The legendary Belgian label Antler returns. Pioneering in the 80s and 90s and an absolute vanguard in the world of post-punk, cold- and new wave, EBM, electro… a series of albums and compilations from the extensive Antler archives are now being re-released. Following the earlier released remastered version of the double album of the Limburg Cold Wavers Siglo XX, a first compilation of tracks from the early period of the label: “Antler Records – Early Years Vol. 1” is now following.

Roland Beelen: “For almost half a century, Antler has been my life, my love, and my soul. I founded Antler Records more than 40 years ago. In the early days, I was not only chasing my own dreams, but those of many new and groundbreaking bands in Belgium in an exciting new world of music and an emerging music scene. After the collaboration with Maurice Engelen, there was no turning back. Our label has broken barriers in many different genres with our joint forces, from dark electro, EBM, pop, dance and techno, singer-songwriter to even reggae. It’s now 2023 and I’m proud to put parts of this legacy back in the spotlight with a series of releases and reissues. After more than 40 years, Antler will come back to life and bring joy to all fans who have cherished the label over the years.”

The history of Antler

Neue Sachlichkeit and their single “Ice/Painless Rage” was the last release on Roland Beelen’s Kleo Label and came out in 1981. It also became the first release on the Antler label founded after a meeting in café De Knoet in Aarschot with Maurice Engelen. Kleo Records became Antler Records and both gentlemen entered into a collaboration that would last until 2005. Beelen had a serious accident and withdrew from the music biz in 2005, Engelen continued with Praga Khan and Lords of Acid.

In 1995, Antler (by then transformed into Antler-Subway Records) entered into a collaboration with EMI Records. The legendary Belgian alternative-new wave catalog was supplemented with a series of striking and still current and unforgettable Belpop hits in 2023. From 1995 onwards, even more Belgian and international hits were scored and millions of records and CDs were sold, including Black Uhuru, 2 Fabiola, Kate Ryan, Milk Inc, Lasgo, Ian van Dahl, but also Praga Khan, Lords of Acid and in Belgium Leopold 3)

With the disappearance of EMI Records and EMI Music, the label was swept under the rug, archives were lost and Antler eventually ended up at Warner Music via Universal after wanderings.

Starman Records acquired the right from Warner Music in 2022 to use the name Antler and Antler-Subway again to breathe new life into the more than 40-year-old label. Two compilations (vinyl only) with the rarest and long-lost tracks from the early Antler period were compiled by Lieven De Ridder (Walhalla Records) with the greatest care and remastered by Pieter De Wagter. The first of these: “Antler Records – Early Years Vol. 1” will be released on January 5, 2024.

The logo has now a very sustainable green colour.

Siglo XX returns as well, more or less

Also to be re-released on Antler will be the Siglo XX “Double album” which is the last album of the Limburg coldwave band that appeared on the Antler label. The release is the result of the last artistic collaboration between Roland Beelen and Siglo XX in the mid-1980s. The record is considered a masterpiece and numerous renowned artists from the then Belgo-Manchester Scene collaborated on it.

Bernard - Side-Line Staff

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

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The small Belgian label Walhalla Records announces a limited run of the Suicide Commando vinyl “Industrial Underground” featuring the very first 4-track home recordings of Suicide Commando from 1987. This is a real treat for those of you who like the very minimal and old school sounds of Suicide Commando.

The first 100 copies contain an extra insert signed by Johan Van Roy. Below are some visuals.

The LP will officially be presented from 6 pm tomorrow on in Djingel Djangel on the Walhalla Records Label Night and you will also be able to buy the release during this event. Unfortunately Johan Van Roy will not be able to attend the event. The music during this free event will be provided by DJs Aimé (Walhalla Records) & Baxter (Wave Frequencies).

Full info on the event can be found right here.

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: Punk, Post-Punk, Cold-Wave.

Format: Digital, Vinyl.

Background/Info: Belgian Walhalla Records used to release the great “Underground Wave”-compilation series, mainly devoted to Belgian Electro bands from the 80s. This new compilation, which is again compiled by Lieven De Ridder, features eleven Belgian bands from the past involved with Punk, Post-Punk and Cold-Wave.

Artists: De Brassers, The Cultural Decay, Camera Obscura, Struggler, Siglo XX, Suspects, De Kommeniste, De Scheuren, Protection +, Vibø, Day After.

Content: The title of the compilation speaks for itself: this is pure nostalgia, but also an opportunity to get back to the early years of Cold-Wave and Post-Punk. Several bands were set up in the late 70s and got influenced by legendary UK Punk bands.

