blah… But I live in a very popular area of the city (where the video was shot) and it’s not glamorous at all. It’s full of crack heads, dealers, gangs, violence… With people literally sleeping on the pavement (as you can see in the video clip). This song is a vision of my Paris, the real Paris, not the one for tourists.

“Taïga” in a way is a response to this urban decay. I wrote that song after a trip in the Canadian taiga last Summer. I felt so good in the nature that I wanted to disappear there, and never come back to the madness of a big city. What’s the point of living in a world like that, were a phone made by a child in China is more important than the wildlife? How absurd is that? I think humanity has lost itself into consumerism and turned into a freaky monster. In those troubled times, nature appear to me as a peaceful shelter.

Q: What are the further plans?

LB: I’ve just released a cover of “Break The Black Ice” by Death In June for the tribute album “Honoris DI6” to be released on Unknown Pleasures Records in June (obviously). I also have an unreleased track called “Amor À Mort” that will be released on the vinyl compilation “My Precious! Vol. 3” (on the Belgian label Red Maze Records). It’s a very weird, erotic track inspired by the EBM of D.A.F. and the sadomasochistic band Athamay. It smells like whip, leather and latex. In June, I’ll also publish an experimental video of a new song called “Le Poing Et La Chaîne”, which I’m very proud of. It was made in confinement and it’s raw and very industrial, with live recordings of percussions played with chains. There is a big work on the sound and I think it can give some clues about the future direction of the 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

The French label Unknown Pleasures Records, run by Pedro Peñas y Roble aka HIV+, stops its activities this summer. They are currently emptying their last stocks before closing for good. The label which started in 2013 was based in the south of France was dedicated to the production of material from the post-punk, minimal wave and EBM scene. Their final release is a Tribute to Death In June.

In the past the label has released albums of bands like Norma Loy, David Carretta, Blind Delon, Adan & Ilse, Hausfrau, Black Egg, European Ghost, Ono Scream, Antipole, Kill Shelter, Vogue Noir, Ohota, Wendy Bevan, Alek Drive, Art Kinder Industrie, Baroque, Maman Küsters, Japan Suicide, Follow Me Not, Der Himmel über Berlin, Dave Inox, Mr Nô, None, Velvet Kills, Selfishadows, Container 47, The Shyness Of Strangers, Secret Sight, La Main, Fluxus, Grand((Ø))Signal, Neon Electronics, Hardlab, Judith Juillerat, Monolog and Love In Prague.

The label has also worked and collaborated with several musicians such as Alan Vega, Gabi Delgado, Dirk Da Davo, Eric Van Wonterghem, Jurgen Engler, Richard 23, Patrick Codenys, Marc Hurtado, Arturo Lanz, The Hacker, Dirk Ivens, The Horrorist, Haujobb, Position Parallèle, John Lord Fonda, Dominique Nicolas, Marc Collin, Michaël Theis, Radical G, Növö, Millimetric, In Death It Ends, In Aeternam Vale, Sonic Area, Adriano Canzian, Alice Botte, Versari and many more.

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: Electro-wave, cold-wave.

Format: Digital, Vinyl.

Background/Info: Three years after the remarkable debut album “Mischievous Urges”, Portuguese formation Velvet Kills are back on track. The album rather looks like a mini-album featuring six songs. The work has been released again by Unknown Pleasures Records, and also on Manic Depression Records and Icy Cold Records.

Content: I quickly got the feeling that the new stuff is moving a step further from the previous album. There still is this cold and sterile cold-wave sound inspired by the 80s, but the work also reveals more electro-driven compositions. The magic of good-old analogue sound treatments is easily noticeable.

+ + + : Velvet Kills simply confirms their strong potential. The 80s inspiration is once again noticeable, but this album sounds more personal than its predecessor. That’s mainly due to the electronic sound treatments, which are more at the front of the work creating an irresistible, minimal touch. On top of it all you also will notice the charisma and commanding vocals of Su Eko. She perfectly brings the coldness of the 80s back to life.

– – – : All this work is missing is an absolute hit!

Conclusion: Velvet Kills not only confirm their strong potential, but are still evolving into their cold-wave investigation of the 80s.

Best songs: “The Key”, “Hangover Calling”, “Noise”, “Bitch Face”.

Rate: (8).

Artist: https://www.velvetkills.com / www.facebook.com/velvetkills

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords / www.unknown-pleasures-records.com /  www.facebook.com/Unknown-Pleasures-Records-566180440115465

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: Minimal-electro.

Format: Digital, CD.

Background/Info: Larme Blanche is a brand-new project driven by an unknown musician. He’s hiding himself behind a mask and this mysterious nickname. It seems that even the label owner doesn’t know his identity… I would be not surprised it concerns an artist who’s already familiar with Unknown Pleasures Records..

Content: Larme Blanche has 2 main characteristics. The music is clearly driven by retro electronics -the 80s reminding the fetish sound of the label, and French vocals. I don’t want to compare Larme Blanche with any other formation although some passages might remind you of the legendary Taxi Girl. Larme Blanche is much more into darkness, which is an aspect accentuated by some tormenting lyrics. Some lyrical parts are still more explicit, but globally speaking it remains gloomy. The timbre of voice reminds me a bit of French artist Lescop (who also did a few things together with Indochine). The song “Le Dernier Soupir” is for sure a special one. It’s a long duration cut with 2 parts; you first get a kind of long introduction with spoken samplings from a historic speech of André Malraux and next comes a more danceable part with real vocals. There also is a hidden song, which is the title track.

+ + + : Behind this mysterious artist is hiding a talented composer. Larme Blanche brings old electro-minimalism back to life, but still has a global approach that I like. The sound is dark, obscure and gloomy. The songs are somewhat disturbing; they feel like a closed door you’re not allowed to open and yet you can’t resist. You have to know what’s hiding behind and that’s precisely what I feel when listening to “Demain Est Mort”. There are several little sound jewels featured on this album. The already mentioned last song “Le Dernier Soupir” is worthy of examination and according to me the perfect intro song for a live show. But I also have to mention “Seppuku” for its anguished sphere and “Paris La Nuit”, which is maybe one of the catchiest songs from the work. ”L’Obscurité De Tes Doigts” is another noticeable song revealing icy sound treatments and sensual, somewhat perverted lyrics.

– – – : I don’t see any single minus point about this work although the French vocals might be an obstacle to reach a wider audience.

Conclusion: “Demain Est Mort” has something of dark poetry, maybe a tiny perverted, but still a brilliant composition. 

Best songs: “Seppuku”, “Le dernier Soupir”, “Paris La Nuit”, “88Mph”, “Overdose D’Epicure”.

Rate: (8).

Artist: www.facebook.com/lalarmeblanche 

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

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: Cold-wave, dark-wave, shoegaze.

Format: Digital,  CD, Vinyl.

Background/Info: After having self-released several early albums, the French duo Nicolas Guerroué and Mik Chevalier joined hands together with Unknown Pleasures Records. “Vanishing Smile” is the band’s third official full length opus, which comes three years after “If The Sky Remains”.

Content: I was a bit skeptical about Follow Me Not’s previous album so I was wondering how they would evolve. The songs remain inspired by different dark 80s genres like cold-wave, but there also is an explicit shoegaze input. It resulted in a varied work taking off with ‘classical’ cold-wave elements carried by low, vibrating bass lines and evolving towards fuzzy guitar playing reminds me of The Jesus And The Mary Chain. On top of the composition you’ll hear passionate vocals.

