(Photo by Falguni Clarkson) The new History of Guns music video, “Last Train to Drug Castle”, premiers today on Side-Line. The video is both a remix of the dark ambient track “Drug Castle” from their latest album “Half Light” and a visual remix of footage from their recent short film, “Drug Castle”. The video builds on the dark story of a rumoured experimental and unethical psychological treatment centre, located somewhere on the coast of England in the 1960s and ‘70s.

Here’s the new video.

The “Last Train to Drug Castle” video uses footage shot for the Lynchian experimental film directed by Howard Gardner, which you can view below.

The track is also out as a 3-track single and holds three tracks in total: “Last Train to Drug Castle”, “Survive the Night (single mix)” and “Drug Castle (Instrumental Writing Demo)”.

The remix is inspired partly by KLF’s “Last Train to Trancentral” and partly by those late-night adventures after the pub closes, going on potentially somewhere exciting, potentially somewhere dangerous. History of Guns co-founder and keyboardist, Max Rael, says: “It was actually Michel from UTM, a key part of our promo team, who suggested we remix Drug Castle. I don’t think it would have ever occurred to me, but the idea bubbled away in my subconscious. And once I let go of the idea of a traditional remix, and approached it more like my favourite kind of episodic writing that goes on a journey and tells a story, I got more and more excited about it. It was a lot fun of an absolute joy to make both the remix and the video. I can’t thank Michel enough.”

Publicist Michel Rowland, from UTM Music Group, adds: “I have no idea what Max is talking about. I didn’t tell him to remix anything. I simply asked him whether there was going to be some kind of single mix or single edit of ‘Drug Castle’, because he came to me with this fucking bizarre short film, and I wanted to know how I was supposed to pitch it to DJs and radio. Max is utterly insane! I do love him, but he’s an absolute nightmare.”

The 3-track single ‘Last Train to Drug Castle’ is available from Bandcamp now.

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

Date At Midnight is an Italian Post-Punk and Goth-Rock band formed in 2007 in Rome. This year, they released their third full-length album, “Fading Into Grace”, through Manic Depression Records. The album features well-crafted, professional compositions that seamlessly blend the band’s signature alluring guitar work with more melodic and atmospheric electronic elements, all underscored by deep, brooding vocals. It’s a standout release that is sure to captivate the international Post-Punk community. I had the opportunity to chat with the entire band to learn more about this remarkable album. (Courtesy by Inferno Sound Diaries)

Q: You’ve been active as Date At Midnight for several years now. What initially brought you together, and how do you reflect on what you’ve achieved so far?

Pasquale: When we embarked on this journey back in 2007, the Goth scene in Rome was a vibrant tapestry of parties, concerts, and kindred spirits. Both Daniele and I had our roots in other bands, but we yearned for something new, a vessel to express ourselves, revel in the joy of creation, and craft our own music. Little did we know that Date At Midnight would endure, becoming a cornerstone of the Italian scene with countless gigs across Europe. It’s a peculiar blend of pride and a slice of healthy melancholy that fills me when I reflect on our path.

Daniele: I wholeheartedly echo Pasquale’s sentiments. The early days were filled with unforgettable moments, both within the band and in the thriving scene that birthed us, and this feeling is still alive.

Francesco: I joined Date At Midnight in 2012, after their initial works, and I was elated to receive their call, having been an early supporter. It felt like coming home, and I immediately sought to contribute, which I believe is evident in the evolution of our drumming from the early works to “Songs To Fall And Forget” and beyond. The camaraderie we share, especially backstage, after shows, and during our travels, are my most cherished memories.

Nunzio: Though I joined just a few months ago, I’ve known Date At Midnight for years and even shared the stage with them with some of my previous projects. Playing with them is a source of immense pride, and our first gig together in Budapest last July is a memory I will treasure forever. I truly look forward to what will come next, from every point of view!

Q: Why are there always years between each album release? Is it challenging to win back fans after such breaks? What keeps you busy when you’re not making music?

Daniele: Balancing Date At Midnight with our daily lives can be challenging and, since we care a lot about our live performances, when we have to play live we prefer to focus on the setlist rather than composing. After the very good outcome of “Songs To Fall And Forget” in 2016, the plan was to release a quick follow-up EP, which we did with “Reverse Resilience” in 2018, and then a new album. However, COVID disrupted our plans, and furthermore our original guitarist’s departure forced us to start again almost from scratch. These challenges have certainly impacted our timing, but the important thing is that we are now here, alive, kicking, and with a great new album out!

Pasquale: Each album has its own unique story. We’ve always been a band that thrives in the rehearsal room, sharing every step of the creative process. Especially in the last years external factors like lineup changes, personal commitments, and the pandemic have all played a role. Fortunately, we have a loyal and patient fan base that continues to grow with each release, and that’s truly heartening.

Francesco: My two daughters and my day job keep me busy, but I relish every moment in the rehearsal room. The creative phase is very exciting, and we take our time composing, recording, and mixing. Our fans seem to appreciate this approach, and that makes it all worthwhile.

Q: Tell us more about your latest work, “Fading Into This Grace.” What is the album about, and what influenced its composition? How did it all come together?

Pasquale: “Fading Into This Grace” is our most complex work, with layers of sound, extensive use of synthesizers, and deeply introspective lyrics. From the bass guitar perspective, we aimed for a prominent sound that also contributes melodically, in true Post-Punk and Dark-Wave tradition. The album delves into obsessions, impulses, disillusions, and emotions, addressing unresolved questions in a symbolist and visionary manner. It explores the inexorable flow of time, the need and urgency of losing yourself in a state of grace that probably cannot ever come, the illusory yet essential nature of love, and the societal traps of pre-packaged definitions, all while clinging to the vital, albeit potentially tricky, flame of hope.

Daniele: The new album features nine tracks, each distinct, reflecting our eclectic approach. We blend Gothic-Rock, Post-Punk, Dark-Wave, Death-Rock, and Cold-Wave without boundaries. The vocals are varied and expressive, with moments of climax, liberation, and desperation. I aimed for a more spontaneous vocal approach, and I believe we achieved that. To me, the entire work is inspired by love and sorrow.

Q: Who handles what when it comes to the writing and production process? And what contributes to the chemistry among you?