Siglo XX is for sure the most famous –and internationally renowned, band from the album. De Brassers became an established Punk band in Belgium, but the other formations received local success and recognition. Belgian fans will maybe know Struggler (who remained active) and The Cultural Decay.

+ + + : This compilation brings us back in time, (re)discovering the early years of Belgian Punk and Cold-Wave music, but it also is a way to discover lost and forgotten treasures from the Belgian Punk scene. Next to several live songs you’ll get the opportunity to discover some unknown bands like Suspects –which is featuring a more Electro-driven cut, Protection + and Vibø, which both are featuring cool Cold-Wave driven songs. If you’re more into the typical Punk music you also gone like De Brassers and De Kommeniste. Last, but not least you also will hear a live track of Siglo XX (cf. “Answer”). The inside info sheet is also interesting to get more info about the featured bands.

– – – : This is nostalgia so a few tracks are definitely suffering from the weight of time. You have to replace this work in the right context and time.

Conclusion: Just as for the “Underground Wave”-series, this compilation is a kind of sonic documentary and legacy…

Best bands: Suspects, Siglo XX, Vibø, Protection +.

Rate: 8.

Label: www.walhallarecords.be / www.facebook.com/WalhallaRecords

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 Belgian re-release label Walhalla Records, specialized in new wave, cold wave and minimal synth, is releasing a new vinyl compilation including previously unreleased material by Belgian cold wave/postpunk bands suchs as De Brassers, Siglo XX, Struggler, De Kommeniste…

Titled “End of Corridor”, the LP will be presented on Saturday 14 August from 2 to 6 pm in café Mombasa (Moorkensplein 37, 2140 Antwerp). The first 100 copies contain an extra insert that is signed by the artists.

The tracklist:

Here’s a presentation of the release.

Bernard - Side-Line Staff

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

Background/Info: Belgium label Walhalla Records is back on track unleashing the sixth volume of the “Underground Wave”-series, which is mainly devoted to ‘forgotten’ and ‘unknown’ bands –mainly, from the 80s. This new edition features twelve bands, mainly Belgian projects, but still a few ones from abroad.

Artists: SS20, Commercial Term, Spleen, Sex Bizarre, White House White, War Tempo, Vitor Hublot, Onderbronders, Tangible Joy, Metal Thought, Hades, Blitzega.

Content: If you’re familiar with previous issues of the “Underground Wave”-series you for sure know what to expect. This is a new sonic discovery featuring bands that were mainly active in Belgium and during the 80s. The common element between most of the featured artists is the minimal-electronic composition, which you’ll easily recognize through the rhythm boxes, pure analogue electronic sound treatments and this unique sterile coldness from the 80s. Some cuts are instrumental versions.

+ + + : Label Owner Lieven De Ridder is a walking encyclopedia when it comes to bringing 80s sonic ‘treasures’ back to life. I don’t know where from he knows all those artists, but it’s always fascinating to discover. I had a crush on Sex Bizarre while other noticeable artists are Commercial Term, White House White (probably one of the most familiar names from this sampler), War Tempo (one of their members was the drummer in Nitzer Ebb) and Vitor Hublot. The compilation again features a cool info sheet where you’ll get some info about each of the bands.

– – – : I can’t say that all of the artists have fully convinced me, but that’s also why most of them remained totally unknown. However this is all about the love and passion for the 80s and a way to discover what you never heard of before!

Conclusion: This sixth volume isn’t my favorite one in the series although I still like it because it’s an essential- and in a way ‘historical’ product!

Best bands: Sex Bizarre, Commercial Term, Spleen, White House White, Vitor Hublot, War Tempo, Tangible Joy.

Rate: (8).

Label: www.walhallarecords.be / www.facebook.com/WalhallaRecords

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 ‘older’ electro fans familiar with EBM will probably remind Schicksal. This Belgian solo-project set up by Rudi Huybrechts released one single and noticeable 12” entitled “24 Hours”. This EP got released exactly 30 years ago now and got very enthusiastic reactions. Unfortunately no other official Schicksal release got ever released. This year the Belgian label Walhalla Records, which is devoted to good-old (Belgian) electronics recovered Schicksal from dust. The album “365 Days” got released on vinyl format and features next to the familiar songs from the “24 Hours”-maxi several previously unreleased songs. Schicksal is alive and answered a few questions about this noticeable ‘return’.

(Courtesy by Inferno Sound Diaries)

Q: Schicksal is one of these ‘forgotten’ electronic projects from the early 80s, which this year released the album “365 Days”. Can you remind us the who’s hiding behind this project and the way you got in touch with electronic music?