+ + + : I’m not saying that Follow Me Not has reinvented their sound, but the influences are more varied. The guitar parts are pretty important and especially on the shoegaze tracks. “When Winter’s Gone” is a noticeable song in the shoegaze style. But I can also enjoy their cold-wave driven music like the opening track “Reason”. The chorus of this song has something melodic, getting back to a more catchy input during the chorus reminding me of Q.Lazzarus. I also appreciate a more delicate touch hanging over songs such as “Care Less” and “Strange Stranger”

– – – :  A few softer/slower tracks can’t convince me; I here refer to “Bliss” and “Sunday”.

Conclusion: Follow Me Not sounds like having enlarged their 80s horizon revealing an interesting shoegaze side.

Best songs: “When Winter’s Gone”, “Dreaming”, “Vanishing Smile”, “Strange Stranger”.

Rate: (7).

Artist: www.facebook.com/followmenotband

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

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: Cold-wave, dark-wave, gothic. 

Format: Digital, CD.

Background/Info: Chemical Waves is a project driven by Marco Cattani (Halo Effect, The Mark). This project has already been active for numerous years now and has self-released a lot of stuff in between 2012 and 2015. Chemical Waves is now back on track unleashing its official debut album on the French label Unknown Pleasures Records.  

Content: Marco Cattani invited several guest singers to accomplish his work. Bedless Bones, Closed Mouth, HIV+, Virgin Tears, L’Avenir, Antiflvx, Egoprisme and RjVj have been featured. It resulted in a rather diverse album, which is mainly driven by the good-old dark/cold-wave demons from the 80s. The different singers each inject a very personal touch to the work moving from sensual passages to pure cavernous vocals. The guitar playing brings the 80s spirit to life. Some songs remind me of The Virgin Prunes, but globally speaking you get a nice pastiche from the cold/dark-wave era.

+ + + : The diversity of the tracklist makes it interesting. I was mainly convinced by the perfect symbiosis between Marco Cattani and Kadri Sammel from Bedless Bones. I like this girl’s work and especially her somewhat sterile, sensual timbre of voice creates a great match with the music. Another noticeable cut is the one featuring Jason Sloan (L’Avenir), which has something mysterious, and is even a bit ritual-like. On top of the composition I especially like the cool guitar playing injecting a truly retro-spirit into the work.

– – – : One of the very few cuts that couldn’t totally convince me is the one featuring Egoprisme. I’m not convinced by the possible match between the singer and the song, which also sounds a bit more electro-driven.

Conclusion: “Even When We Fall Apart” is an interesting album; the concept of working with different vocalists is nothing new although not always successful. I think it however works for this album!

Best songs: “Denied”, “Hymn”, “The Sphinx”, “Void And Light”.

Rate: (7½).

Artist: www.facebook.com/chemicalwaves

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

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: Techno-body, technoid.

Format: Digital.

Background/Info: Born in Ukraine, but based in Barcelona (Spain) Julia Bondar has already released a few EP’s, and also a compilation album on  Unknown Pleasures Records. This new EP was released by the end of 2019 and ‘talks about forbidden fruit, about something that we do not dare to reveal so we sublime it to the dance’.

Content: The concept –so far we can speak about a concept, is illustrated in a rather funny way with the cover of this EP. Julia Bondar transposed her deepest fantasies into techno-body sequences mixed with evasive loops. “Talk Dirty To Me” sounds darker and sounds a bit like techno music for dark cellars. The last track is shorter and driven by bleeping sequences.

+ + + : I like the dark touch hanging over this production. It sometimes has something tormented and that brings me to say that Julia Bondar perfectly transposed the ideas of ‘forbidden fantasies’ into music. “Talk Dirty To Me” is a real noticeable cut,  and reveals the writing- and production skills of this female artist.

– – – : The last cut entitled “Lust” is pretty cool, but I here get the feeling it remains a bit unaccomplished while it’s a song with much more potential.

Conclusion: If you don’t know yet Julia Bondar, this EP is an interesting discovery with an artist who transposes techno stuff into a dark- and naughty format. 

Best songs: “Talk Dirty To Me”.

Rate: (7).

Artist: www.juliabondar.com / www.facebook.com/juliabondarmusic

Label: www.facebook.com/theendorphines

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: Gothic, cold-wave.

Format: Digital, CD, vinyl.

Background/Info: “Radial Glare” is the second album by project Antipole. I discovered the band driven by Karl Morten Dahl through the “Northern Flux”-album released in 2017 by Unknown Pleasures Records. Dahl invited guest singers Paris Alexander, Eirene and Marc Lewis.

Content: There for sure common points with the previous work. Antipole’s music remains inspired by the 80s cold-wave movement, which is mainly emerging from the deep, low vibrations of the bass lines and the guitar playing. The Cure is for sure a source of inspiration, but I should say Antipole sounds a bit darker. There’s an interesting diversity through the different singers.

+ + + : If you’re into 80s nostalgia and you especially like dark music, this album will fulfill your expectations. There’s an interesting move forward compared to the previous work. The guitar playing is for sure one of the album’s main strengths, but the electronic arrangements also inject a kind of evasive melancholia. I mainly recommend the songs “Memorial Waves” and “Le Moment”; the production of the vocals on both songs has something magical and also sensual at “Le Moment”. I also have to say a word about the great artwork.

– – – : The main strength of a work can be also its main point to improve; I would not say that Antipole has to improve the guitar playing, but it’s just a tiny bit too repetitive;

Conclusion: This is an interesting new work by Antipole, which has improved some little details from the production.

Best songs: “Le Moment”, “Memorial Waves”, “July Supine”.

Rate: (7½).

Artist: www.facebook.com/antipoleband

Label: www.youndandcold.de / www.facebook.com/youngandcoldrecords

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: Minimal-electro, experimental, cinematic-EBM.

Background/Info: Blind Delon is a French solo-project set up and driven by  Mathis Kolkoz. After having released multiple EP’s Blind Delon joined hands together with Unknown Pleasures Records to unleash the project’s debut full length album. Notice by the way the band becomes a trio when going on stage.

Content: I never heard of Blind Delon before and discovered an electro-minimal project devoted to vintage electro sounds. The songs progressively and meticulously built up. That’s precisely the structure from the opening song “Rule I”, which after about 7 minutes suddenly explodes into a harder cut. This way of working comes back on a few other cuts as well. The vocals are more used as an extra effect instead of classic vocals. Notice by the way Blind Delon invited a few guest singers. The work is not only minimal, it also reveals EBM elements while the result has something cinematic as well.

+ + + : The least I can say is that this work has something original. The sound appears to be the result of a fusion between different genres and influences. But the main strength is for sure the originality of the sound treatments, which is created by the magic of analogue sound treatments. The way the opening song has been built up, taking me by surprise with a sudden sonic eruption is absolutely great!

– – – : The work features 6 cuts and only the fifth one (cf. “Rule V” couldn’t convince me.

Conclusion: Despite of the great electronic treatments and minimalism, Blind Delon is not exactly the most accessible project although an original one!

Best songs: “Rule 1”, “Rule 6”, “Rule 2”.

Rate: (7½).

Artist: www.facebook.com/blinddelon

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

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: EBM, techno-body music.