Daniele: Our music has evolved with our lives, from a more whimsical youth to a view of things characterized by greater focus and less haste. This evolution is mirrored in our collaborative songwriting process, where we share ideas and feelings from the early composition stage to the final result. It’s a magical synergy that has persisted for years, fueled by our diverse musical tastes and immense passion, as we all listen to different kind of music and so each one tries to bring its own and evolving background when it comes to write a new song.

Pasquale: The writing process is truly collaborative, with each member contributing to their own instrument and providing feedback on others; this is my favorite part of the job. While the rehearsal room remains central, I must say that for “Fading Into This Grace” there has been a bit more ‘home based’ contribution, as some songs such as “No Contact/Red Zone”, “Carmilla”, “The Privation” have been fully composed and recorded in a rough demo version by myself and then finetuned all together.

In production, we closely collaborate with our sound engineer, trying always to experiment with something new; for our last works I particularly take care of this step. I want to make a special mention concerning the mastering of “Fading Into This Grace” since it has been made by William Faith in his studio in Chicago: he did it great, providing the best listening experience. Apart from the technical aspects, it has been a true honor for us to have him onboard for this release.

Q: How do you feel about the album now that it’s out? Are there any aspects you think could have been done better or differently? What do you particularly like about the songs?

Nunzio: As someone who wasn’t part of the recording process, I approached the album as a listener. I was immediately struck by its complexity and modern sound. I particularly enjoyed songs like “No Contact/Red Zone” and “The Line”, but each song has its own personality and style, keeping me engaged throughout.

Francesco: I’m very satisfied with the result. While there may always be minor details I’d tweak upon re-listening, songs like “Another Grace” and “Rendez-Vous” are so powerful that I was eager to record and release them. “Carmilla,” dedicated to my first daughter, is a particular point of pride for me, and an act of love from the whole band.

Daniele: I believe this is our best album yet, and I still enjoy listening to it, which I didn’t make so often in the past. Occasionally, I notice small things that could have been recorded differently, but it often depends on my mood. The album’s layered nature means each listening experience is unique.

Pasquale: The album has received numerous reviews, and a common sentiment is that it feels too short, leaving listeners wanting more. I think that this is the highest praise it could receive.

Q: I noticed you have some live performances coming up. What can fans expect from your new live shows, and how do you prepare for a performance?

Francesco: We’re thrilled to be back on the road. Live shows are a chance to connect with fans and fellow artists. Over the years we have connected with lot of people and with many other bands whose mutual support still endures. We’re training hard to deliver the best performances, and fans can expect an atmosphere and energy that have always been integral to our shows.

Pasquale: To prepare, we rehearse as much as possible and then we live the moment, maybe having a couple of drinks before going on stage… We’ve also revamped our visuals to align with the mood of the songs. Our “Into This Grace Tour” has begun, and we’re pleased with the live renditions of the new songs. Fans can look forward to a mix of new tracks and beloved classics, including some we haven’t performed in years.

Nunzio: I look forward to be on stage again, fully integrating myself in Date At Midnight’s interplay, which makes our shows unforgettable for everyone.

Daniele: I won’t spoil the surprise. I invite everyone to attend our shows and experience it, so… check our calendar and get ready for your Date At Midnight!

Watch the clip from “Another Grace”

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

Berlin’s avant-garde industrial band Lolita Terrorist Sounds has unveiled a new collaborative art-video with Berlin Wall artist Kiddy Citny. The collaboration, an art-video for the track “Living-in-glory”, merges Citny’s live painting performance with the experimental sound of the band.

Kiddy Citny, whose 3.6-meter-high painted heads on the Berlin Wall became iconic in 1985, joined forces with the band after a chance meeting in a Berlin train station last year. “This video is the visual translation of our most experimental track,” said band leader Maurizio Vitale. “It was captured in Kiddy’s Berlin atelier.”

“Living-in-glory” is the closing track from the debut album “St. Lola”. It combines meditative drone music, ASMR, and industrial sounds, recorded in an unconventional studio on Dresdener Strasse, once part of the Berlin Wall strip. Field recordings from the former East German secret service building also feature prominently in the piece.

Kiddy Citny expressed his admiration for the collaboration: “Creating this piece with Lolita Terrorist Sounds was an inspiring process. The sound and historical context gave my painting an exceptional energy.”

You can view the art-video below.

Lolita Terrorist Sounds / Kiddy Citny European Tour

Following this collaboration, Lolita Terrorist Sounds will embark on a European tour, performing in Berlin, Poznań, Warsaw, and Prague this October. Joining the line-up is drummer Kian Kiesling.

• Berlin: 22.10 – Hinterraum
• Poznań: 23.10 – CK Nowe Amore
• Warsaw: 24.10 – Chmury
• Prague: 29.10 – Café V lese

About Lolita Terrorist Sounds and Kiddy Citny

Founded by Maurizio Vitale, Lolita Terrorist Sounds has collaborated with members of bands like Einstürzende Neubauten, Iggy Pop, and PJ Harvey. The band’s provocative name stems from a fusion of Nabokov’s Lolita and the use of cut-up techniques inspired by William Burroughs. A debut album “St. Lola” was released in 2023.

Kiddy Citny is a German artist best known for his iconic paintings on the Berlin Wall in 1985. His work, characterized by his 3.6-meter-high heads, became world-famous through tourist photos and postcards. Citny’s art is part of collections at institutions like MoMA in New York.

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

Belgian artist Orphan S.C. Wallace returns with a new release from his sonic alter-ego, The Orphanage Committee. This latest opus is a collaboration with EE Tapes, who are once again behind the release. The album features six extended tracks that spotlight the familiar genres of the project. While the music has a Soundtrack-appeal, it remains somewhat Abstract and highly Experimental. The pervasive organ sounds create a unique atmosphere that feels both sacred and mysterious. Occasionally, experimental guitar elements emerge, blending seamlessly with the repetitive loops. This project continues to impress me, evoking the sense of an imaginary Soundtrack. It’s music best suited for immersive listening experiences. (Rate:7½).

Listen to “Continuity XI – Where The Second Meets The Call”:

About The Orphanage Committee

The Orphanage Committee is the experimental project of Belgian artist Orphan S.C. Wallace, who treats the committee as an abstract entity whose different faces surface across the styles he explores. The project works closely with the Belgian label EE Tapes, which released “Continuities Vol. I” in 2022, “The Seven Sacraments” in 2023, and “Sol In Solus” in 2023.

