Genre/Influences: EBM, Dark-Electro, Minimal-Electro, Dark-Pop. 

Format: Digital, CD.  

Background/Info: This compilation features seventeen Electro-underground projects from the Hungarian scene. The album has been mastered by one of the most famous artists from this scene: Istvan Gazdag from First Aid 4 Souls.

Artists: Planetdamage, Stahlgeist, Re-Infection, Techno Pop, Grip, Empelde + Planetdamage, 3.N.D., Man-Machine, Worker, Celina, RTFXX, CMC, Vacuum(X), Tief Larm, Livingtotem, Calm T, Aras Focum.

Content: Hungarian Electronics by different more familiar- and totally unknown artists. The selection is quite diversified but often carried by EBM and Minimal Electronics while also walking on darker paths of Electro-Pop, Trance, Industrial ao. You’ll notice several projects singing in their Mother tongue while others prefer the English language.

+ + + : I like this kind of compilation, giving us the opportunity to get more familiarized with less familiar Electro scenes. We of course know Hungarian projects like First Aid 4 Souls and Black Nail cabaret (both aren’t featured here) but also Stahlgeist, Planetdamage, Man-Machine or the great LivingTotem but most of the artists were discoveries. From these artists I like the somewhat Shamen sounding Techno Pop, the EBM driven Grip which is empowered by guitar, the darker electro side of Man-Machine and the Dark-Pop inspired Celina -which reminds me of Ayria. But most significant cuts are the ones by Stahlgeist -revealing alluring EBM and the Minimal-EBM/IDM Planetdamage.

– – – : I regret the compilation doesn’t feature a booklet with more information about the bands and the Hungazrian scene.

Conclusion: Hungary is a small Electro scene but featuring real great artists so I hope we’ll get the opportunity to discover more stuff from these bands.

Best bands: Stahlgeist, Planetdamage, LivingTotem, Techno Pop, Grip.

Rate: 8.

About New Horizon

“New Horizon: A Hungarian Electro-Industrial Compilation” is a various-artists release gathering seventeen tracks from the Hungarian electro-industrial and EBM underground. It was released on 7 September 2023 in digital and CD formats.

The compilation was mastered by Istvan Gazdag of First Aid 4 Souls, with photography by Dóri Hrisztu-Pazonyi and design by Kollektiva. It brings together Planetdamage, Stahlgeist, Re-Infection, Techno Pop, Grip, Empelde + Planetdamage, 3.N.D., Man-Machine, Worker, Celina, RTFXX, CMC, Vacuum(X), Tief Larm, Livingtotem, Calm T, and Aras Focum.

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

Stahlgeist is a Hungarian duo driven by Istvan Gazdag (First Aid 4 Souls) and Tamás Bank (Worker/Munkás). They deal with a sophisticated EBM format which will for sure appeal for lovers of early Frontline Assembly. The debut album “Escape Reality” originally self-released in 2019 got an official release in 2020 on Advoxya Records and has been now re-released by Alfa-Matrix and retitled to “Altered Reality”. Great bass lines and icy sequences resulted in danceable songs. This interview is an opportunity to know a bit more about this great formation.

(Courtesy by Inferno Sound Diaries)

Q: Who’s hiding behind Stahlgeist and how did the project saw the daylight? Was there something like a plan and/or an idea about influences, sound and approach?

Stahlgeist: Stahlgeist is Istvan Gazdag (from First Aid 4 Souls) and Tamás Bank (from Worker/Munkás). It’s just a dream of two EBM fanatics. We don’t have a plan in general, we just want to play EBM.

Q: What’s your way and procedure of working together? What’s the input of both members and did you’ve to make many compromises in the writing & production of the album?

Stahlgeist: Istvan writes the songs and sends them to me and I write the lyrics and send it back, then we meet and discuss if one of us like to change something and then we record the lyrics and Istvan masters them together.

Q: You first self-released the album “Escape Reality” which was next re-released by Advoxya Records and finally reworked and retitled to “Altered Reality”. Tell us a bit more about the progression from “Escape Reality” towards “Altered Reality”? What did you try to improve and/or change?

Stahlgeist: On the one hand, we wanted to change it because of the change of label, so that Alfa-Matrix could reach a wider audience, and on the other hand, Istvan has learned and improved a lot in his mastering skills since the recording of “Escape Reality” and it would have been a shame to miss that opportunity to make the songs better.

Q: What is the album all about and what did you try to express by the lyrical themes?

Stahlgeist: The album is about the present around us and a possible future. The reality we would escape from presents a picture of a gloomier future. Our everyday life and our expected future leaves us despondent and pained. Just as the genre was born out of a sense of hopelessness and oppression, we are now confronted with the same feelings in our daily lives.

Q: The production sounds like good-old EBM but accomplished with a true sophisticated song writing. Tell us a bit more about the sound concept and production? And how did this album took shape?

Stahlgeist: We really like old-school EBM, and Istvan involved with his Dark-Electro music project First Aid 4 Souls wanted more EBM, stronger, stompier music and I wanted to go along this journey with him.

Q: Tell us a bit more about both ‘bonus’ songs featured at “Altered Reality”? Do you’ve already new songs and ideas in mind for the further evolution of Stahlgeist?