Background/Info: This EP is the meeting between Italian producer Cristian Camporesi aka Chris Shape and Spanish producer David Hinojosa aka Dave Inox. The first EP was last year released  on International Deejay Gigolo Records while the second EP, and his debut album, was released on Unknown Pleasures Records. “Fake Truths” features one collaborative song between both artists plus one song by Chris Shape and another one by Dave Inox.

Content: The collaborative song entitled “Diss Out” is pure minimal techno-EBM. The bass line might remind you of Front 242. There are a few words running through this song that has been progressively built up.

If you don’t yet know Chris Shape “Dig The Bottom” will be a solid introduction to the heavy techno-body stuff of this artist. The track also features some acid-like sequences. Last, but not least you’ll get a song entitled “Disposable Flags” by Dave Inox, which is pretty minimal-body minded as well.

+ + + : “Diss Out” is a phenomenal song between two talented artists. This is minimal, but intelligent techno-body music revealing outstanding sound treatments. But this is just a teaser for the upcoming track by Chris Shape. This song is close to perfection; it mixes elements of EBM, techno and even acid. The ghost-like vocals totally fit with this dancefloor stumper! If you like Nitzer Ebb remixed by techno music, this track will be a real shock! It’s simply terrific!

– – – : I don’t have any single minus point and just hope that both artists will work together again and why not considering releasing a common album.

Conclusion: This maxi is just perfect, revealing the fine taste of modern EBM. It’s a perfect mix between pure retro-EBM influences and the best of intelligent techno music!

Best songs: “Dig The Bottom”, “Diss Out”.

Rate: (9).

Artists: www.facebook.com/chrisshapeofficial / www.facebook.com/daveinox

Label: www.facebook.com/Closer²-411269699390997   

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: Cold-wave, gothic.

Background/Info: Pete Burns is a multi-instrumentalist and producer operating from Edinburgh (Scotland). “Damage” is the first album of the artist and has been released at the end of 2018. The main particularity of the work is the contributions of different guest singers from very different countries. The songs have been sung by Hante (France), Buzz Kull (Australia), Delphine Coma (USA), Antipole (Norway), Undertheskin (Poland), Killjoi (USA), The Shyness Of Strangers (Canada), Pedro Code (Portugal), Nate Jespersen (Canada), New Haunts (UK) and Bragolin (The Netherlands).

Content: Kill Shelter is clearly driven by good-old cold-wave music while characterized by an extremely dark sound creation. This artist can easily compete with the darkest groups from the 80s. The guitar playing is predominant while the low, vibrating bass lines are chilling. The songs are moving from fuzzy guitar parts to other typically, mewing passages while I also noticed a more psychedelic play as well. The different vocalists seem to have been chosen with care and all totally fit to the work of Pete Burns. Notice by the way the last song is an instrumental..

+ + + : Pete Burns plays guitar, bass, e-bow and synths. He appears to be a talented guitarist, but also a genius bass player. The typical e-bow effect injects a great fuzzy touch and the electronic arrangements feel like the cherry on the cake. Kill Shelter as accomplished a masterpiece piece. The music is much more than simply an 80s emulation; it stands for the truly 80s spirit. If cold-wave has been always obscure, “Damage” must be an apotheosis in darkness. You’ll feel the bass lines vibrating in your throat while the guitar has something elevating. I also have to say a word about the vocalists, which nearly all feel like being part of the band. They clearly have been selected for their great vocals skills, creating a perfect match with the music.

– – – : It’s not really a regret, but I hope Kill Shelter will find its singer.

Conclusion: This album is without a shadow of a doubt the most accomplished- and simply best work I’ve heard in the genre on Unknown Pleasures Records. But it also is one of the best releases in its genre for quite a long time ago. “Damage” stands for the birth of a new gothic icon!

Best songs: “Get Down ft. The Shyness Of Strangers”, “The Happening ft. Killjoi”, “Black String ft. Nate Jespersen”, As Trees Do Fall ft. Bragolin”, “No Regret ft. Undertheskin”, “Sever ft. New Haunts”.

Rate: (9).

Artist: www.facebook.com/killshelterofficial

Label: www.unknown–pleasures–records.com /  www.facebook.com/Unknown–Pleasures–Records-566180440115465 Read the news on ‘Damage’.

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: Experimental, minimal-EBM, techno-body, electro-ambient.

Background/Info: Hardlab is a new French duo dealing with minimal electronics inspired by techno, industrial and EBM. “Standard For The Cursed” is the band’s debut album released on +Closer²; the sub-division of Unknown Pleasures Records. The album was mainly recorded during jam sessions.

Content: The work is an electronic melting pot revealing electro-ambient influences while the main content is clearly reminding me of 80s influences. These tracks are more danceable and clearly inspired by EBM formats, dark-techno elements and industrial sound treatments. A few songs feature some vocal lines.

+ + + : The fusion between industrial, EBM and dark-techno has been successfully accomplished. There’s a harmony between the different influences while the industrial sound treatments –which you also find back in the heavy kicks, accentuate the darker side of the album. EBM lovers will be pleased discovering the solid bass lines. Globally speaking it especially is the minimal approach from the composition I really like.

– – – : I’m not convinced by the ‘ambient’ part of the work while some extra vocals would have added a little extra.

Conclusion: Hardlab is an interesting discovery dealing with familiar music genres that have been mixed together. It sometimes sounds a bit chaotic although featuring several noticeable cuts.

Best songs: “Naked Masked”, “Rust And Spells”, “Standard For The Cursed”, “Time Has Come”.

Rate: (7).

Artist: www.facebook.com/LeonardLampion / www.facebook.com/profile.php?id=100008730853709

Label: www.facebook.com/Closer²-411269699390997 /

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

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: Cold-wave, gothic.

Background/Info: “Collection Of Shadows” is the second album released by the Bologna (Italy) based trio European Ghost.

Content: This album brings us back to the darkest hours of cold-wave music. The tracks are pretty 80s like and characterized by cavernous vocals, melancholic guitar parts, deep vibrating bass play and electronic arrangements.

+ + + : If you’re nostalgic of cold-wave music this album is definitely a production you gone like. It reflects the true spirit of great cold-wave music. The guitar parts and electronic arrangements are complementary. The melancholic and depressed sounding music has been fully accomplished by judicious electronic sounds. The emotional way of singing is sometimes reminding me of Robert Smith, but I especially like the vocals production at the title song. There’s a great effect on top of the vocals making it sound a little less androgenic. “Collection Of Shadows” also is the most noticeable cut from this great and entertaining opus.

– – – : European Ghost is sometimes missing a personal sound DNA, but I think it clearly is not their intention to become a visionary band. I’m not complaining preferring to enjoy a good ‘stereotypical’ work instead of a poorly inspired innovating release.

Conclusion: “Collection Of Shadows” is a fascinating album, reflecting good-old 80s music and accomplished with maturity and passion.

Best songs: “Collection Of Shadows”, “Skeletons Are Dancing”, “My Hibernation”, “Acid Man”.

Rate: (7½).

Artist: https://europeanghost.it / www.facebook.com/europeanghost.it

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

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: Electro-wave, dream-pop.

Background/Info: Two years ago now I discovered the self-titled debut-EP from London based Vogue.Noir. Driven by Dominique Cologne (aka Alex Kelvin, previously involved with Sato Sato) “Strange Days” has been released earlier this year.