“Continuities Vol. II – In The Context Of A Room”, released on May 1, 2024 as a limited CD and digital album with mastering and design by Jan Van den Broeke, continues that series and is the release reviewed here.

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

Haujobb has released its newest album “The Machine in the Ghost”, the tenth full-length album by this German electro-industrial duo. The title seems a reference to the The Police album “Ghost in the Machine”. The Leipzig, Germany-based duo decided to use fieldwork recordings this time to create the overall sounds for this album.

Additionally, “The Machine in the Ghost”, features a guest appearance by Emese Árvai-Illés from the Hungarian duo Black Nail Cabaret. “The Machine in the Ghost,” is available from Metropolis Records in North America and Dependent Records in Europe on all digital and streaming platforms along with a CD version.

About Haujobb

Haujobb is a German electronic music project formed in 1993 by Daniel Myer and Dejan Samardzic. Initially influenced by the industrial sounds of the early ’90s, Haujobb became known for their fusion of electro-industrial and EBM (Electronic Body Music) with more experimental electronic genres like IDM, ambient, and techno.

The band’s debut album, “Homes & Gardens”, was released in 1993, showcasing their industrial roots. However, their sound began to evolve rapidly, and by their second album, “Freeze Frame Reality” (1995), Haujobb embraced a more complex and layered approach to electronic music, moving away from traditional industrial structures.

Their breakthrough album, “Solutions for a Small Planet” (1996), marked a significant departure from the harshness of industrial music, incorporating elements of drum and bass, techno, and glitch. This release established Haujobb as one of the most innovative acts in the electro-industrial scene.

Over the years, Haujobb has continued to explore different sonic territories, with albums like “Polarity” (2001), “Vertical Theory” (2003), and “New World March” (2011). Their work has been characterized by its willingness to push boundaries, blending different subgenres of electronic music, while maintaining a dark, futuristic aesthetic.

Daniel Myer, in particular, has been active in various other projects, including Architect, Destroid, and Covenant, further solidifying his role in the electronic music community.

Bernard - Side-Line Staff

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

side-line.com

Out now via Alfa Matrix – and exclusively first via Bandcamp – is “Drowning one”, the brand new EP from Australia’s techno electro act Avarice In Audio. “Drowning one” is a new single from their forthcoming new album “Tear Heaven In Half” and is the follow-up EP/single to “Wicked Die Alone”.

In addition to the original track, four remixes have been added. Angel Of Violence remixes the track into a more cinematic sounding track, while Viscera Drip bring a classic terror EBM flavour to the song.Other remixes are delivered by Sinthetik Messiah and Dirty K who both experiment with more breakbeat style tracks.

Here is the previous single/EP “Wicked Die Alone” which was released in February.

About Avarice In Audio

Avarice In Audio is an Australian-based dark electro and futurepop band formed in 2013. The band was initially founded by Gerry Hawkins (known for his work with Cryogenic Echelon), Jade Pegg (also known as Acidtrixx), and Lawrie Bayldon (Studio-X). Their music blends modern dark electronic elements with melancholic lyrics, often characterized by pulsating basslines and aggressive beats.

Avarice In Audio quickly gained attention in the dark electronic scene with their debut EP, “Frostbite” (2014), followed by several full-length albums, including:

• Shine & Burn (2014)
• Apollo & Dionysus (2017)
• From the Rib of Adam (2020)
• Our Idols Are Filth (2021)

Their music often explores themes of societal decay, introspection, and human emotion, with a powerful, industrial-inspired sound. Avarice In Audio is signed to the prominent Belgian label Alfa Matrix, which has been instrumental in promoting their work internationally.

Avarice In Audio’s music continues to evolve, as demonstrated by their latest singles and EPs like “War Tanz” (2023) and “Drowning One” (2024).

Side-Line also covered Avarice In Audio’s ‘Tear Heaven In Half’.

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

Eighteen years after their last album, singer Sina Hübner and Stefan Böhm (aka Nullvektor) make a long-awaited and unexpected return with this new release. Both artists were also part of the legendary Pzychobitch, but S.I.N.A. has always leaned more towards the Experimental side, particularly within the Industrial genre. This latest work feels more like a mini-album, featuring 5 new tracks and 3 remixes. The influences are diverse, blending hard-hitting Industrial elements with touches of EBM and even venturing into idiosyncratic Ambient territory. Both Sina and Stefan share vocal duties, adding extra layers of diversity and emotion. The remixes, contributed by Monolith (my personal favorite), Ah Cama-Sotz, and Cervello Elettronico, bring additional depth to the album. While not everything sounds as it once did, S.I.N.A.’s return is reassuring in itself. (Rate:7).

Listen to “Nicht Ich”:

About S.I.N.A.

S.I.N.A. is a German project formed around 2000 by Sina Hübner and Stefan Böhm, who also records as Nullvektor. The pair previously worked together in the mid-1990s project PzychoZone alongside Frank Klatt; after Klatt left, Hübner and Böhm continued as Pzychobitch before starting S.I.N.A. with a harder, more experimental industrial direction. “Alte Liebe…”, released via Hands in April 2024, is the project’s first album in eighteen years.

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

(Photo by E Gabriel Edvy) Out on September 27 via Metropolis Records is the brand new PIG EP “Feast Of Agony”. The EP – available now in pre-order – holds six songs and encounters with the “Lord of Lard”, in which he “brings word to the wordless and truth to the truthless”.

The EP kicks off with “Heroin for the Damned”, a song co-written with Watts’ collaborator Jim Davies (a longtime member of Pitchshifter). The accompanying tracks are “Fallout“, “Comedown”, “Hand of Mercy”, “The Ratchet Effect” and “Baptise Bless & Bleed” (in a remix by Jim Davies).

“Feast of Agony” follows the recent remastered reissue of PIG’s landmark 1995 album “Sinsation” and the 2024 studio album “Red Room”, both of which are available via Metropolis Records.

This Autumn PIG will playing live during the Heroin for the Damned tour across North America.