Stahlgeist: The two new songs from our upcoming new album have been added to surprise our fans with a little gift. The musical basis is complete and the lyrics are done; now comes the singing phase. I can promise you that the tempo will not slow down and the lyrics will not become any gentler.

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

Cold War Night Life’s Simon Helm has written a book that traces Depeche Mode’s steps through London in a rather peculiar way. The book is called “Walking in their shoes: a Depeche Mode fan’s unofficial guide to London” and explores the band’s connections to London through the studios they recorded in and the stages on which they performed, plus the book ends with a list of places that played a role in the band’ history.

In order to prepare the book Helm went through piles of records and CDs and talked with friends of the band and key personalities from their history. Add to this the detailed archives collected by enthusiasts for websites and fanzines.

Available as an ebook from all leading platforms from 27 January 2023 it has turned out to be a true guide for fans interested to trace the steps taken by the band around the city. You’ll be guided from the studio where the first demos were recorded to the stadiums where their tours have landed, with details being provided for each and every location. The whole is documented with exclusive photographs to help identify the correct spots.

Simon Helm is the editor of Cold War Night Life, and an occasional Side-Line contributor. Through Cold War Night Life he has released records, produced films, and promoted shows in London and Sweden. He has worked as a record store worker, music journalist, and lawyer but remained a big fan of Depeche Mode throughout his professional career.

Helm explains why he focused on London: “Depeche Mode’s history is closely connected to London. They are often thought of as a Basildon group, but many of the studios they recorded in and the venues where they made their reputation are in the city. This guide is for fans who want to stand where their classic recordings were made and their legendary shows were staged. It’s all there.”

Note that although many of the studios and venues have been erased by time, the book puts them right back on the map together with pictures so you get a good idea where the exact location was.

An indispensable guide for Depeche Mode fans visiting London! Available as an ebook from all leading platforms from 27 January 2023.

Side-Line also covered Depeche Mode’s ‘s ’.

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: EBM.

Format: Digital.

Background/Info: Hungarian duo Stahlgeist is driven by core members Istvan Gazdag (First Aid 4 Souls) and Tamás Bank (Worker Munkás). “Altered Reality” features reworked songs from the band’s self-released debut album “Escape Reality” (2019) which was re-released by Advoxya Records in 2020.

Content: If you don’t yet know Stahlgeist you better get prepared to discover a well-crafted old-school EBM opus which is clearly evoking early Frontline Assembly. Both last cuts weren’t featured on the original album.

+ + + : Stahlgeist deals with a classic EBM format but the way the songs have been written reveals a sophisticated process. This is much more than cheap EBM, but a well-thought and accomplished composition revealing great bass lines, icy sequences and raw, danceable songs. Istvan Gazdag remains a true genius musician when it comes to composing intelligent retro EBM. The sound is more ‘straightforward’  than First Aid 4 Souls so this is total EBM power & fun.

– – – : I’m convinced the production of the vocals could now and then be a bit better but you don’t hear me complaining. Both ‘new’ tracks aren’t exactly the most convincing ones.

Conclusion: Stahlgeist joined the Alfa Matrix roster which I hope will give them a wider exposure. This work kicks a**!

Best songs: “Infected Colony – Alternate Version”, “Stahlgeist – Alternate Version”, “Step By Step – Alternate Version”, “Inner Temple – Alternate Version”.

Rate: 8½.

Artist: www.facebook.com/stahlgeist

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix

About Stahlgeist

Stahlgeist is a Hungarian duo driven by core members Istvan Gazdag, also active as First Aid 4 Souls, and Tamás Bank of Worker Munkás. The project’s debut album “Escape Reality” appeared in 2019 and was reissued by Advoxya Records in 2020. Stahlgeist signed to Alfa Matrix in October 2022, as confirmed at the time, releasing an alternate version of “Escape Reality”, the release reviewed here as “Altered Reality”. The duo later returned with the five-track single “Silence” in February 2025 and the album “Justice” in June 2025, discussed in a Side-Line interview the same month.

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

From the Budapest (Hungary) based fine harsh electro artist István Gazdag (First Aid 4 Souls) comes a brand new oldschool EBM project, Stahlgeist which he formed together with his friend Tamás Bank on vocals. Hungarian industrial fans will certainly know Tamás Bank from his other industrial music projects Worker Munkas and Interzone Inc..

The project recently signed to Alfa Matrix and presents us now a first release on the label, namely the album “Altered Reality” which is a totally revamped alternate version of the band’s “Escape Reality” debut album from 2019.

Stahlgeist is firmly rooted in the oldschool EBM genre adding a touch of aggrotech complexity. Expect fast solid bass lines, upbeat aggressive sequences and powerful angry vocals. Oldschool EBM at its finest you can say.

You can download the 13-track album immediately now on Bandcamp, the release will be available on all other platforms on October 21st. Read the reviews of ‘Escape Reality’ and ‘Escape Reality’.

Eldrina Mich

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

www.side-line.com

The Swiss label Hall of Sermon informs us that Lacrimosa is coming with a new album pretty soon, but due to the shortage of raw materials, specially paper for the booklet, the final release date of the physical CD cannot yet be determined.

The label hopes to establish a release date that would still be somewhere at the end of this year.