Content: The main influences of Vogue.Noir haven’t really changed and getting us back to some retro-like electro-wave music. The somewhat ghost-like vocals accentuate a feeling of coldness hanging over the work. There’s a dreamy kind of melancholia running through the songs and, which is especially accentuated on the instrumental “Interlude”.

+ + + : Vogue.Noir deals with great synth music, which is characterized by this typical vintage touch bringing us back somewhere in the 80s. It has something evasive, but still cold and sterile-like. The melancholic flavor on top of the songs is only accentuating this feeling. The album features a few great songs, but I’ll especially tip the last song of the album “Crush”. I also noticed some improvement in the global production from the EP towards this album.

– – – : The album is missing an absolute hit, but the only regret is maybe that some of the songs are pretty similar. In the long run it starts to become a little bit predictable.

Conclusion: Vogue.Noir confirms the potential that was revealed at the debut-EP. This album brings the true 80s spirit alive and it’s maybe somewhat contradictory to say, but it sounds refreshing.

Best songs: “Crush”, “Adore”, “A Reflex”.

Rate: (7).

Artist: www.facebook.com/vogue.noir.music

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

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: Minimal-electronics, EBM.

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

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

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

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

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

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

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

Rate: (8).

Artist: www.facebook.com/daveinox

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

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: Gothic, cold-wave.

Background/Info: Benoît Gerard and Chloé Praha have been active under the Love In Prague moniker since 2007. The first album “Ghost Note” was released in 2013 on Kalinkaland Records. Two years later they struck back with “Fallen Angels” released on Unknown Pleasures Records and for their newest work “Two” (which is the third album) they joined hands together with Off World Music.

Content: If you’re familiar with the melancholic sound of the French duo this new opus will have fewer surprises. They seemed to go on where they left off. “Two” is made of sonic reverie, a dark and imaginary universe dominated by sorrow and melancholia. These feelings have been perfectly transposed into music and accentuated by the singer’s vocals. The low bass playing of Chloé only accentuates the state of despair.

+ + + : If you’re into melancholia and simply love dark music, this is an album you are going to like. Love In Prague has this 80s nostalgia they’ve merged with a more personal approach. The guitar parts however remain the main characteristic of the album and are bringing the 80s spirit back to life. The artwork of the album (which is a digipak) fits with the sadness of the music. Some passages of the album reveal an elevating sensation while I personally also enjoyed the fine electronic treatments running through “Black Sheep”.

– – – : This is an album you are really going to like or one that will leave you unmoved. The songs can become a little monotonous because of the repeating sound formula. There’s less diversity between the songs and between the different releases.

Conclusion: “Two” is an ode to melancholy, which is just missing a climax to speak about a fully successful release. I personally expected a bit more from this new opus.

Best songs: “Black Sheep”, “Never Have”, “Sea Of Doubts”.

Rate: (6).

Artist: https://loveinprague.fr / www.facebook.com/loveinprague

Label: www.facebook.com/offwmusic

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: Cold-wave, dark-wave.

Background/Info: Antipole is a Norwegian duo consisting of Karl Morten Dahl assisted by Anne-Christel Gullikstad. This album also features Paris Alexander and Eirene who are both from Brighton (UK). After 2 self-released EP’s they joined hands together with the French label Unknown Pleasures Records to unleash their debut album.

Content: If you’re familiar with the dark-wave taste of the French label you’ll rapidly have to recognize Antipole has found the right home to produce their music. “Northern Flux” indeed sounds deeply inspired by the darkest hours of the 80s new-wave and cold-wave movement, which might remind you of early The Cure and Siouxsie And The Banshees. The band also seems to be influenced by Joy Division and made a cover of “Insight”.

The sound formula is pretty simplistic and mainly carried by guitar playing and slow rhythms. I noticed some electronic arrangements on a few cuts.

+ + + : The simplicity of the writing creates an interesting minimal- and intimate aspect, which globally speaking I really appreciate. The guitar playing is the major element running through the composition. There also is an interesting duality between the rather inhibited male vocals at one hand and the more sensual female vocals at the other hand. One of the most noticeable cuts is “All Alone”, which sounds more accomplished because of the extra electronic treatments.

– – – : The minimal- and simple sound approach is quite noticeable, but still becoming a little less monotonous after a while. I think this band has found the right sound approach, but is missing some extra arrangements and sound layers to get a more accomplished production.

Conclusion: Antipole gets back to the magic of 80s and cold-wave music to present a minimal-, intimate- and melancholic work. With some extra elaboration this formation could become really interesting.

Best songs: “All Alone”, “Dans L’Entrée”, “Le Châtelet”.

Rate: (7).

Artist: www.facebook.com/antipoleband

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

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: Cold-wave, new-wave.

Background/Info: Velvet Kills is a Portuguese duo consisting of Susana Santos and Harris Iveson. They previously released an EP and are now unleashing their debut full length, which has been released on three labels (Unknown Pleasures Records, Oráculo Records and Black Verb Records.

Content: I first of all noticed the deep timbre of voice of Susana Santos, which sometimes reminds me of Siouxsie Sioux. Sound-wise Velvet Kills brings the 80s back to life. It sounds cold-wave like bringing back bands such as The Sisters Of Mercy, Siouxsie & The Banshees and Joy Division. It’s not that of a coincidence they covered the song “Shadowplay” from Joy Division.

The guitar playing is a quite important, but I also noticed elaborated percussion parts and cool electronic arrangements.

+ + + : “Mischievous Urges” clearly found its inspiration in the new/cold-wave music, but added a very own touch. Most of the songs evoke pioneers in the new-wave genre, but there’s this little extra touch on top mixed with charismatic, cold & sensual and intriguing vocals. I like the guitar playing and the electronic treatments (especially on “Eyes Of The Snake” and “Yellow And Purple”). There’re several attention grabbers featured on this work, which ends a great way.

– – – : One of the few cuts that couldn’t totally convince me is the cover version of Joy Division. It however is a song that will probably please the fans during live performances.

Conclusion: Velvet Kills sounds like a hot new comer at the wider fields of cold-wave music. They’ve accomplished a real interesting debut work, which I fully recommend to discover.

Best songs: “Eyes Of The Snake”, “Stoner Maniac”, “Yellow And Purple”, “Faster Speed Faster”, “Scorpio”, “Fill Me Out”.

Rate: (8).

Band: www.velvetkills.com / www.facebook.com/velvetkills

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

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: Dark-rock, new-wave.

Background/Info: Last year The Raudive released a digital mini-album featuring 7 songs. The trio Marc Atkinson (guitar, vocals, synths), Danny Davies (bass) and Chris Watson (drums) are now back on track unleashing their official debut album. The band name is taken from the Latvian parapsychologist Konstantin Raudive who studied and promoted ‘Electronic Voice Phenomena’ and believed it held proof of life after death and a possibility of communicating with the dead.

Content: The band name is probably more original than the music inspired by 80s new-wave music and other darker rock & indie elements. The guitar playing is one of the main characteristics of this album, which literally injects the atmosphere throughout the songs.

The Raudive is more dealing with ‘softer’ 80s influences, which sounds a bit like the offspring between The Comsat Angels, The Verve (for the softer cuts) and The Cure, The Sisters Of Mercy (for the darker cuts). The songs are driven by sorrow-like guitar parts while achieved with some electronic arrangements. Another essential element is Atkinson’s particular timbre of voice which reminds me a bit of Richard Ashcroft (The Verve).