About PIG

PIG is an industrial music project led by British musician Raymond Watts, who is also known for his contributions to the pioneering industrial band KMFDM. Formed in the late 1980s, PIG blends aggressive, distorted electronic sounds with dark, often satirical lyrics. Watts is the primary creative force behind the project, and over the years, he has collaborated with various musicians, including members of KMFDM, Einstürzende Neubauten, and Nine Inch Nails.

The band’s early work was heavily influenced by the industrial scene of the 1990s, with albums like “A Poke in the Eye… with a Sharp Stick” (1988) and “Praise the Lard” (1991) establishing PIG’s signature mix of gritty electronics and harsh, guitar-driven beats. Despite being less commercially prominent than some of his contemporaries, PIG developed a cult following for its theatrical performances and provocative style.

In the 2000s, after a period of hiatus, Watts resumed recording and touring under the PIG name. Albums like “The Gospel” (2016) and “Risen” (2018) brought fresh energy to the project, with Watts continuing to explore themes of sin, salvation, and decay, often framed in a darkly humorous context.

PIG’s music incorporates elements of industrial rock, post-punk, and electronic body music (EBM), creating a sound that is both abrasive and experimental.

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

Today History of Guns present the short film “Drug Castle” which is also accompanied by the companion 3-track remix single, “Last Train to Drug Castle”, featuring remixes and alternate versions of the single tracks. The video follows the releases videos for the tracks “No Longer Earthbound”, “When You Don’t Matter”, and “What’s Buried (Will Rise)”.

The short film is made for one of the more experimental parts of their latest album, “Half Light”, in which they take their instruments to the beach, and experiment with different audio and emotional frequencies, “in an effort to contact beings from another world.”

Filmed, directed and edited by Howard Gardner, the short film “Drug Castle” comprises two tracks from History of Guns’ eighth album, “Half Light”: namely, “Drug Castle” and “Survive the Night”.

Producer, co-writer and keyboard player/programmer Max Rael says: “Drug Castle was the nickname given to a facility in England where they used to conduct what were often unethical, experimental, psychological procedures during the ‘60s and ‘70s. No one’s quite sure of its exact location, other than it was near the sea, and some of the sessions happened out on the beach. It was originally built for use in World War II, but no one seems to know what its original purpose was. Different psychologists and psychiatrists could effectively book it out, and then take patients or unwitting volunteers down there for however long, and do whatever they liked. There are some good stories from people who received really helpful treatment there, but it’s probably more famous for some of the awful horror stories and reports of deaths and extreme abuse. Apparently, there was very liberal use of experimental drugs and techniques, hence the nickname. One of the experimental treatments was called Frequency Therapy which involved using sonic frequencies to match or harmonise with emotional frequencies, which would cause a third frequency to be created, which caused some quite profound healing and bizarre experiences.”

“I first told Howard about the sci-fi plot I had for the album, one night after a few drinks when we were at Infest together a good few years ago. He’s been a solid, trusted and much-loved friend and collaborator on a range of projects over the years, so this seemed a perfect chance to continue our collaboration.”

Max Rael and filmmaker Howard Gardner are also collaborators in London-based experimental electronic trio, Decommissioned Forests. Gardner describes the process behind the Drug Castle film: “I listened to the tracks for the first time in a darkened room and they absolutely blew me away, so bleak and powerful was the imagery. I imagined the band all sitting around a campfire at night near the shore, playing the song while being plagued by demonic hallucinations or visions. I described this impression to the band, and they absolutely loved it, so we went from there. I’m a huge fan of David Lynch and I often solve filmmaking problems by trying to imagine what he might do. This was certainly the case with ‘Drug Castle’. Owing to the song’s length I imagined a slow-burning and ambiguous narrative with harsh lighting thrown by the fire, with slow edits and dissolves. For some of the more way-out visuals I took inspiration from Lucio Fulci (the decayed corpse-like figure) and The KLF (the trio of handmaidens sitting on the rocks). We shot it in a single evening in June, down on the Kent coast, and the band were very good-natured and cooperative the whole way – even when I asked Del to lie in the freezing cold sea and be splattered with fake blood. Max got an antique oscilloscope to work in the middle of a beach without any mains power, for which I think he deserves some sort of commendation!.”

Guitarist and co-writer, Caden Clarkson, who is both the newest addition to the group in its current iteration, and Rael’s son, says of both the recording and the video: “On ‘Drug Castle’ I had to take a different approach to what I’d normally do. I used the guitar as less of an instrument, and more of a means to create rich and somewhat haunting textures and soundscapes. I also used my Theremin to add the click beeping sounds and higher frequencies. The video recording was not at all what I had expected. When I read the script saying that Del would have to lay partially in the sea, I thought there would be no chance he’d do it, but he jumped right in and did such an amazing job of it, it was genuinely impressive to watch.”

Vocalist and co-writer, Del Alien adds: “I had not seen Howard in years! It was great to see him again. He had the video all planned out way before we got there. The last bit of the film was shot first, as it had to be in daylight, but I had to get on the beach with the freezing cold waves slightly coming up – sadly for me, I hate the cold! But to the others, great laughter was had. We misjudged the tide at one point, and I got frigging washed over! Luckily, Howard could see how bloody cold I was, and did that bit of the filming as fast as he could. And I must say, I think the end result of a very long and challenging day paid off.”

About History of Guns

Formed in Cheshunt, Hertfordshire in 1996, the duo became frontrunners of the Wasp Factory / FuturePunk scene of the early 2000s. The band went on hiatus in 2012, returning with 2022’s album “Forever Dying In Your Eyes” before setting about finishing an electronic project they’d begun in 2008 – resulting in “Half Light”.

The starting point for this album lays in Robert Anton Wilson’s words “The future is up for grabs; it belongs to any and all who will take the risk and accept the responsibility of consciously creating the future they want.” The release contains elements of a story currently being written as a novel by Max Rael, with these 10 tracks exploring inner and outer space.

Bernard - Side-Line Staff

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

side-line.com

(Photo by David Kruschke) San Francisco-based artist Aursjoen presents her debut single “Nytår”. The new single comes complemented by a video created by filmmaker David Kruschke.

