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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘We Were In Our Extravaganza’

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

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

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

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

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

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

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

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

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

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

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

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

‘We Had To Prove Ourselves Time And Time Again’

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

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

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

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

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

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

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

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

‘Without Me There Is No Clan Of Xymox’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘I Let The Listener Feel What I Feel’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Contrast Works Always The Best In A Way’

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

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

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

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

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

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

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

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

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

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

Ronny: Not breathe.

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

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

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

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

• What is the ultimate dream for Clan Of Xymox?

Ronny: To carry on like the last two years.

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

Ronny:  

See you on the other side.

I am the sunlight on ripened grain.

I am the gentle autumn rain.

Do not stand at my grave and weep.

I am a thousand winds that blow.

I am not there, I didn’t go.

I didn’t die, so you know. 

See you on the other side.

Inferno Sound Diaries

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

www.side-line.com

The Midgardsblot festival, held at Borrehaugene (old viking grave mounds), outside the city of Horten, Norway, is mostly known for hosting acts within the metal genre in addition to some folk and viking inspired music.

This year, the festival first caught our attention with the announcement of Bel Canto as one of the headliners, followed by Gåte, Seigmen, Karin Park, Ledfoot, and others—definitely worth reporting on for Side-Line Magazine. And who knows, we might even discover some new bands. We headed there in mid-August to check it out!

(By our Norwegian correspondent, Jan Ronald Stange. Photos by Einar Låker and Jan Ronald Stange. Additional Dwaal photos by Jon Julius Sandal @ helvetesindrekretser and Birgit Fostervold @ knipselyst)

Side-Line’s chief editor, Bernard Van Isacker, was supposed to join me for the festival, but couldn’t make it due to a family emergency. His replacement, Einar Låker, brought his cameras and joined me instead. Since we had to attend meetings and handle some work during the day, we skipped the tenting area and set up base at a nearby campsite in a mobile home borrowed from my parents (thanks, Sigrid and Carl Edvard!).

After settling in, it was time to head to the festival grounds, which required a short hike through historic Viking graves. We collected our passes and entered the blót, an ancient Norwegian/Norse sacrificial feast.

The first act we saw was Kalandra, a UK/Norwegian band blending Celtic and Norse folk with modern arrangements. They’ve been around for over a decade, gaining recognition with their cover of Wardruna’s “Helvegen”. Since then, they’ve released several albums and composed scores for TV shows and video games.

After Kalandra, we explored the rest of the area, visiting the trade section Kaupanger, the Viking tent area Folkvangr, and the indoor stage Gildehallen (the “Feast Hall”). It was a sight to see people fully embracing the chance to step back in time.

We wrapped up the first day by watching the Swedish Viking rockers Amon Amarth, who had their fans completely enthralled—even getting hundreds to sit down and row in the middle of a song! 😊

Thursday was a rainy day, so boots and jackets were a must. We caught a bit of the Norwegian thrash band Inculter and the Polish death metal band Vader before heading inside Gildehallen for something entirely different: Trio Oro, a Norwegian world-folk fusion group featuring flutes, guitars, and percussion. They delivered a diverse set with tunes from Irish, Bulgarian, Norwegian, and other traditions. It was original and unexpectedly entertaining!

One of the main attractions, Gåte, had to cancel due to a band member’s illness and was quickly replaced by Hindarfjäll & Peter Franzen, a Swedish project that uses modern instruments to recreate the ancient sounds and atmospheres of Scandinavian/Nordic folk music.

Next, we escaped the rain by heading back into Gildehallen, catching the last few songs from local thrash band Mortal Fear—three teenagers with the drummer’s father on vocals. It was very entertaining!

The day ended with thrash metal titans Testament from California, USA, closing out the main stage at Heiheim.

Day 3 was special, with two bands from my hometown, Tønsberg, performing. Seigmen headlined the Helheim stage, while newcomers Fabbrica 82 were about to play their first-ever show in Gildehallen. We spent an hour there beforehand, chatting with the band members, Knut Ove Hansen and Lars Anders Berg, before their soundcheck and concert.

S-L: How did you come up with the band name?

Knut Ove Hansen: We started high school in 1982, and we chose Fabbrica because we wanted a name that could be associated with new wave. We went with the Italian version because “factory” was already overused in English, and I have a personal connection to Italy.

S-L: What were your first attempts at releasing music?

KOH: One of my early bands made our first demo tape at the local radio station in Tønsberg in 1985—it was actually the first synth-related demo recorded in Tønsberg! We played three gigs the following year as the band Some Bizzare, named after the famous compilation album where Depeche Mode, among others, had their first track on vinyl. We also had a third member, Bjørn Arnesen, who now lives in Peru. Lars reached out to me several times, in 2020 and again in 2023, asking if we should give it another try. I was hesitant at first, but then we made “Darkness,” and we were back at it.

Lars Anders Berg: Over the years, I’ve composed hundreds of songs, and I always wanted someone to sing to my tunes. After years of talking about it, we finally made it happen. It’s been a lot of fun, and we’ve quickly released several singles!

S-L: Any album in the making?

KOH: Yes, it’s what we’re working on. We also got another gig in October in Tønsberg. This is not where we thought we would be just six months after our first release – feels quite surreal! All because of the word of mouth in Tønsberg’s small “synth underground”, and it also spread to Oslo where we’ve gotten good feedback.

S-L: What’s your inspiration?

Lars Anders Berg: I listen to a lot of music, not just old synth, but many electronic genres. So, the process of creating themes, melodies, and tweaking knobs is an inspiration in itself.