+ + + : The Raudive bring the 80s back to life, which is a rather familiar thing for bands active on Unknown Pleasures Records. But this is maybe the kind of new-wave & dark-rock production the label was missing. It’s a sweet and carrying work carried by a captivating singer. There are a few cool cuts on this album, but I especially want to tip “Euphoria Calling” and “Get To Me”.

– – – : All the songs from the mini-album (still entitled “Future Transmissions”) have been featured again on this debut album. That’s maybe not that original, but the mini-album clearly appeared to be a way to promote this new group. I’m however missing a real potential hit!

Conclusion: The Raudive is an entertaining experience in sweet melancholia and sonic sadness.

Best songs: “Euphoria Calling”, “Get To Me”, “Motorway Hymns”, “Disconnect Me”.

Rate: (7).

Band: www.theraudive.co.uk / www.facebook.com/theraudive

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

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: Cold-wave, rock-wave.

Background/Info: Secret Sight is an Italian trio. They released their debut album (cf. “Day.Night.Life”) now three years ago. This second opus has been released as CD format on Unknown Pleasures Records and as vinyl on Manic Depression Records.

Content: “Shared Loneliness” will appeal for lovers of cold-wave and dark-rock music. The music is clearly inspired and driven by 80s influences and sometimes reminds me to New Model Army. It’s not the typical and ‘pure’ cold-wave style, but a mix between several influences, injecting some rock elements as well.

+ + + : The guitar playing is not only an important and probably most essential element of this work; it also reveals a talented guitarist. There are a few beautiful songs featured and I especially want to mention “Flowers” and “Over”. I also have to mention “Fallen” for its great chorus and the cover version of “The Fire” originally written by The Sound. This song is a great apotheosis.

– – – : “Shared Loneliness” is a beautiful production, but I rapidly get the impression I’ve already heard this kind of music a thousand times before. Don’t get me wrong, I enjoyed the listening and recommend the album, but if I’d to choose I definitely would play an album from an 80s band instead of Secret Sight.

Conclusion: If you like the dark tones of new-wave music mixed with some extra elements related to rock music, Secret Sight will be your guest for ten songs of entertainment and dark reverie.

Best songs: “Flowers”, “Over”, “The Fire”, “Swan’s Smile”.

Rate: (7).

Band: www.facebook.com/secretsight

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

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: Cold-wave, shoegaze, new-wave.

Background/Info: Ono Scream is a Belgian solo-project driven by Bart Willems (also known from Apparaat). This self-titled debut album features 16 songs (one more than the digital version).

Content: Ono Scream is clearly inspired by 80s music styles such as cold-wave, new-wave and even shoegaze. The opening cuts evoke the darkness of Joy Division. The cold guitar playing is one of the main aspects of this work, which also reminds me of shoegaze on some other songs. The electronic treatments might remind to Fad Gadget and even early Simple Minds. All together “Ono Scream” awakens the good-old spirit of the darkest hours from the 80s.

+ + + : Ono Scream has this typical cold-wave sound, which reminds me of the aforementioned bands. I especially like the great guitar playing and the dry snares, which are pure 80s-like. But I’m also seduced by the electronics, which are more getting through at the final part of the album. There are several noticeable cuts featured on this album.

– – – : Ono Scream avoids any innovation, but simply emulates the good-old tricks of 80s music. There’s nothing new at all, but if you’re into new-wave nostalgia, this is an album for you.

Conclusion: Ono Scream is a kind of sonic time machine, which will bring you back to the glorious days of 80s new/cold-wave music. It also is a successful debut revealing a new Belgian formation we definitely have to keep an eye on!

Best songs: “This Endless Walking”, “We Need A Disease”, “Gone Too Far”, “No Escape”, “I’m The Hollow Man”.

Rate: (8).

Band: www.facebook.com/Ono–scream-86839092318163

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

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: Cold-wave, dark wave-pop.

Background/Info: French duo Follow Me Not is already active for a couple of years now. “If The Sky Remains” is the sixth full length for Nicolas Guerroué and Mik Chevalier and their second album released on Unknown Pleasures Records.

Content: We know the passion of the French label for 80s cold-wave music and related genres. Follow Me Not totally fits to this sound, which clearly sounds inspired by 80s dark music styles such as cold-wave, new-wave and a dark kind of pop-rock. The songs have been accomplished with delicacy and evasive passages. A few cuts are more into a ballad style and can even be featured as soundtrack music.

+ + + : This band doesn’t bring any innovation, but simply composes the music they like, which is strongly inspired by 80s. The singer also has a very own and particular timbre of voice. I also like the melancholia, which is hanging over this opus. It sounds dark and yet it has something pretty relaxing. “1^st Step” is a great song in the genre, but I also enjoy this song for the somewhat neo-classic like arrangements.

– – – : “If The Sky Remains” is a fully enjoyable piece of work; the kind of album, which is easy listening, but maybe missing cuts with a real apotheosis. It sounds nice, but at the same time the kind of album you might rapidly forget.

Conclusion: Follow Me Not brings the 80s back to life with some delicacy and a real devotion, but at the same time I’m missing some truly spirit.

Best songs: “1^st Step”, “Around”, “Slow Motion”, “Daughter”.

Rate: (6).

Band: www.facebook.com/followmenotband

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

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: Cold-wave, new-wave.

Background/Info: European Ghost is a new/cold-wave inspired band from Italy. The debut album “Pale And Sick” was released a few months ago on Unknown Pleasures Records.

Content: If you’re a bit familiar with the roster of the French label, you know you might expect to discover an album inspired by the 80s. European Ghost sounds in the purest new-wave/cold-wave tradition reminding me of formations such as The Danse Society, Grauzone and even Suicide. The songs reflect the true spirit of new-wave music, which is an aspect emerging from the deep bass lines, the icy synth lines and a global, desperate feeling. Some cuts also reflect an experimental touch.

+ + + : “Pale And Sick” is a lovely pastiche of new-wave music. I’m sure you’ll instantly remember 80s bands when discovering this work. I fully enjoyed the icy treatments running through the title track and the global coldness emerging from Lost Highway, which personally reminds me of The Danse Society. Another noticeable cut is the final song entitled “European Ghost”, which sounds like a wink to The Normal’s “Warm Leatherette”.

– – – : I get the impression European Ghost is still in search of an ‘own’ style and that’s maybe why this debut album brings numerous legendary bands to mind.

Conclusion: European Ghost clearly sounds like the ghost of new-wave music and will definitely appeal for all nostalgic fans.

Best songs: “Pale And Sick”, “Lost Highway”, “Preset”.

Rate: (7).

Band: https://europeanghost.it / www.facebook.com/europeanghost.it

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

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: Cold-wave.

Background/Info: “Amnesia” is the second official album by the  Italian formation Der Himmel Über Berlin. For this new opus they joined hands together with the French label Unknown Pleasures Records.

Content: The sound of this band sounds like it escaped from the misty realms of new-wave and cold-wave music. I feel like awakening somewhere in the midst of the 80s when for the first time I heard Bauhaus. This legendary formation definitely appears the main source of inspiration of Der Himmel Über Berlin. The extremely deep resonating bass and guitar parts aren’t exactly the right cure for happiness. “Amnesia” is an invitation to visit the darkest corners of human mind.

+ + + : Originality is far to find while “Amnesia” is nothing more than a 80s cold-wave copy, but it also is a great work in the truest spirit of the 80s. This band reveals to be a talent formation that seems to have understood the real spirit of cold-wave music. Next to Bauhaus fans, some songs will also appeal for fans of The Stooges, Suicide and The Sisters Of Mercy. But what makes this album fully accomplished are the great choruses.