Aursjoen is the project of Ria Aursjoen, who is vocalist and keyboardist for the post-punk outfit Octavian Winters, who released their debut EP “The Line or Curve” in 2023, followed by their 2024 “Nebula / Velveteen” single with electronic-industrial legend Mark Pistel (Meat Beat Manifesto, Consolidated). A classically-trained singer and multi-instrumentalist, her musical past is steeped in genres ranging from Celtic and Nordic folk to darkwave and progressive metal.

Her debut “Strand” EP is slated for release on November 15 via Stratis Capta Records and was produced, recorded, mixed and mastered by William Faith (The Bellwether Syndicate, Faith and the Muse, Mephisto Waltz, Christian Death) at 13 Studio in Chicago. For this material Aursjoen is joined by Octavian Winters bandmate Stephan Bryan Salit contributing dynamic and atmospheric guitars on two songs.

This first single “Nytår”, which means “New Year” in Danish, was written on New Year’s Eve of 2022. Ria Aursjoen says this about the origins of “Nytår”: “This song started when I was experimenting with a slow-moving string arrangement that captured my imagination and made me think of walking down a dark road in winter, against the wind. The more I saw the image in my mind, the more it reminded me of Denmark, where I spent years as a child. It especially reminded me of how the world looked and felt when I would go out with my ice skates in the winter twilight to skate on the pond near my house at the outskirts of Copenhagen, so I wrote the lyrics in Danish. Midwinter in Denmark is very dark and very cold with short days. You spend time dreaming of the spring returning, waiting for it. My memories of that time as well as the language itself transported me back to those feelings and guided the way the song evolved both lyrically and musically.”

Aursjoen comes from a familial line of musicians, her grandmother Lillian an opera singer and grandfather Morris a singer and self-taught multi-instrumentalist. Having taught herself to play piano by ear at age three, she considers it her instrument of choice for songwriting; “I have been playing for as long as I remember, so piano feels like an extension of myself, a native language if you like.”

Nevertheless it was singing that unlocked something even more powerful within her: “The neighbours would complain about me singing loudly outside their windows while I waited for the school bus. They told my mother they didn’t know what I could possibly have to sing about that early in the morning. Fortunately, my mother never took the complaints seriously and never tried to discourage me. She has been my biggest supporter, and a great friend, and I wouldn’t be here today as an artist if not for her.”

As someone who has synesthesia, a rare neurodiverse condition in which senses overlap, Aursjoen experiences sound as visual structures, colours and textures. “I avoided regular music notation as much as I could. I coaxed my mother (a great sight reader) into playing my piano homework. Then I’d listen and learn it by ear – eventually my piano teacher discovered I had been faking note reading and I had to buckle down and really learn it… I am glad I did, but I still find it clunky and unintuitive, and still write music in my personal system of notation.”

As of today September 10, “Nytår” is available everywhere digitally, including Bandcamp. The full “Strand” album, out November 15 via Stratis Capta Records, is already available for pre-order.

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

Schröttersburg is a Polish music project that was originally set up in 2008. The band kept experimenting with new influences and music styles, resulting in a lot of albums, but at the same time more explicit Industrial influences mixed with Trance/Tribal elements. Their last album “Kosmogonia” was released at the end of 2023 on Zoharum -and also on DIY Kolo, Bat Cave and N.I.C. Records, is a continuation of the previous work. But above all it is a feast for the ears for all fans of early Industrial music and it is not without reason that names like SPK and Test Department came to mind. I talked about it all with 2 members of the band: Krzysiek and Michał. (Courtesy by Inferno Sound Diaries)

Q: Schröttersburg has been around for a few years now. How did the band saw the light of day and what brought you together in terms of music, influences and life experiences?

Krzysiek: The band as a musical creation came into being around 2008, but in its current form since 2010. The starting point was Punk/Post-Punk, but over time there was a desire to further explore and exploit other musical regions. Hence, we have evolved from Punk roots (“Krew”), through Post-Punk melancholy (“Ciało”, “Melancholia”), fascination with the orient and Industrial (“Om Shanti Om”) to Tribal rhythms (“Kosmogonia”). Everyone listens to a variety of music. The guys in the rhythm session tend to be fascinated by heavier sounds, while Michał seems to listen to everything from Free-Jazz, Experimental and Electronic music to Black-Metal or Industrial.

For me personally, the musical form/style doesn’t matter that much. I treat music as a form of expression of what lies somewhere under my skin, and which is difficult to express through words. My experience of battling with inner demons certainly has a significant impact on the sounds I generate. Powerlessness, hopelessness, emptiness, inner screaming and anxiety are certainly hidden between the words and sounds in our songs. That is why our songs have a rather Trance-like, Psychedelic and neurotic structure.

Michał: Actually, Schröttersburg has been around for more than a decade. We were brought together by the desire to play, to express ourselves in a sonic language, to experience sonic transcendence during concerts, to create in general. At the very beginning we were mainly inspired by music from the 80s, New-Wave, Cold-Wave, Post-Punk, but Noise-Rock, Industrial, Kraut-Rock, Dub were also important, which later became evident on our next albums.

Q: I understand that the band’s name refers to your hometown, Plock, which was renamed Schröttersburg by the Germans during World War II. This seems somewhat controversial. Why did you choose this name and is there any deeper meaning behind it?

Krzysiek: For me, as a resident of Plock, the very name Schröttersburg has a pejorative connotation. When I hear this name, I sense anxiety, pain, hopelessness and suffering, and I imagine what the inhabitants of our town must have felt when they had to live at that terrible moment in history. I would like to remind you that 30% of the inhabitants of Plock were thrown out of their homes, deported to concentration camps and mostly murdered there. Many of our town inhabitants are unaware of the gehenna which the people of Płock endured during the years of occupation. By naming the band under this name, we wanted to pay tribute to those inhabitants who were not able to survive the end of the war, and somehow make the locals aware that apart from the good periods in the history of our city, there were also those, about which there is silence.

Q: Your albums show a variety of influences, with a noticeable Industrial feel, especially on the new release “Kosmogonia”. How do you assess the musical evolution of Schröttersburg, especially on the latest album?

Michal: We set ourselves from the very beginning to draw from different sources and combine musical genres. We have never been able to stand in one place and lock ourselves into ‘one sound’. Maybe it’s because we listen to a lot of different sounds, we try to get to know new artists, new records. To find something interesting in the world of music, both old and modern. I see our evolution as developing and going even further, expanding on what we started with breaking down our boundaries that we sometimes set for ourselves.