If all this sounds strange to you, it actually is not strange at all. Virtually all paper products — from wedding invitations to cereal boxes — are in short supply as mills struggle to keep up with demand because of worker shortages, add to that shipping bottlenecks that cause extra delays and problems for consumers and businesses.

More info on the new album as soon as we get 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!

side-line.com

A few weeks ago Psy’Aviah returned with a brand new EP, “City In Flames”, the last single taken from the band’s “Soul Searching” album. “City In Flames” handles the very current issue of psychological and physical isolation refugees are going through mixing human trauma and drama, which nowadays might even tend to be even more eclipsed by the global pandemic that keeps disrupting our society.

For this release Yves Schelpe collaborated with American artist Ellia Bisker, who is also the female singer of Sweet Soubrette and Charming Disaster.

We decided to talk with Yves Schelpe, Ellia Bisker and Bernice Van Dijck who works as a social worker in Filet Divers, an organization in Antwerp for people living in poverty. Yves met Bernice through the project “Samen Inburgeren” which matches newcomers with buddies to smoothen the integration.

A trio who clearly have a lot more to say on the subject. We threw them some questions!

SL: Can you briefly tell us what your background is and how you came to get in contact with Yves, Bernice as in meeting Yves – and Ellia as getting involved in this song. What attracted you to it?

YVES: Me and my girlfriend actually signed up for what is called “Samen Inburgeren” in the local Antwerp office, we were then matched to our “buddies” (newcomers who wanted to get someone who they can sort of explore the city with, get to learn the environment and build up a network). I met Bernice, I think, the first workshop we had together with out buddies, and later on at several other events!

BERNICE: I’m a social worker in Filet Divers, an organization in Antwerp for people living in poverty. I’m the projectleader of Samen Inburgeren. We match people who want to know the city (and its citizens) better and the language with people who wants to know what it ‘s like to be ‘new’ in Antwerp/people who want to help others with feeling good in this city. It ‘s my job to get people in touch with each other, to see if buddies are fine together, to organize multiple events a year to meet other buddies etc. Both Yves and his wife had someone who they met regularly within the project.

ELLIA: I’m an American singer/songwriter/musician based in New York City. Yves and I have never met in person, but we’ve been collaborating on and off since 2014, when he remixed a track that I had released with my project Sweet Soubrette, “Live Wire.” A little while later he asked if I would contribute vocals to one of his tracks, which I was excited about, but I also let him know I was interested in collaborating as a lyricist and he was open to that idea. Working with Yves has been great because I feel there is a lot of generosity and very little ego involved. It’s an exciting challenge to find the right words and convey a sense of meaning within another artist’s musical composition. We’ve now collaborated in this way on three Psy’Aviah tracks, with “City in Flames” the most recent. “City in Flames” was a bit different from the other two songs, as Yves had a really specific idea in mind for this one and some lyrics already written, so I had to channel his vision as well as the refugee story that he wanted the song to convey. I think the experience of people who are displaced by war or other circumstances is such an important issue, and it was an honor to try to capture it in this song in a way that would let listeners feel it for themselves.

SL: Integration is considered to be the way to get newcomers to become full citizens. However, we see it’s not a linear story where all goes as planned. What hurdles do you see?

YVES: Correct, I think people need to be aware that “integration” is a word that for me doesn’t really exist, or at least is very hard to define. When are you integrated? Even when living in Antwerp, my own city, I often wonder – am I integrated into the society as other people are? So this is where the problem starts, seeing “integration” from only one perspective (most of the time your own) is limiting the scope, and even essentially defining how a human would function as perfect or as normal in your idealized society. That’s one big hurdle I see, the tunnel vision where people get lost in. I always advice those people to visit the museum we have in Antwerp called “The Red Star Line Museum”, where you see that about 120 years ago mass immigration took place to the US and Canada from European countries – and how that affected things. It puts a lot in perspective, certainly because you see that immigration is something that has always existed, for the same reasons, and that it is a human thing to do. Most utter “integration” and “migration” without thinking about what they really mean with these words and concepts, or have no historical background – and often don’t reflect upon what it means for different people, as well as the “newcomers”. So, I’d say, creating awareness around the fact that “integration” comes in different shades of grey is the biggest hurdle, the biggest challenge when talking about this. Education thus, for everyone, is the biggest hurdle.

BERNICE: I mostly follow Yves’ ideas. You see, once we made an exercise about ‘integration’. What does it mean? What ‘s in it for the one who is integrating? What’s in it for society? Is someone who just like to sit at home and not joining the party’s in the street not integrated? Even we as professionals just got more questions instead of answers. And I think this shows how hard it can be to be new somewhere. You know you have to integrate, but what does it exactly mean? The most important thing I guess is that both society and newcomers are ready to meet eachother and respect eachother. When you can get in touch with and you are willing to learn from eachother, there can be a happy place for everyone.

ELLIA: As an American I’m not exactly qualified to answer this question, but I wanted to mention that immigration is of course an important issue here in the U.S. as well. Even though we are a nation of immigrants (my own ancestors were Jews fleeing oppression in Eastern Europe in the early 20th century), there is so much anti-immigrant rhetoric, particularly with respect to people coming from Mexico and Latin America, and so much racism (not to mention mistreatment and abuses at the border) in response to people who are often fleeing desperate situations to come here. As Yves mentioned, people migrating to find better circumstances is not a new phenomenon.