– – – : I already mentioned the lack of originality of this band, which might hurt die-hard fans of the new-wave decade, but I think it’s not really a problem when the result is that accomplished.

Conclusion: “Amnesia” is not exactly an album I’ll soon forget! This is a great production featuring numerous essential songs. I have a crush on this album!

Best songs: “Feed The Night”, “My Rubber Queen”, “Sweet Dancing Butterfly”, “Back To The End”, “Cold Fever”.

Rate: (8½).

Band: www.facebook.com/derhimmelband

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

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: Dark-wave, post-punk, new-wave.

Background/Info: The Shyness Of Strangers is a solo-project set up by Vadim Kristopher who’s a Polish born Canadian. After a few digital releases he now unleashed his debut full length on the French label Unknown Pleasures Records.

Content: The name of the French label and this band have something in common. The inspiration from Joy Division makes it no doubt. The shyness Of Strangers sounds in the purest 80s cold-wave tradition reminding to Joy Division, but it also makes me think to the offspring between The Sisters Of Mercy and Suicide.

It first of all is a typical and 80s-driven guitar-wave album, but you’ll also find electronic parts on it. This mix makes it somewhat more original and not just a new copyist.

+ + + : “Time” is the kind of album that couldn’t have been released on another label than Unknown Pleasures Records. There’s this fascination for 80s music, but with something extra on top. That’s precisely what I like although it’s the kind of music that will ravish all new-wave freaks. I also noticed a few shoegaze elements and here again I can only, but express my fascination for this release. Great guitar playing, cold electronics, dark bass lines and cavernous vocals will bring you a great moment of pure entertainment!

– – – : In the long run some songs start to be a little bit similar, but you don’t hear me to complain. If you like one song, you gone like them all… but if you don’t, you’d better avoid listening to The Shyness Of Strangers.

Conclusion: I’ll not claim to have discovered a new cold-wave icon, but the album is for sure well-crafted and fully enjoyable. That’s what we expect from music isn’t it!?

Best songs: “Didn’t Mind”, “Wrong”, “Serpent River”, “Who Are You”, “Runaway”.

Rate: (8).

Band: www.facebook.com/shynessofstrangers

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

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: New-wave, guitar-wave.

Background/Info: Norwegian artist Karl Morten Dahl is the creative spirit behind Antipole. This is the second self-released album featuring eight songs. Mats Davidsen is singing on the opening cut while Paris Alexander is singing on the other tracks. The band has now joined hands with French label Unknown Pleasures Records to move on with a new and ‘official’ work.

Content: Antipole clearly brings us back in the magic decade of new-wave music. The 80s clearly is their main source of inspiration while most of the guitar parts are pretty New Order-like. I can also see The Cure as another potential source of inspiration. The dark and deep, vibrating bass lines is another link with new-wave music.

+ + + : Antipole is bringing the 80s back to life with some elegance. I like the guitar playing and New Order as reference. The work is dark and yet evasive. It’s the kind of album you can dream away on although it’s not exactly what I would call ‘happy music’.

– – – : The songs rapidly start to sound pretty similar. I should say great sound, but less diversity and that’s definitely an aspect I hope Antipole will improve on their next work. I’m also missing a bit more passion in some of the vocal lines.

Conclusion: If you’re into the new-wave nostalgia from the 80s, Antipole will clearly catch your attention. I’m however convinced this band can do much better than what has been shown on “Getting Frequent”.

Best songs: “Ephemeral”, “Narcissus”.

Rate: (6).

Band: www.facebook.com/antipoleband

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: New-wave, dark-pop.

Background/Info: After a few self-released production French formation La Main (translated ‘The Hand’) joined hands together with Unknown Pleasures Records to set free their first official full length. La Main has been introduced by their label as ‘the best what happened to France since Taxi Girl’, which is a rather ambitious quote.

Content: La Main definitely has found their right home at Unknown Pleasures Records. It’s a pure vintage-like formation inspired by the 80s. The sound is pretty minimal while all of the lyrics have been sung in French (except one song featuring Italian parts). Some of the bass lines will remind you of The Cure, but I also have to mention Indochine and there indeed is a minimal electronic touch reminding me of Taxi Girl. The minimalism also emerges from the lyrics. There’s a kind of poetry format dealing with tormented love songs and other sad visions of life.

It’s an old-styled composition carried by good-old synthesizer parts. Most of the songs are melodic while a few cuts are more into experimentalism. The final cut is the title song from their previous self-released full length remixed by Maman Küsters (another great formation on Unknown Pleasures Records).

+ + + : I know there’s a long-duration twist between lovers of analogue instruments at one side and digital- plus software freaks at the other. One thing is for sure, the magic of analogue gear is something really apart and that’s precisely what makes the splendor of this album. “L’Heure De Salir” is pure nostalgia and for sure an album that will appeal to all fans of French electro/new-wave music, but it still is an accomplished production revealing many great songs. I like the global atmosphere and the minimal electronics. “Le Sol Gelé” is my absolute favorite cut coming pretty close to the spirit of Indochine.

– – – : You don’t hear me complaining about the content of this album. I’m just not that fond of the front cover although it’s an easy noticeable one.

Conclusion: I have some reservation about La Main becoming the natural heir to Taxi Girl, but I have to admit that this work brings good-old souvenirs back to life. It feels a bit like travelling back in time and awakening somewhere in the midst of the 80s where La Main could have become a referential band.

Best songs: “Le Sol Gelé”, “La Carne”, “Les Contours”, “Le Soleil Blanc”.

Rate: (8).

Band: www.facebook.com/ecoutelamain

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

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: EBM, minimal-electronics.

Background/Info: This work has been introduced as Spanish EBM and features David Hinojosa aka Dave Inox (who you maybe know from his involvement in Extinction Front). Label owner Pedro Peñas Robles who got involved in numerous bands like Adán & Ilse and A★I joined hands on a few cuts under the HIV+ moniker.

Content: I didn’t know what to expect, but from the very first notes I heard pure vintage and minimal-like EBM, which simply became a trademark of Unknown Pleasures Records. The Spanish spoken vocals might remind you a bit of the legendary “Los Niños Del Parque”-hit from Liaisons Dangereuses while the sound might evoke good-old DAF souvenirs with an extra, contemporary touch on top.

Next to both title songs (with only “MissConceptual” feat. HIV+) you’ll discover 5 remixes by interesting names such as The Horrorist, Adriano Canzian, Delectro, Baroque and Iron Court.

+ + + : Both title tracks are simply brilliant and in my opinion the best part of contemporary EBM. It definitely sounds vintage-like and yet features this touch of modernism. It reminds me of some legendary 80s formation at one side and the contemporary minimalism at the other. I guess it’s not a coincidence if artists like The Horrorist and Adriano Canzian were asked for a remix. There’s something positive to say about each of the remixes, but my favorite one is “Danger Signal” remixed by Iron Court.

– – – : My main regret is that such an exceptional piece of music is only available on digital format. This is the kind of EBM deserving a CD print!

Conclusion: Dave Inox is a name to keep in mind and who definitely gets my full support. This artist has found the key to compose alluring EBM.

Best songs: “MissConceptual feat. HIV+”, “Danger Signal”, “Danger Signal – Remix by Iron Court”.