Q: Can you talk more about the origins of “Kosmogonia”? What is the album about and what stages did you go through to create it?

Michal: When we started working on “Kosmogonia” a certain common thing emerged that set the tone for this album. It was the rhythm. A Tribal, Trance-like, blunt rhythm that gives the hallmarks of urban shamanism. When creating this album, we thought of something primal and raw, something that could take us back to the place of the Beginning, the birthplace of… everything.

Q: How do you see the evolution of Schröttersburg over the years and what elements from your earlier work are still present in “Kosmogonia”? Do you think that the latest album is always the best?

Michal: I don’t think so, in fact I try not to go back to the past. I’m interested in creating rather than analyzing. The evolution of Schröttersburg is of course audible. The Trance and mixing of different musical currents is still present here. Anyway, we never assumed beforehand that a particular album should sound a certain way. It always came from interaction, improvisation, new sound sources, new instruments and how we influence each other when playing.

Q: How do you take your music from the studio to the stage and how would you describe Schröttersburg as a live band?

Krzysiek: In our case, working in the studio is similar to playing live gigs. We record on a set basis, so we use exactly the same instrumentation as in a live show. We don’t play around with recording separate tracks and adding instruments one by one, because we think it sounds artificial and lacks the authenticity and energy we produce when playing together. Only the vocals are recorded at the very end, so that Michal can concentrate fully on his instrument.

Michal: During the recording process we use a lot of instruments, machines, scrap metal and effects. We take all of this with us to the concerts in order to accurately capture the sense of the Schröttersburg sound. It wasn’t easy, but now we have mastered it. For me, every concert is about going into a trance. Entering an inner or transcendental dimension and passing it on to the audience. Our live performances have a beginning and an end, they are concise and blunt. Even when we sound rather atonal or noisy, everything has a structure and a meaning.

Inferno Sound Diaries

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

www.side-line.com

Out via Cold Spring is the album “Broken Allures” by Jac Berrocal (Nurse With Wound collaborator), David Fenech and Vincent Epplay. The album also features Cosey Fanni Tutti and Jah Wobble. You may expect a blend between industrial, experimental, avantgarde, ethno-ambient and dark jazz.

“Broken Allures” is the fifth LP from the trio where they continue their unique recording style with a musique concrète approach to mixing.

Cosey Fanni Tutti (Throbbing Gristle, Chris & Cosey) contributes vocals, cornet and electric guitar. She has also written lyrics for two tracks on the album and worked on the instrumental track “Viva la Hacienda”, which, in her own words, recalls her time recording with Throbbing Gristle.

Jah Wobble (founding member of Public Image Limited, and collaborator with Brian Eno, Björk, Bill Laswell, Primal Scream, Sinéad O’Connor and countless others) plays bass on one track.

Check out the video for “Outspoken Caress”.

The release is available in 3 formats: CD in a matt-laminate flood-printed digipak, a regular black vinyl edition in a matt-laminate sleeve with full-colour insert, and limited edition of 150 copies on transparent yellow vinyl.

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

Michael Belletz, who is best known for his work as Mnemonic, has already released his fifth opus from his so-called ‘Ambient’ project Architrav. I believe that this latest work goes much further than just Ambient; it is an impressive mixture of influences and styles that ultimately form a fairly compact whole. It is not only Ambient but also Cinematic; but there are also explicit Industrial elements and even a very surprising song that sounds like a mix between Ambient and Gothic. Ultimately, there is also a Neo-Classic touch towards the end. Belletz does not set any boundaries for himself, but experiments wildly. The surprising thing is that it all still sounds good, but is especially fascinating because of countless details and overwhelming arrangements plus spooky vocals. This work sounds like an imaginary Industrial requiem that I can strongly recommend. (Rate:8).

Listen to “Werden Und Vergehen”:

About Architrav

Architrav is the ambient-oriented project of German musician Michael Belletz, who is also known for Mnemonic and Sühne Mensch. Architrav’s albums have appeared on Ant-Zen and Halbsicht Records, including “Panophobie” in 2021 and “Arctic Museum”. “Welk” is Belletz’s fifth album under the Architrav name.

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

MRT is an experimental endeavor by miKKa (founder of dreDDup), and began in 2007, focusing on dreams, noises, and otherworldly themes. The project is known for its atmospheric, wild, and experimental soundscapes, having produced 10 albums and 3 extended play albums. MRT also composes music for films and theater.

The prolific Serbian industrial project has just released its eleventh album, titled “Kerrang”. The album, which began production during the 2020 pandemic, showcases 13 new tracks. Part of the album’s composition was specifically created for the documentary “Novi Sad Remembrance”, directed by Aleksandar Reljić, which focuses on the historical raid on Novi Sad.

The Novi Sad Raid was a horrific event that took place during World War II in January 1942. Hungarian forces, who were occupying parts of Yugoslavia at the time, conducted a systematic massacre in the city of Novi Sad. Over the course of several days, thousands of civilians, primarily Serbs, Jews, and Romani people, were rounded up and executed along the Danube River.

The rest of the album continue the sonic themes MRT explored in their previous album, “Urwell”. Recorded entirely at DURU studio in Novi Sad, the band plans to promote the album soon, including a cassette release. MRT has had limited live performances this year but is gearing up to promote “Kerrang” with live shows.

You can listen to and purchase the album through the MRT Bandcamp page.

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

I wasn’t initially drawn to the work of this American artist. This album, with its 6 tracks, is challenging to categorize by style. It leans heavily into the Experimental, infused with Minimal-Electro sounds and intricate arrangements. Slow rhythms and dark atmospheres envelop the compositions, where Brian Tibbs also ventures into vocal experimentation. There’s a faint echo of Haujobb in the distance. This is an intelligent and complex body of work that may resonate with only a select few, but it ultimately won me over. (Rating: 7½)

Listen to “Feel It”:

About Brian Tibbs

Brian Tibbs is an American self-released artist working in Experimental and Minimal-Electro. He released the album “Weimar” on April 25, 2023, followed by a remastered edition of “At The Edge”, featuring the track “Feel It”, on July 18, 2024.