SL: In the past I have been giving extra Dutch courses to newcomers to speed up their integration. Those people were willing to integrate and did their best, but I think there is a blind spot of people which we never reached and which kinda disappeared from our radar. How do you see this?

YVES: It’s a point I wanted to touch upon in the song and music video, we often think giving materialistic & educational support is enough. The mental support often lacks in the trajectories people go through. Where within our own country we still have a big stigma talking about mental health, or giving people the much needed support – that is for me the most lacking part, and to come back upon the previous question; another hurdle. Mental issues, and gaining trust, dealing with these situations is a big step. When someone is depressed, or is struggling, it is hard to pick up & learn new things – for anyone, and especially someone who’s vulnerable and in a new country. Studies do also show that not everyone will ever be able to speak another language perfectly, or climb higher on the scale of knowing that language. Certainly the older you are, and the baggage you carry, but I’m sure Bernice can fill in the blanks more here…

BERNICE: I think as a society we still have a lot to learn. In Filet Divers – the organization where I work – I meet a lot of people who do not have a legit ID-card. Those people are extremely vulnerable. As I see it personally, those people may not even integrate: they may not volunteer nor work, they may not go to Dutch class, they may not have an entry pass for the library and so on. Even though they try their very best, life is rough on them. But even if you have a legit ID-card, life can be pretty hard. We see so many people struggling to find a proper job and a good place to live. We’re seeing every day that if your Dutch isn’t that good, the struggle is way more harder. Let me be clear: I think it’s good that you have a similar language to communicate. It makes living together much easier. But I think the focus on learning the language is too hard right now. Even research shows us that if you’re living in stress, learning new things is super hard. Just because your head is full of ‘surviving’, new things will not get in that easily.

SL: My wife who is from Mexico has been following language courses in mixed classes. She often told me that several male classmates showed no respect at all for the female fellow classmates and actually didn’t bother to listen to what the female teachers were saying or asking, because of their disdain for women. As a woman how do you cope with this?

BERNICE: Now, this is a hard one. This has something to do with preconceptions I think, from both ways. Of course, it’s not up me to say who’s wrong or right. Tough I think it must have been very challenging for both the teacher as for the classmates. In Filet Divers I’m most of the time see the opposite of what’s described here. For example: we see that in Samen Inburgeren a lot of young men are asking for a woman to be in buddy with. I never understood why, always explaining that we are not a place for dating or to find love. Ever since I started to really ask in several questions why they do prefer a man of woman, I start to understand better. Now I know that in many religions the woman is the one for the real conversations. They are the teachers, the ‘talkers’, the ones who will ‘help you out’ with psychological difficulties. Ever since I know that, it’s way more easy to have the proper conversation why man X would be much better company than woman X.

SL: In respect to that, the reaction towards LGBT fellow students was just abysmal. I doubt that pure talking will solve anything? Having said that, language is the power towards a good integration. What are the extras you pay attention to?

YVES: For me talking face to face is always the key point. Talking openly, about how I view the world and what ideas I have. But most importantly I learned to listen (even more), and to see where they’re coming from. I did not have an encounter where any of my buddies had problems with LGBTQI+ communities, so I can’t go deeper into that. But then again, the people migrating here that I worked and talked with, often are more open towards those subjects as one might initially think. I think it depends from person to person, as well as talking and getting a conversation going. I am an atheist, and in that sense we can talk about that for example. If you take the time and both parties are open to listen and form ideas, which to an extent works of course. The main part for me is, visiting places with them and showing them the world. Explaining the context. By explaining similarities we find a lot more common ground, enjoying experiences together forms a deeper bound than talking alone. So you have to combine it.

BERNICE: I totally agree with Yves! What I see, is ‘pure talking’ will never help. You also have to be able to listen properly. And that’s where it hurts a lot of the time. I’m not sure how to say it without hurting someone… You see, I am 100% supporting the LGBT movement. I truly believe that love is love. But the communication has to be ‘open’ all the time. We do not only have to talk to convince someone, but also to understand others, although they seem to think ‘wrong’. That‘s something I see a lot in the project Samen Inburgeren. Most of the people who are starting, they start from ‘the opposites’. They see someone who is new here, who doesn’t speak their language that good, who believes in (another) God(s),… After one year we do an evaluation. For me, it’s a magical moment. Almost everyone will tell me that they are not that different. In the end, they just want their kids to be happy or have a nice meal at the end of the day. Everyone likes to find a meaning in life or to love and be loved. But you see, it takes people one year to understand this. One year of talking and listening.

SL: You do book succes stories with the buddies but how do you feel about the failed stories?

BERNICE: I create the buddies, support them, bring the buddies together etc. The buddies who last a year or longer, are always the ones who are open to each other. If something doesn’t seem nice or strange, they dare to talk about it. It takes guts to do that. Sometimes it’s difficult to know if you may or may not ask about things. I know that a lot of starting buddies wonder why someone flees his or her country, if this person was a boat refugee, how long they had to walk, if they see their family,… I get a lot of questions when those kind of questions can get asked. My answer is always the same: as long as you are respectful, you can ask each other anything.

SL: Ellia, Is there any kind of buddy system like this you are aware of in the US? Where the focus on mental health + getting a “network of friends or people you can rely on” is setup for refugees, or newcomers?