Rate: (8½).

Band: www.facebook.com/daveinox

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

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

Tcheleskov Ivanovitch is already into music since the late 80s. He together with his brother set up the Belgian project Ivanovitch Dans L’Ombre, but gained more recognition during the past few years with his Grandchaos project. Several productions have been released on labels like Urgence Disk Records and EK Product and are pure lust for lovers of good-old vintage and minimal electronics. More recently Tcheleskov Ivanovitch together with Jacky Meurisse (Signal Aout 42) set up a common project Grand((Ø))Signal, which is another minimal electronic experience.

(by Inferno Sound Diaries)

Q: From the early days of Ivanovitch Dans L’Ombre towards Grandchaos and now Grand((Ø))Signal clearly appears to be a serious move in sound, writing and production as well. What explains this evolution? 

Tcheslov: When my brother Trevosky and I founded Ivanovitch Dans L.ombre in 1982, we were at the beginning of the ‘democratization’” of electronic instruments and recording techniques. The production costs were steep, but making music was an enthralling experience mainly because we both entered uncharted territory. It was a labor of love and a way to take part in politics for most punk acts. For Grandchaos et Grand((Ø))Signal (my collaboration with Jacky Meurisse), I took advantage of the creative possibilities offered by modern technology, but it remains quite difficult to attain a tight rhythm section and ‘solid groove’. Machines are just instruments and you need to find inspiration to write music and create magic moments.

Q: Getting back to the early years of your music career, what have been your main sources of inspiration and references in electronic music? 

Tcheleskov: As a child, I was very fond of Kraftwerk and J.M Jarre, but they were not revolutionary artists by any means. Fortunately, the punk and DIY ethic made good use of synthesizers to create spontaneous and aggressive melodies. In my humble opinion, Suicide and Cabaret Voltaire were the marquee acts of that period. “Frankie Teardrop” and “Nag Nag Nag” are absolute masterpieces that will remain engraved in my mind forever!

Q: Grandchaos clearly reveals a minimal- and somewhat vintage EBM approach, but still a passion for hardware equipment! What does it says about you as a musician/producer and your perception of contemporary electronic music? 

Tcheleskov: I’m irremediably old school! I don’t find digital synths appealing at all. Touching an instrument is essential to me. When I see my synths and drum machines I feel like a kid in a candy store. Music nourishes me. I am always looking out for new bands. Creative musicians continue to explore new sounds and they never cease to amaze me. Record labels continue to play an instrumental role in scouting new talent.

Q: Except the fact that Grand((Ø))Signal is a duo and Grandchaos a solo-project, what are the main differences between both formations and especially when it comes to aspects like sources of inspiration and global production? 

Tcheleskov: Grandchaos is a therapy to overcome my personal problems as it allows me to express how I feel. Dark themes such as suffering and death have haunted me for many years. The loss of loved ones as well as my serious health issues may have accentuated the dark tones of Grandchaos lyrics. With Grandchaos, I feel somewhat close to the ‘EBM United’ movement that gained popularity across the globe. The ‘No Pain No Gain’ slogan resonates well with the human nature. Grand((Ø))Signal, for its part, is a joint project between Jacky and me. We put in practice what we have learned throughout our long musical journey. The sound and image have been purified and geared towards the dancefloor. We would like to make retro-futurist music ‘made in Belgium’ that would appeal to fans of Gesaffelstein or Schwefelgelb. The release of our debut album “Aktivation” on Unknown Pleasures Records will definitely prompt us to pursue this project and play live shows.

Q: Tell us a bit more about the choice of the artists who contributed to the remixes on “Days + Memories” and are there some inspiring remixes for the further work of Grandchaos? 

Tcheleskov: Every time I discover the work of an artist that inspires me, I add his/her name to my address book and I contact them when the opportunity presents itself i.e when I start compiling remixes. For the “Days” and “Memories” EP’s, I ‘ve had the pleasure to work with mega-talented artists such as Nicole & Anne (2XNI), Noamm or Franck Kartel to name just a few.

Q: A new album (cf. “Tempest”) has been just released on EK Product featuring a new list of remixed songs. What do you like about remixes?

Tcheleskov: 2016 was indeed a very prolific year, and 2017 will be even busier! The “Tempest” compilation just came out on the Italian label EK Product. Many friends took part in this project such as Jacky Meurisse (SA42), Vince (ESR), Dada (BAK XIII) or Arthur Plata (Mechaload) to name a few. My last album “We Suffer When The World Changes” was reinterpreted by artists from across the globe and I’m really glad that Amedeo and his label EK Product decided to release this project. Grandchaos has a long story with the remixes. One could even say that Grandchaos took off with the double disc compilation “In Sedens” compiled by the old school electro purist Nader Moumneh who now runs the highly-regarded record label  Electro Aggression Records (EAR) specialized in old school EBM and complex, multi-layered dark-electro. Nader is also the co-founder of the rising synthpop/Italo Disco record label NADANNA with Marc schaffer of Anna Logue Records.

Grandchaos has been remixed over a hundred times and I’m a serious candidate for the Guinness records. On a more serious note, I truly enjoy the reinterpretation of my songs by other artists. It is a formidable sensation and we learn a lot when we listen to the music of other artists with an open mind.

Q: What brings 2017 for Grandchaos and your other projects? 

Tcheleskov: For Grandchaos, a mini-album titled “The Day Disappears Only To Reappear” is slated for a June 2017 release. It will be released as an ultra-limited picture disc via 2 exceptional record labels: Urgence Disk Records (CH) and Law Lynch Records (BE).

Trevosky and I would like to release a compilation featuring unreleased material by IDLO but since the original material was recorded on tapes, it is gonna be a long and daunting task. We will see how it plays out.

Courtesy by Inferno Sound Diaries

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: EBM, minimal-body-music, electroclash, new-beat.

Background/Info: One year after their debut album “Aktivation” the Belgian duo consisting of Jacky Meurisse (SA42) and Tcheleskov Ivanovitch (Grandchaos) are back on track. They signed to the French label Unknown Pleasures Records, which is an appropriated choice to release their ‘vintage’-inspired electronic music.

Content: I already fully enjoyed the debut-work of this duo and “Aktivation” only confirms the strong potential of their vintage EBM influences mixed with a few other styles. Jacky Meurisse has been part of the legendary new-beat movement and that’s an aspect that you’ll immediately notice. The minimal EBM sound rules and has been once again accomplished by a great songwriting.

The minimal aspect of the production comes also back in the vocals production. Jacky Meurisse focused on a few and rudimentary lyrics. It all sounds simple and yet very efficient. It sometimes creates an effect of a sampling.

The album features 9 songs plus 1 remix.

+ + + : Grand((Ø))Signal stands for an experienced duo, which knows this magic sound formula to create alluring electronics. This work sounds like an ode to vintage electronics mixing different influences with each other while remaining pure underground-like. But the album also is a quite efficient production revealing several outstanding songs and potential hits. From the technoid and somewhat electroclash-sounding title-song to other new-beat inspired cuts to dark minimal EBM, this opus is a non-stop source of dance and entertainment.

– – – : You can always find minus points and I can imagine some people will dislike the new-beat input while others would have liked to get it more EBM-driven. In the end this album clearly isn’t the most typical release in its genre.

Conclusion: Grand((Ø))Signal seems to be a real band now and that’s great news as there’s a real chemistry operating between Jacky Meurisse and Tcheleskov Ivanovitch.