Inferno Sound Diaries

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

www.side-line.com

Out on August 30th via Progress Productions is the brand new single from Briar Moth´s alias the US-based darkwave project Vexagon. The track is a new remix of the track “Eyes Without A Face” by JK Flesh aka Justin Broadrick from Godflesh (and a founding member of Napalm Death).

The original version of “Eyes Without A Face” is taken of Vexagon´s album “A New Flesh Experience” released in January 2024 also under Progress Productions.

Here’s the original version.

Justin Broadrick has been very active recently with for instance a new Godflesh album titled “Purge” (June 2023), a series of U.S. dates this year, and a new album for his electronic project JK Flesh, ” Sewer Bait”.

While Godflesh focuses on industrial metal, JK Flesh allows Broadrick to explore darker, more experimental electronic territories, often blending elements of techno, dub, and industrial music.

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

French “sound architect” Hervé Isar first released this album in 1997 as a tribute to Hungarian artist Victor Vasarely. In this work, Isar ingeniously translated Vasarely’s vibrant colors into sounds, creating an auditory ode to the artist. Notably, 1997 was also the year Vasarely passed away. The album has since been remastered and polished, and it’s remarkable how these analog sounds, despite their age, continue to feel fresh and innovative. The music is experimental yet accessible, with its slow rhythms and refined, astral tones and bleeps. Above all, this album is an intelligent and sophisticated creation that was far ahead of its time and perhaps resonates even more strongly today. In my view, it’s a masterful piece of work. (Rate:8½).

Listen to “Anfall”:

About Novocibirsk

Novocibirsk is the project of French musician Hervé Isar, built around a home-studio network of synthesizers and analog sequencers assembled between 1982 and 1993. Its debut album, “Excerpts And Experiments”, was released in 1997 as the first-ever release on the French label BOREDOMproduct, and remained Novocibirsk’s only CD release for more than two decades.

BOREDOMproduct later launched the subdivision productionB to reactivate Novocibirsk, releasing archival material on CD for the first time with “Télévision 1945 (Volume I)” and its follow-up, “Télévision 1945 (Volume II)”. “The Vasarely Project”, recorded live at the Vasarely Foundation in Aix-en-Provence in September 1993 and drawn from Novocibirsk’s cassette archives, followed on productionB/BOREDOMproduct in 2024.

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

In the often unpredictable world of music, collaborations can either blend seamlessly or clash in a dissonant display.

With this album, we witness a masterful synergy that captures the essence of summer’s fleeting beauty and endless allure. The album is a journey through soundscapes that feel both familiar and novel, inviting listeners to immerse themselves in an experience that is as evocative as it is technically impressive.

A Fusion of Styles

There have been many amazing musical collaborations over the years, and this is definitely one to note. 

Fanum, known for his meticulous production and genre-bending approach, brings a wealth of experience to the album. His previous works have often danced between the boundaries of electronic, ambient, and experimental music, creating intricate tapestries of sound. In contrast, Ierophania’s contributions are marked by an ethereal quality, often infused with elements of neo-classical and dream pop. The marriage of these distinct styles results in an album that feels expansive yet intimate, a delicate balance that is difficult to achieve but executed flawlessly here.

The opening track, Solstice Reverie, sets the tone for the album with its lush layers of synths and soft, reverberating vocals. It’s a track that feels like the first light of dawn, gentle and full of promise. Fanum’s production is immediately evident, with every sound meticulously placed to create a sense of space and warmth. Ierophania’s voice floats effortlessly above the instrumentation, adding a haunting yet comforting dimension to the track.

Themes of Transience and Nostalgia

As the album progresses, it becomes clear that Escort of Endless Summer is not just a collection of songs but a thematic exploration of time, memory, and the ephemeral nature of summer. Tracks like Ephemeral Rays and Twilight Mirage delve into these ideas with a melancholic undertone. The use of field recordings, such as the distant sound of waves and birdsong, further enhances the album’s connection to nature and the passing of time.

One of the standout tracks, Azure Horizon, perfectly encapsulates the album’s central theme. The song builds gradually, starting with a simple piano motif before expanding into a full-bodied composition that feels both nostalgic and forward-looking. The interplay between Fanum’s rich, textured production and Ierophania’s vocal melodies creates a sense of longing as if reaching for something just out of grasp—a feeling that anyone who has watched the sun set on a summer’s day can relate to.

A Sonic Landscape

The album’s production is nothing short of stunning. Fanum’s attention to detail ensures that each track feels like a carefully constructed world, with layers of sound that reveal themselves upon repeated listens. Ierophania’s contributions, whether through her vocals or her instrumentation, add a human touch to these sonic landscapes, grounding them in emotion.

The closing track, Endless Night, is a fitting conclusion to the album. It feels like the final moments of a long summer day, where the warmth of the sun lingers even as the night begins to take hold. The track is both a farewell and a promise—a reminder that while summer may end, its memories will linger long after.

A Triumphant Collaboration

Escort of Endless Summer is a triumph of collaboration, a testament to what can be achieved when two artists with distinct visions come together. Fanum and Ierophania have created an album that not only captures the essence of summer but also explores deeper themes of time, memory, and the fleeting nature of beauty. It’s an album that demands to be listened to in its entirety, a sonic journey that will resonate with listeners long after the final note fades away.

About Ierophania and Fanum

Ierophania is a Russian industrial and dark-ambient project. Side-Line reviewed the four-part “Book Of Memories” anthology in March 2022, covering material dating from 2005 to 2010 and released through Castle Of Dreams. The final chapter of that anthology, “Jordan,” was introduced as part of the same lineage as the collaborative album with fellow Russian project Fanum, “Escort of Endless Summer.”

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

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

Listen to “Signal Triangulation”:

About Tineidae & Sole Massif

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

Inferno Sound Diaries

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

www.side-line.com

(Photo by Steve Gullick) Sex Swing have just share a new track from their forthcoming album inspired by the region between Myanmar, Thailand and Laos: “Boten, Route 13”. The single is out now via God Unknown Records together with a video.

This is the latest single from their third studio album, “Golden Triangle”, set for release on 4 October 2024 via God Unknown Records. The collective of revered UK underground musicians (comprising members of Earth, Mugstar, The Keep and Jaaw) have also detailed new UK tour dates that start on 5 October with a performance at the God Unknown 10th Anniversary show in London.