ELLIA: I’m not aware of an individual buddy system like this in the US, although there are many organizations (from government agencies to nonprofit organizations to church groups) doing valuable work to help immigrants get settled, access legal and educational resources, and find a community.

BERNICE: In Belgium (and I guess in whole Europe) we have tons of buddy projects, in all kind of ways with all kinds of people. If you scroll through Google, it shows an amazing range of projects. If people reading this are interested, I would just suggest to open Google and start looking if there’s a project in your neighborhood!

SL: What is the key for succes for a good integration you think?

YVES: I think that it boils down to letting go of the word “integration”, I will likely be repeating myself, but if you think hard and deep about it, then where do you draw the line. When is someone integrated? Is it something measurable? (No). Does it change over time and generations? (Yes). So it is in constant flux, the big key to the kingdom of succes for me is that people talk and see the world from both sides. In essence, that’s the only way we will ever reach a type I civilization (or a global civilization) on the Kardashev scale, as Carl Sagan touched upon – which is both technological innovation but very much a psychological revolution as well for human race. And the implications of that, or the boundaries for reaching that I tried to describe in another song called “Our Common Future ft. Kyoko Baertsoen”, which many think is about global warming – but essentially it deals about the things or dangers that are holding us back to reach that planetary civilization (or Type I civilization). It is very cultural based, so hence why I always emphasize on education on every part of the world, and critical thinking. Without tearing apart cultural habits, or forms of theatre or music – those are two different things.

SL: Ellia and Yves, how do you feel music can make a difference in this?

ELLIA: Music — listening to it as well as making it — is an international language that rewards curiosity, collaboration, being open to new ideas as well as respecting traditions. Connecting through music is something that can happen whether or not you share a verbal language, it transcends age and ideology and national origin. I think opportunities to appreciate and participate in music are an incredibly powerful way to connect people, when those who might not have other obvious ways to connect.

BERNICE: As I see it, music connects. Some people like lyrics, others like sounds or beats, some people like dancing, others like listening or singing.. I barely know people who just do not like it at all. Just like Ellia said, it’s a language that everyone can speak in some kind of way.

YVES: For me it’s another form of talking about subjects and raising awareness. For some topics I write blogposts, for some topics I write songs and for others I do both. Music can, often without words, make us come closer together. With our buddies for example we had a lot of fun exploring flemish music, and even I discovered classic works I didn’t know or had forgotten. We go to concerts together, and just try to have fun. If then they have questions about things – we answer as we feel the world works, with as much context and differences we see. It also a means to broaden their network, bringing them out to concerts, or musea, sporting events – that’s where you meet new people.

SL: I have always thought, and am actually convinced that music can serve as a perfect medium to let people accept new ideas and cultures. For instance I have been checking out Sufism and its music because I discovered the music from Nusrat Fateh Ali Khan for instance. In Istanbul I visited a sufism school, watched their dances, and so on. Not that I got converted, but I tend to try and check out several different things. The same goes for world music thanks to Dead Can Dance, Yasmin Levy, Recoil or even Peter Murphy who has been incorporating lots of eastern elements in his solo material. And now the question :). What are your worldly influences Yves & Ellia?

ELLIA: I’ve been exposed to a lot of Balkan brass and choral music through the brass music scene (I sing with a 20-piece brass-punk band called Funkrust Brass Band), and have grown to love the complex time signatures, untempered vocals and strange (to me) harmonies. And I’ve recently been getting more into African music, especially West Africa — I know that’s a huge category but there’s a great show on Columbia University’s radio station, WKCR, that has introduced me to some incredible sounds and artists from all over the African continent — Amadou Balaké, Le Grand Kallé, TPOK Jazz, Fatoumata Diawara.

YVES: As Psy’Aviah fans are aware, we don’t shy away from any form of music… from classical and traditional music of different cultures, to deep and even forgotten or small communities. I can find gems everywhere. I try to listen and take whatever influence I can get. On “Soul Searching” it was apparent of course, but there are those ethnic or other-worldly influences which stood symbol of the journey a person makes on his quest of searching: soul searching, living your life, learning every day. Even learning why you don’t like something. For me the band(s) Moby and Faithless embody this the most, if you look at their catalogue – you’ll find very different influences over and over again. They don’t shy away from it, which I like, even though it’s not always a “hit” success with the fans.

SL: What hurdles do you encounter in order to have a succes story with a newcomer?

YVES: Let me say that a succes story doesn’t necessarily exist. Making a connection face to face from human to human and getting a basic understanding, even without as little as words, can be a connection and a success story for me. I can only talk about what I have experienced so far, and for me, thus the biggest hurdle can be language. But, that is only normal, so you get quite adapted to that yourself – talking slower is key, until they pick up, being patient… The biggest hurdle I had personally is not being “a teacher”, but rather being someone “to hang out with”, and that’s thus a thing that’s so important. You’re there to have fun with, to be trusted, draw your own lines, talk openly about it, and I must say that Bernice and her team do everything they can to guide that process in workshops with the buddies. Which is a great learning experience for both.

BERNICE: As I said before, we mainly have to learn that communication is not only talking. We have to try to be open, without losing your own beliefs (tough sometimes willing to adapt..). Success for me is that people are willing to meet each other. If they don’t know how to do it themselves, they can always join projects such as “Samen Inburgeren” ?.