Best songs: “You Can Dream”, “Aktivation”, “Strange Star”, “Faster/Harder”.

Rate: (8½).

Band: www.facebook.com/GrandSignal

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

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: Electro-pop, wave-pop, nu-disco.

Background/Info: Vogue Noir is a new project set up by Dominique Cologne who’s operating from London. He was previously involved in Sato Sato and has now set up this solo-project releasing his debut-EP on Unknown Pleasures Records.

Content: If you’re a bit familiar with the French label Unknown Pleasures Records you’ll easily recognize the ‘vintage’ taste of the label in the sound of Vogue Noir. This EP takes us back in time, awakening good-old memories and sounds from the 80s electro-pop & new-wave music. Some cuts also reveal a kind of nu-disco flavor, which makes it pretty sexy.

The songs are pretty danceable revealing catchy structures and great, analogue synth lines, which sometimes remind me of Gary Numan. The vocal parts are pretty wafting and even a bit elevating. One song features vocals by Tullia Benedicta (Italian producer who’s also based in London).  And here again there’s this evasive sensation carried by sublime analogue tones. The final song remains pretty electro-pop like, and features female vocals by Drift.

+ + + : Vogue Noir is a fascinating formation, which brings the spirit of the 80s electro-new-wave alive while adding some elements of nu-disco music on top. It’s sounds vintage-like revealing outstanding synthesizer sounds. The songs are driven by sexy, danceable rhythms and the bewitching vocals of Dominique Cologne.

– – – : My single regret is that such great music has only been released on digital format. It once again seems to prove that there’s less interest for physical releases, which is a pity because “Vogue Noir” really deserves to get eternalized on CD.

Conclusion: I already discovered many interesting formations on the Unknown Pleasures Records roster and Vogue Noir is just one more to add on the list. If you think that contemporary electro-pop bands are all sounding the same, you should purchase this little retro-minded pop jewel.

Best songs: “Belief”, “Stratosphere”, “Crush!”.

Rate: (8).

Band: www.facebook.com/vogue.noir.music

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

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: Dark-rock & new-wave.

Background/Info: I never heard of The Raudive before. The band is driven by a 3-membered combo hailing from Norwich (UK) and has recently reformed. They strike back with this EP, which is more a kind of mini-album featuring 7 songs. The band claims to be inspired by bands like The Cure, Clan Of Xymox, Mission Of Burma, Sebadoh, Sisters Of Mercy, The Sex Pistols, New Order, Joy Division.

Content: The 80s influence clearly hangs over this production and you’ll rapidly recognize some influences from the aforementioned bands. But there also is a more refined rock-orientated touch reminding me of bands like Comsat Angels and the Waterboys. The darker part of the work is more into bands like Joy Division and The Sisters Of Mercy. It creates a delicious contrast, which however remains totally 80s-like.

The guitar creates this typical old-school atmosphere, but the songs also reveal fine electronic treatments like crystalline-like bleeps and cool sequences.

+ + + : The main strength of this production is the mix of 80s influences. It’s not just about new-wave and the familiar ‘dark’ atmosphere. There also is an exciting rock-pop touch, which sounds more exciting and joyful. The Raudive has found the right cement to bring both elements together.

– – – : “Future Transmissions” clearly sounds entertaining, but I’m missing a real apotheosis. There’s no real hit featured on this work.

Conclusion: The Raudive brings us back into the past, once more exploring the magic of the 80s and new-wave music, but also with a real nice care to add rock-pop elements.

Best songs: “Euphoria Calling”, “An Ending”.

Rate: (6½).

Band: www.theraudive.co.uk

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

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: Dark-pop.

Background/Info: My first feeling was that this band was the logical new project of Pedro Peñas Robles after the end of Adan & Ilse. The band name clearly appears to be inspired from his previous band he was involved with Usher (Norma Loy).  A★I was set up in 2015 by Pedro (vocals) and Philippe Merry aka Phllox (producer). The band claims to be inspired by dark-pop artists and refers to Depeche Mode, Soft Cell, Laiback and even Lassigue Bendthaus.

Content: The sound is a bit different from the body-pop minimalism of Adan & Ilse although there clearly is a link in the global sound approach. There indeed is a link with some aforementioned bands –and especially Depeche Mode, but still with Kraftwerk and even Vangelis. This work mixes good-old standards with a unique sound production, which clearly experiments with new ideas.

“Le Chant Du Cygne Noir” sounds vintage-like, but still ambient-like. The production reveals phenomenal, deep resonating bass lines and haunting atmospheres. Cold sequences and sterile vocals reactivate the good-old 80s spirit while the surprising cover version of “Ashes To Ashes” featuring Dan Söderqvist on guitar (known from Twice A Man) has been remarkably transposed into the sonic universe of A★I. I know that Pedro Peñas Robles is a fan of David Bowie so in the end this cover version is not totally surprising, but the way the song has been reworked and adapted is really worthy of examination.

+ + + : You really have to listen a few time to this album to fully seize the judicious mix of influences which will remind you of Depeche Mode and Kraftwerk on one side and the personal sound input on the other. It’s an efficient balance resulting in an open-minded work, which clearly appears the start of a new adventure for Unknown Pleasures Records owner Pedro Peñas Robles.

– – – : This album clearly is not the most accessible electro-pop release. It even makes me think to a reaction against familiar electro-pop standards, which are constantly repeating themselves. So in the end I would say that the main strength of this work also is the main point and reason for classical electro-pop lovers to turn their back on this band.

Conclusion: A★I clearly sounds like a challenge when it comes to convince electro-pop lovers, but it more sounds like a nice addition and alternative to electro-pop for all of those who are bored with endless emulations of Depeche Mode and co.

Best songs: “We Are One Nation”, “Sin Of Sin”, “Goodbye Lady Red”, “A Secret”, “Dark Stars”.

Rate: (7½).

Band: www.facebook.com/havoc2027

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

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

I first heard of David Carretta when discovering the EBM-driven BAND Art Kinder Industrie. I couldn’t believe it was the same musician soon becoming one of the main artists of the electroclash movement. He got signed to International Deejay Gigolo, which was the reference in the genre. Later on he set up his own label Space Factory.

Unknown Pleasures Records joined hands with David Carretta to unleash a retrospective-CD featuring some of his most essential compositions in history; 15 songs of power and dance which can be defined as (inspired by the title from one of his 12”): ‘Marseille Kicks Ass’

(by Stéphane Froidcoeur)

Q: Two Decades – A Retrospective” is an opportunity to look back at 20 years of involvement, but what  do you consider as the main facts and maybe songs/releases of your career thus far?

David: The main facts are the moments when you meet people who make you going further through your passion. Nothing can happen when you remain alone.

Q: How do you look back at the ‘electroclash’ movement and its evolution till today? What was it all about and does it still have a sense today?

David: Of course it still makes sense ; musical genres don’t lose their sense from one day till another. It’s as a cycle, they’re moving away and coming back.

Q: I always have been fascinated by your ‘image’, which got numerous and often funny comments and comparisons, but did you really care about it and what’s the importance of the image?

David: Image and music are indissociable. I’ve chosen my own style to bring people something different and make them react.

Q: I’m wondering how you see yourself moving on as musician/producer and label owner of Space Factory?

David: I like to control all things I’m doing and I’m involved in multiple projects, but not only in music.

Courtesy by Inferno Sound Diaries

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