As the hall filled with people, we noticed at least a dozen audience members already wearing fan T-shirts, and the band was thrilled after their first show.

As we left Gildehallen, we caught a few songs from Nytt Land on the Valhalla stage—a Siberian shamanic act that blends the vocal traditions of Northern Europe with traditional Siberian throat singing. It was a stark contrast after a synth gig and truly highlighted the diversity of the festival!

The last show we attended on Thursday was Seigmen at the Helheim stage. It was a fantastic performance, featuring a new song with guest Espen Winther from the medieval/folk band Eldrim, playing his harp. It was magical—a gig that later received well-deserved praise in reviews!

The last day of the festival started off relaxed, with a stroll around, soaking in the sights and atmosphere under the sun. Then Ledfoot (Tim Scott McConnell) took the Valhalla stage. This goth-blues phenomenon was someone I’d been wanting to see live for a while, and he didn’t disappoint. He delivered a set full of raw emotion—soreness, anger, longing—and impressive guitar playing.

I had been in touch with him before the festival, and we agreed to try for an interview. However, due to his soundman’s tight schedule, they had to leave the area minutes after the show, so we exchanged a few words via Messenger a few days later instead.

S-L: How was your gig at Midgardsblot?

Ledfoot: The audience was great, and there was such a good vibe there 🙏

S-L: Did the show or audience differ much from your solo gigs?

Ledfoot: No, it’s the same everywhere—I do my best and hope the audience appreciates it.

S-L: More music in the works?

Ledfoot: I’ve started on my new record, and hopefully it’ll be out by the end of the year.
And I’d like to say a big thank you to the audience and all the people working behind the scenes.
Hugs!

Next, we went to see Bel Canto, the pioneering Norwegian electronica band, performing a set that spanned their entire career, including a few new tracks from their latest album Radiant Green. As always, they delivered a top-notch performance, and Anneli’s voice remains as impressive as ever!

Making Bernard envious by sending him live photos was an obligatory part of attending Bel Canto 😉

I also managed to spend a few minutes in Gildehallen to check out another band with a Tønsberg connection, though mostly from Oslo—the doom-sludge-ultra-heavy Dwaal. The hall was packed, with a queue outside, clearly hitting their target audience perfectly. I later caught up with lead singer Bjørnar Kristansen to ask about their experience.

S-L: How did Midgardsblot treat you?

Bjørnar Kristansen: Midgardsblot was amazing. Right after the show, we said it was one of our favorite gigs, if not our favorite. The crowd’s energy from the first riff to the last deeply affected us. I asked for a ritual, and we got a ritual for sure. A true catharsis, both on and off stage.

S-L: How does playing at a festival like this compare to club gigs?

BK: Festivals are different from club gigs because the crowd is a more varied mix of people—those who already know Dwaal and those giving us a chance for the first time. Not to say anything bad about the Norwegian audience, but it seems like international music lovers are more open to discovering new music. They come from far away and want to engage with as much as they can, even if they’ve never heard us before. It makes for an intense experience in the best way.

S-L: Did you explore the festival area, try the Viking activities or food?

BK: Our drummer Anders went on Friday and had a great time at the Blot. The rest of Dwaal arrived on Saturday, and we had some time to explore the festival. It’s an incredible event. Everyone makes you feel so welcome and included. A huge recommendation from Dwaal!

S-L: Any upcoming releases, albums, gigs, or other news?

BK: As 2024 winds down, we’re hard at work on new music, with some exciting projects that push us out of our comfort zone, which we love. Our last regular concert of the year will be at Apollon Tønsberg on October 11th, with Uaar as support. On December 14th, we’re playing the Caliban Sessions, a yearly mini-festival hosted by Ole Petter Andreassen of Black Debbath, Thulsa Doom, and Cumshots fame. It will be a fantastic end to a great year for Dwaal, marking our tenth year as a band. There are plans for a gig in Oslo in 2025, so stay tuned for that announcement.

We’re also in talks for more live shows in Europe, though nothing we can confirm just yet. And of course, if Midgardsblot invites us back, we’d love to play again!

The last show in Gildehallen this time around was the one that probably impressed me the most—Karin Park from Sweden. Alone on stage, standing between two tables covered with synths, computers, and modular gear, she sounded and performed like a full band, delivering an incredibly energetic set. Crown her the Queen of Synth already! (go to https://www.facebook.com/748210539/videos/1540166493571503/ for videos, several in the comments!)

The Norwegian band Emperor, regarded as pioneers of extreme black metal, closed the festival on the main stage, Helheim, in front of a devoted audience.

To sum it all up: a festival well worth visiting! As they’ve expanded the musical genres in their lineup, there’s now something for everyone without losing their core purpose or audience. This approach also increases the chance to discover something new, which is always a plus!

A big shoutout to Runa Strindin, the driving force behind the festival, and her entire crew for making it such a success! Hopefully, they’ll continue for years to come, and perhaps the 10th anniversary next year will be even more special?!

PS: As a food enthusiast, I must mention the excellent variety of food, ranging from handmade hot dogs to Thai, Mexican, elk burgers, and elk kebabs! Most impressive was the food from the Norwegian Chefs National Association, Vestfold branch (Norske kokkers Landsforening, avdeling Vestfold)—their hot-smoked halibut dish was to die for! 😊

Jan Ronald Stange

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

www.facebook.com/jrstange

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

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

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

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

Below is the single on Bandcamp.

Bernard - Side-Line Staff

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

side-line.com