Rudi: My real name is Rudi Huybrechts. I was born in 1967 in Hoboken, a town near Antwerp. Imagine Hoboken was at that time as an old industry township with industrial artefacts, such as an old petrochemical abandoned plant, bankrupt shipyard Cockerill and a polluting chemical plant.

As a young kid I was already interested in electronic music. I went to the library to lend LP’s which helped me discover all kinds of music. And that’s where I first heard “Autobahn”. From that point on, nothing was the same anymore. I started discovering bands like D.A.F., Human League, Heaven 17. The release of Front’s “Geography” in 1982 is for me a true landmark. This was the first time where synth music had this kind of aggression, passion and groove. Front 242 used synths in a way which was never done before. And then of course there was the radio show ‘Vrijaf’ by Gust Decoster, every Wednesday afternoon. It is on Vrijaf that I discovered a lot of fantastic ‘Belpop’ and recorded it on lots of C90 tapes.

Q: The 12” “24 Hours” released in 1988 on Antler’s subdivision Subway Records has been your single official release before the album. Back in time Subway Records was devoted to the new-beat scene so what does it evoke to you?

Rudi: For me, the New-Beat period started a lot earlier than many think. During the late 80’s, some DJ’s in Antwerp nightclubs such as ‘Prestige’, ‘Berchem Palace’ and ‘Rudy’s Avant Garde’ in St.Niklaas started pitching songs and playing downtempo dance music. It was a time of decadence, so-called ‘m’as tu vu’ and no rules.

It is a coincidence that “24 hours” was released on Subway. In fact, it was Marc Grouls (resident DJ at Prestige Club) who played “24 hours” for the first time, after some stalking from me! The dancefloor went wild so the day after Marc picked me up at home to sign a contract with Maurice Engelen on the Subway label. In short notice New-Beat became hot, so hot that it became mainstream and unfortunately evolved in the so called ‘Nouga Beat’.

Q: How did it finally happen that the album “365 Days” got released 30 years after “24 Hours”?

Rudi: It happened because of one man, Lieven De Ridder. There’s a Belgian underground community of people who are dedicated to the electronic scene. They are interested in minimal-synth, New-Beat and music which was played at ‘Liaisons Dangereuses’ (an historic radio show on free radio station SIS). Lieven De Ridder is one of the main influencers in that scene. His knowledge and passion for music, especially synth music, borders on the unbelievable. Lieven is the founder of Walhalla Records, a label that is specialised in releasing vinyl which has only been released on cassette before. Lieven and I got in touch, and started playing on his Radioshow ‘Wave Frequencies’ on Radio Centraal. The first Walhalla record was “Underground Belgian Wave Vol.l 1” featuring 2 Schicksal songs “Time“ and “Saturday”, previously released on the historic “Climax”-tape. Lieven had the idea to release a full album of Schicksal, with previously unreleased material. We got together again and chose representative tracks to cover 30 years.

Q: Back in time “24 Hours” got a very positive response, but how do you look back at the songs featured on it and what has been the impact of this release on your career as artist?

Rudi: The song “24 hours” itself was rather accidentally connected to the New-Beat sound; it was not my intension to create or compose New-Beat. I could have got probably more out of it, but in that time there was no internet. As an 21 year old modest student I was not really interested in the ‘music industry’ and let alone all the merchandising and commerce around it.

Q: So what can you tell us about the songs featured at “365 Days”? When did you compose these tracks and what can you say about the sound, influences, equipment?

Rudi: The A side of “365 Days”, together with “Saturday” on the B-side is from the early days and made with analogue gear. I bought my first synth (with money I earned working as a student) in 1983, at the age of 15. It was a Roland SH-101. It felt like the world got open in front of me… I started compiling the instruments you require as a solo synth-artist; new ones and most second hand instruments. My first drum computer was a Boss DR 55 for example. I am a fan of Roland, especially the TR series. But buying something new meant that other instruments had to be sold. Can you imagine I once sold a TR-909…if only I knew at that time… My favourite configuration was the Roland SH-101, the DR-110 drum computer,  the Korg Poly 800 and Boss DSD-2 sampler/delay. Picture yourself, a small bedroom (3 x 2,5m), the gear on the bed because I’d no space, a cassette deck with hifi deck, mixer, microphone and me trying to get control of it all (lol) That’s how many of the Schicksal songs were created.  The other songs on “365 days” are more recent. Today I create my songs on PC with Reason and a Nektar midi keyboard. But last year I got a Korg MS-20 (!) as a birthday gift from a good friend and recently I bought a Korg Volca Bass. So I’m back into the analogue gear! The first demos are a fact, but I’m still trying to sync them all together. The pitfall of creating music on computer is that you can lose yourself for hours in looking for that specific sound instead of being creative. For me ‘less is more’.