SL: Where will the future lead us to according to you?

YVES: I’m not a futurist, but I touched upon it when talking about the hurdles for reaching a planetary civilization. The threats that face that, which can be found in the doomsday clock, are evidently there. Fundamentally I am a rather pessimistic person when I write my songs, or when you hear them I think. But these songs are there for a reason, to let people think critically about their own thoughts. It’s why I am a big fan of the work of the Richard Dawkins Foundation for Reason & Science, who see a big rise and supporting those people leaving behind cruel rituals, cruel faiths. Next to that you have in Belgium voices like Maarten Boudry and Johan Braeckman, pleading for the same essence of critical thinking, moral philosophy etc.. Furthermore I must think of people like James Randi and Derren Brown, who can take you into a more edutainment world of your own critical thinking – some of their most profound stories and specials are worth watching as they teach on religion, (blind) faith, quackery, homeopathy or a perfectly working gambling systems that never fails (look up “The System” by Derren Brown). Combine that with the efforts of a lot of Humanists, for example prof. dr. Dirk De Wachter, who I worked with on the album, for a more humane approach and a not so self-centered universe we tend to fall in… I see the world as something we can improve, but we need to keep talking about it – and not on twitter or facebook, but face to face… to find solutions together.

BERNICE: This is a difficult question for me! When my thoughts are dark, I think that we are not learning from history. I see war, anger, complaining, … But on bright days (luckily, they are the majority) I do see that people create beautiful spots to live. People do come together and collaborate. They are willing to share what they have and like to see others smile. Learning (from history) is a never ending story and I believe we have challenging times coming. But we can do it, as long as we do it together.

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: EBM.

Format: Digital, CD.

Background/Info: Stahlgeist is a new Hungarian EBM duo set up in 2017. The band is driven by Istvan Gazdag (First Aid 4 Souls) and Tamás Bank (Worker Munkás). Last year the duo self-released the digital album “Escape Reality”. In the meantime they joined hands together with Advoxya Records, which released the CD format of this debut work. Side-Line already reviewed the self-released digital version of “Escape Reality” in 2019.                                                                                                    

Content: The album takes off a pure old-school EBM way characterized by a solid bass line. Quite progressively Stahlgeist moves into an intelligent format of ‘body music’, which is –just as First Aid 4 Souls, sometimes reminding me of Frontline Assembly (pay attention to “Infected Colony”). The songs are diversified, but all inspired by retro-EBM. This diversity also comes back in the vocals –mainly sung in English, but you’ll also notice other languages as well.

+ + + : This is a great debut work. The classical EBM format has no surprises, but the way the songs have been written reveals a sophisticated process. This is much more than cheap EBM, but a well-thought and accomplished composition revealing great bass lines, icy sequences and raw, danceable songs. There are several cool songs featured on this work. It’s a good thing this album has now been released on CD!

– – – : The link with FLA became rapidly obvious, but I’m not complaining when the result is that accomplished.

Conclusion: Stahlgeist knows how to bring the true EBM spirit to life! This is another strong and promising debut released by Advoxya Records!

Best songs: “Infected Colony”, “Step By Step”, “Nihilist”, “No Regrets”, “Escape Reality”.

Rate: (8).

Artist: www.facebook.com/stahlgeist

Label: www.advoxya–records.com / www.facebook.com/pages/Advoxya–Records/265765706059 Read the news on ‘Escape Reality’.

About Stahlgeist

Stahlgeist is a Hungarian EBM duo formed in 2017 by Istvan Gazdag of First Aid 4 Souls and Tamas Bank of Worker/Munkas. The duo self-released “Escape Reality” as a digital album in 2019 before Advoxya Records issued it on CD in 2020. Alfa Matrix later re-released and remastered the album under the title “Altered Reality” in 2022.

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

Jérôme Soudan is one of those artists I personally consider as a ‘visionary’ artist. His Mimetic project is the best exposure to realize the constant avant-garde approach he tries to inject in his work. He belongs to the ‘pioneers’ who incorporated techno music in the industrial scene, but he later on moved on with elements of IDM. Mimetic is a kind of reference, but still a project that has the power to entertain different scenes: techno and industrial! He this year released the compilation-album “RVSTD1:1998-2019” on Les Arts Minis, which is an opportunity to seize the evolution of the artist and his strong connection with techno music. Jérôme Soudan is a fascinating man, but still an essential artist from the electronic-underground scene.

(Courtesy by Inferno Sound Diaries)

Q: You this year released the compilation-album “RVSTD1:1998-2019”, which covers more than 20 years of Mimetic, but especially the ‘techno-driven’ tracks. How do you look back at more than 20 years of Mimetic and tell us a bit more about the main purpose of this album?