Q: A lot of things have changed since the late 80s; I’m referring to instruments, recording techniques, music styles, labels, promotion, distribution, media, social media, streaming… Do you feel you’re still living in the same world as 30 years ago and what’s your perception about all these evolutions/changes?

Rudi: Indeed, in 30 years of time, a lot changed! Every change has his advantages and disadvantages. In fact it is much cheaper today to make electronic music than it was in the 80’s. Also the possibilities/sounds/samples are endless. With Facebook and Youtube you have, as an artist, much more opportunities to share your music and find allies. If the internet wouldn’t exist, the “365 Days”-release wouldn’t have been released! On the other hand I today miss some artists who’re experimenting and thinking outside the box. The bulb was not invented by improving the candle if you know what I mean… All MTV and big radio stations play the same EDM-shit, over and over again. Youngsters, stop looking at your smartphone and create your own revolution!

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, electro-wave.

Background/Info: If you’re a little bit familiar with the Belgian Walhalla Records, you for sure know they’re specialized in pure 80s underground electronics and related genres. And if you’re a 80s nostalgic you for sure remind Schicksal. This project was driven by Rudi Huybrechts and I remember his great 12” entitled “24 Hours” released in 1988 on Subway Records (a division of Antler). This album brings Schicksal back to life, featuring a selection of tracks that has been composed (and reworked) in between 1982 and now. The album is available as a vinyl release.

Content: Schicksal brings the early hours of 80s electronic experiments and EBM alive. It’s pure vintage-like music revealing the minimalism from that period, the sterile way of singing, classical sampling parts and melodic passages. It also is an opportunity to get back to the famous “24 Hours”-song featured as “Perfect Body Mix”, but especially to discover songs that were never released on vinyl before. I also like the very last song of the opus for its new-beat flavor.

+ + + : This album sounds like a documentary from a band, which definitely deserved much, more recognition. I often ask myself why some 80s bands –like Schicksal, remained in the shadow of some so-called ‘bigger’ bands with less talent!? Schicksal really had enough potential to get more famous and considered as one of the Belgian pioneers in EBM. This work will ravish all analogue freaks. It’s a great and minimal-like work. The songs sound simple, but there’s the magic of the sound treatments. This is a great and I dare to say essential release getting us back to the early Belgian EBM: dark and visionary!

– – – : I just noticed a few songs, which maybe suffer from the weight of time, but there’s no reason to complain.

Conclusion: Schicksal maybe is one of the ‘forgotten’ Belgian pioneers of electronic underground music. This album is a late consecration of a genius artist!

Best songs: “Kant Und Klahr”, “Body Beat (K7 Mix)”, “Deceived”, “Pavlov”, “24 Hours (Perfect Body Mix)”.

Rate: (8).

Artist: www.facebook.com/rudi.huybrechts.35

Label: www.walhallarecords.be / www.facebook.com/walhallarecords

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, electro-wave.

Background/Info: Enzo Kreft (real name Eric Vandamme) is a Belgian artist who was mainly active during the 80s. The recently released vinyl “Dark Matter” (on Walhalla Records) was an interesting look back on the artist’s early work. Enzo Kreft is now definitely back from an endless hibernation releasing new work.

Content: “Turning Point” is pure electro-minimalism. The sound and influences instantly remind me to the 80s, which remain the main source of inspiration for this artist. From the old rhythm-box sound to heavenly synth parts reminding me of Gary Numan to other tracks evoking Fad Gadget influences, this artist brings the truly and single spirit of the 80s back to life. The songs are melodic and yet cold and somewhat sterile. The final part reveals some softer cuts.

+ + + : Enzo Kreft is not emulating early 80s bands, he simply belongs to this golden decade. This is an artist who definitely will bring you back to the golden years of electro-wave music and I especially like the kind of Fad Gadget-approach, which mainly comes through on “Hypnotized”. This is the kind of production that might appeal to a wider number of 80s fans and other freaks of minimal-electronics. There are a several cool songs on this album!

– – – : My only regret is the final part of the album, which is a bit softer and less inspired by the magic spirit of the 80s. I’m missing a climax here.

Conclusion: Enzo Kreft is an artist deserving your attention. This musician knows the right formula and has the right equipment to compose a perfect 80s electro-wave sound canvas. Welcome back Enzo Kreft!

Best songs: “I Am The Cockroach”, “Hypnotized”, “You Better Sleep With One Eye Open”, “We’re Breaking Out”.

Rate: (7½).

Band: www.facebook.com/enzo.kreft

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