Jérôme: At the beginning I wanted to create a solo-project as I was involved in a lot of diverse collectives such as Von Magnet for instance, but after a few years I knew I wanted to keep that project alive no matter what direction I’ll take. During these 20 years I guess I was an alien on many different scenes. Right now I’m more into the techno scene as a DJ, but even here I’m not a typical one since I’m not that young DJ still at school, but more like a veteran who’s using his background in every set. I got a classical music education, but quite rapidly during my studies I got more interested into the experimental-, electro-acoustic- and at the same time rock- scene…

Mimetic is actually born in Berlin, but not from the techno scene. I was more into industrial-experimental. I was one of the members from the Berliner act Column One. But from the first Mimetic-album on I already incorporated some techno sounds or rhythms. Other productions were more into electronica or IDM, but still featuring techno-industrial elements. What I see nowadays is a lot of good techno-industrial acts such as Perc for instance or even Paula Temple who are directly influenced by those indus-techno sound we used to do in the beginning of the 2000’s…

The main purpose of this album was to show to the young generation what Mimetic was doing in the past, a  kind of hybrid techno that they don’t know since some of the releases were not available in digital format. And it was also important to me to release it with a common thread so everybody can feel the links between the years.

Q: Speaking about all these influences, I however noticed an evolution in sound/influences throughout the ‘Mimetic-years’. Right in the beginning your music was more into industrial/experimental and ambient music, but quite progressively techno- & IDM elements joined in. How do you analyze this evolution and the impact of techno music globally speaking?

Jérôme: Actually the German post-industrial movement leading by labels such as Ant-Zen, Hymen or Hands has a strong influence in the techno scene, but it’s a bit involuntarily unfortunately. Most of the strong techno artists of today never heard of “Maschinenfest” while actually when I play in a techno event I can play exactly the same sound than if I was in the merche area of “Maschinenfest”…. There are some people from that industrial scene who say to me that they have the feeling I get lost from their scene. I don’t think so, I actually think every movement has got their artists who tend to repeat their formulas while actually the style is moving quicker than artists who are representing that style…. Techno is like other styles, stealing from others. And besides, techno is not all the time a hype style… Every decade it’s coming back, with a young generation seeking to know more, but I remember times where only house-music was the hype, and techno was considered as a non-respectable genre.

I consider techno as really dynamic and a strong music style; a kind of political atmosphere close to punk-music. I know that Iggy Pop hates techno music. But I think he was never in a rave party so far, because he could have seen the same energy. For me DAF was more important than others in that way, they played basically on the punk scene for years while actually their sound is still really present in nowadays techno, in that sense, industrial-punk was maybe more involved in the future than they pretend to be! I’m not surprised to see DAF playing in a lot of techno festivals since 10 years now.

Q: You were one of the ‘pioneers’ to mix industrial- and techno music while today most of the industrial artists are adding techno music to their compositions. This evolution is quite interesting while at the other hand the ‘real’ industrial sound and spirit have been a bit lost. What makes the link between industrial- and techno music and what do you expect for the coming years?

Jérôme: Right at the beginning industrial-music was a music for and coming from the cities (‘industrial music for industrial people’). This movement was born with artists such as Throbbing Grristle in the UK and Einstürzende Neubauten in Germany, and it was during the same years of punk-music, because the attitude was punk, not the music of course. But those artists were using electronic sounds in a very creative way while in parallel in Detroit (USA) a few artists started to use electronic music, but more in a rhythmical way. If you take the song “Yü Gung Fütter Mein Ego” there is the techno energy in it, it is repetitive and strong as hell.

For me there is the link between industrial to techno; it’s definitely the city, the sounds of the city, the power and the violence of the city. The ‘real’ industrial sound and spirit, like you say, is still here, but actually more into a scene of ‘niche’. This is something you can maybe relate to contemporary art, there is a language you have to understand in order to feel that music and it’s actually not easy for everybody. Since life is becoming more and more an everyday fight, people feel more attract by a music which is talking directly to their body, with a strong bass and a strong repetitive rhythm. Instead of what people are usually thinking, techno is a cathartic music for every-day hard-worker, and not simple party music. It’s definitely not a surprise to me to see that techno music is going stronger and stronger in South-America or Asia as well. It’s very important for me to keep an urgency in the music, something that stays strong, powerful and alive. You can listen to Stravinsky’s “Le Sacre Du Printemps” or The Young Gods’  “Skinflower” or “Surgeon” and feel the same power!

Q: Over now to the writing of your songs. Can you give us a bit more details about the different stages you’ve to go through to compose a song/album and do you’ve special criteria/references when speaking about the global production process?

Jérôme: First there’s a long process of  prospection; listening to sounds, travelling, walking in a city, recording maybe etc… Next comes a long process again; working on a few sounds for days, experimenting, transforming the sounds etc.. Then, I’ve to build a track, a kind of montage like a film, with a ‘scenario’. Then I move on adding effects and giving a ‘heart’ to the whole track and doing a kind of pre-mixing. Then comes the mixing, which can be quite long. A track is never finished! And then I let it to the mastering experts. For me the global production has to include a good balance between frequencies, this is the only way. I love when you hear every details, for instance if you listen to a Max Cooper track, which is amazing…

Q: You also did an impressive number of remixes for other artists and among them Björk. What do you try to achieve when working on a remix and are there some remixes (maybe like the one for Björk) you kept in mind?

Jérôme: Well a remix is usually a very interesting operation, because you have to dive into somebody else’s universe and make it your own track without altering the original sense of the track. But sometimes it’s delicate to do, because you cannot adapt yourself to every style, so now I’m really choosing the artists with who I work on that remixing aspect. I usually keep only half of the sounds the artist gives me and re-write a few lines and create new sounds, and I basically change the structure too. At the beginning I listen and listen to the original track, trying to find in which direction I would have been if I was the composer and when I find my own focus then I can go on and re-create a new structure.

Q: I think to remember you lived a few years in Berlin, which is often considered as the ‘place to be’ when it comes to techno music. What has been the impact of your ‘Berliner years’ on your creation and your evolution as musician/producer and are there other places/people which/who had an important impact?

Jérôme: Yes Berlin was important, especially because it was right after the end of the Wall. I left berlin in 2000, and before that it was such a field of experimentation, it was a great time there, not only for techno-music, but also for experimental-music, architecture etc. There were so many unofficial clubs and parties, bars, events in some destroyed buildings… I was usually going out in Tresor Club and in E-Werk which was a few meters beside. But I was playing in the same time in Komische Oper and some experimental places such Podewill, NBI or Grüne Salon (VolksBühne).

Another aspect that was really important to me, is that I met a lot of people from East-Germany. They usually didn’t speak English very well, but they had another way to create and it was really interesting. Nowadays those artists usually left Berlin as it became after a while too hype and too expensive for them. A lot of those artists are now living in Poland or Praha or even Baltic Countries… Today I think Berlin is still interesting for techno-music, especially because there’re hundreds of clubs and it’s a good thing for music, but if you look for some good emergent artists and scenes, I think Europe has to check a bit more outside. Africa is bringing now some good electronic music, Asia and South-America are becoming strong. There are still wonderful events in Europe, especially in the Eastern countries, but the business is coming quick and even the underground events in countries such as Croatia are little by little leaded by West-European business men. Speaking about West-Europe, an important impact I don’t have to forget is the venue itself, and especially the ephemeral squats which are given an important place to experimentation. In the 90’s there were still a lot of squats in Europe and I knew a lot especially in Holland, Belgium, Germany and Switzerland. Those places are more and more rare of course and it’s a pity as they were a teaming with great emergent artists….

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 Argus, a local newspaper based in Brighton and Hove in East Sussex (UK), ran a rather weird story involving Paul Kerr, the brother of Simple Minds frontman Jim Kerr and the band’s former tour manager. Paul Kerr, 56, is accused of stalking John Fagan and his wife Julie because of his “hatred and bitterness” towards his rock star brother.

According to what was told in the Lewes Crown Court, the former tour manager repeatedly accused hospital nurse Mr Fagan of raping a nine-year-old boy and told fans online that the couple was under investigation for making murder threats against him. Kerr began abusing the couple after he called Simple Minds’ new album “Walk Between Worlds” ‘pure shit’ on his public Facebook page in January last year.

Kerr, of Brighton, from his side claims the Fagans conspired with his ex Elizabeth Vanthof, a university worker in France, to create fake Facebook posts to frame him to the police.

From tourmanager to arsonist

Paul Kerr isn’t exactly unknown to the judicial system in the UK. During the hearing the jury was told that Kerr had a conviction and two-year prison sentence for arson (he set the home of a radio DJ, on fire in 1997 after a business deal went sour). Noteworthy, prior to the arson, he put up posters attacking the radio DJ, made venomous phone calls to his home and sent faxes and messages to his work, accusing him of being a thief, liar and tax dodger. A modus operandi which sounds peculiarly familiar today.

Kerr was also jailed in 2012 for aggravated burglary.

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: EBM.

Background/Info: Stahlgeist is a new Hungarian EBM duo set up in 2017. The band is driven by Istvan Gazdag (First Aid 4 Souls) and Tamás Bank (Worker Munkás).

Content: The album takes off a pure old-school EBM way characterized by a solid bass line. Quite progressively Stahlgeist moves into an intelligent format of ‘body music’, which is –just as First Aid 4 Souls, sometimes reminding me of Frontline Assembly. The songs are diversified, but all inspired by retro-EBM. This diversity also comes back in the vocals –mainly sung in English, but you’ll also notice other languages as well.

+ + + : This is a great debut work. The classical EBM format has no surprises, but the way the songs have been written reveals a sophisticated process. This is much more than cheap EBM, but a well-thought and accomplished composition revealing great bass lines, icy sequences and raw, danceable songs. There are several cool songs featured on this work.

– – – : The link with FLA became rapidly obvious, but I’m not complaining when the result is that accomplished.

Conclusion: First Aid 4 Souls already was a nice surprise, and it’s not that different for Stahlgeist. This band knows how to bring the true EBM spirit to life! I know of many bands sharing a similar music style and signed on established labels, but without the same talent!

Best songs: “Infected Colony”, “Step By Step”, “Nihilist”, “No Regrets”, “Escape Reality”.

Rate: (8).

Artist: www.facebook.com/stahlgeist Read the news on ‘Escape Reality’.

About Stahlgeist

Stahlgeist is a duo from Budapest, Hungary, formed by Istvan Gazdag (First Aid 4 Souls) and Tamas Bank (Worker/Munkas, Interzone Inc.). The duo set out with no plan beyond playing old-school EBM, as Gazdag explained in a Side-Line interview: “We don’t have a plan in general, we just want to play EBM.” Stahlgeist self-released its debut album, “Escape Reality,” in 2019; Advoxya Records issued it officially in 2020. Alfa Matrix signed the duo in 2022 and reissued a reworked version of the album as “Altered Reality.”

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