Sex Swing frontman Dan Chandler explains that “Boten, Route 13” is about illegal logging with Boten, Route 13 being a road near the Laos Chinese border, a route the smugglers take. “It really is an endless seam of activity,” Chandler explains of the region between Myanmar, Thailand and Laos that inspired the title of their new album.

The album line-up for this release was completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster.

“Golden Triangle” began as a project of creating beats and recording tracks remotely during the pandemic. The ideas were later developed during focused writing sessions at a quiet farm in Oxfordshire. The album was recorded by Stanley Gravett at Holy Mountain Studios in Hackney, mixed by Wayne Adams at Bear Bites Horse, and mastered by James Plotkin. The band also continued their collaboration with artist Alex Bunn, who designed the album cover.

The band will perform on Saturday 5 October at a very special show celebrating 10 years of the label on a lineup that includes Duke Garwood, Rainbow Grave, Sneers, Cassels and more – all taking place at Walthamstow Trades Hall – before embarking on further UK dates in December.

Sex Swing live

• 5 Oct – London, Walthamstow Trades Hall (God Unknown Records 10th Anniversary)
• 13 Dec – Tunbridge Wells, The Sussex Arms
• 14 Dec – Leeds, Headrow House
• 15 Dec – Bristol, The Louisana

About Sex Swing

Sex Swing is an experimental rock band formed in London in 2015. The group is known for a unique sound that blends elements of noise rock, post-punk, and avant-garde jazz. The band comprises Dan Chandler (vocals), Jodie Cox (guitar), Oli Knowles (keyboards), Colin Webster (saxophone), Stuart Bell (drums), and Jason Stoll (bass).

Before forming Sex Swing, the members were involved in various underground acts. They debuted with their self-titled album in 2016.

In 2020, they released their second album, “Type II”. Followed by the remix album “Passovers” (2020, Rocket Recordings). Last year saw the release of the live album “Grade A Peanut Sauce” (2023, Sonic Whip Records).

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

On their second conceptual album “Motorik”, the Swedish minimalistic electro-pop act, ELEKTROKLÄNGE revives the vintage Kraftwerkian “Düsseldorf sound” with their topnotch synth-pop signature style. “Motorik” is a sonic journey inspired by KRAFTWERK’s groundbreaking “Autobahn” album, celebrating its 50th anniversary. Curiosity serves as the compass, and humour as the travel companion, as ELEKTROKLÄNGE explores and enhances the lyrical, musical, and conceptual themes presented in KRAFTWERK’s masterpiece… We hacked ELEKTROKLÄNGE’s “Bordcomputer” to better understand how we should best read/listen to all these tiny well-hidden details…

The release is available as download via Bandcamp and other services plus on CD via the Alfa Matrix webstore.

S. “Motorik” is described as a sonic journey inspired by KRAFTWERK’s “Autobahn” album. What drew you to pay homage to this particular album, and how did it influence the creation of your own conceptual work?

F. “Motorik” is basically a love letter to “Autobahn”, a record that has meant a lot to us. “Autobahn” captured (and still captures) our imagination with its hypnotic rhythms and minimalist aesthetic. The electronic textures, melodic motifs, and thematic depth inspired us to explore similar themes in our own work while also paying homage to the iconic soundscapes and visionary spirit of Kraftwerk.

S. You mention curiosity and humour as key elements of “Motorik.” How do these themes manifest in the album’s lyrics, music, and overall concept?

F. For us, curiosity and humour have served as guiding principles in “Motorik”, shaping the album’s lyrical content, musical compositions and visual presentation. We definitely sprinkle in some lyrical and biographical Easter eggs throughout “Motorik” for attentive listeners. There might be a turn of phrase or a specific sound effect that subtly (and sometimes, perhaps, not so subtly) nods to “Autobahn” and other albums by Kraftwerk. Curiosity and humour add layers of depth and entertainment, encouraging listeners to engage with the music on multiple levels. A little bit like a journey down the autobahn, “Motorik” unfolds with twists and turns, surprises and revelations.

S. The album features tracks with titles like “Abfahrt,” “Bordcomputer,” and “AutoRadio.” Can you elaborate on the narrative or thematic journey these tracks represent as listeners progress through the album?

F. Each track on “Motorik” serves as a chapter in our sonic journey. “Abfahrt” sets the stage for the entire album, acting as the sonic ignition for the journey with its pulsating rhythms and playful melodies, evoking the excitement and anticipation of embarking on a journey. “Bordcomputer” (together with the first track “Vorprogrammierung”) explores the connection between man and machine, echoing the thematic exploration present in much of Kraftwerk’s work. As the album progresses, “Autoradio” introduces upbeat melodies and catchy synth hooks that evoke the sound of classic driving music. Just as drivers tune their car radios to find the perfect soundtrack for their journey, this track perhaps explores the significance of music as a companion on life’s road. Or, the lyrics could just be nods to different song lyrics by Kraftwerk.

S. ELEKTROKLÄNGE is known for reviving the vintage Kraftwerkian “Düsseldorf sound.” How do you balance staying true to this classic style while also incorporating your unique modern twist?

F. You could think of it as an ongoing, and sometimes lively, conversation between the past and the future, where Kraftwerk’s legacy paves the way for Elektroklänge’s sonic exploration. We might reimagine a particular melody, chord progression or rhythmic pattern, but recontextualize it within our own sonic and thematic framework. We believe that our commitment to the “Düsseldorf sound” ensures continuity, while our forays into unexpected sonic territories keep the journey exciting and somewhat relevant. We hope that listeners will appreciate the respectful references and subtle nods to the original while also recognizing the melody-driven retro-future sound that makes “Motorik” distinctly Elektroklänge.

S. “Motorik” aims to envelop listeners like passing landscapes on a journey. Can you describe the creative process behind crafting the repetitive yet evolving motifs and rhythms that define the album?

F. “Autobahn” functions as a cohesive journey and we wanted “Motorik” to achieve a similar effect, but through the lens of Elektroklänge. To achieve this, we developed a narrative arc that explores the themes of “Autobahn” from our perspective. This involved crafting a thematic flow between tracks on the album, ensuring they built upon each other and hopefully offer a fresh interpretation of the original concepts. On a song level, this meant meticulously crafting repetitive motifs and rhythms that would become the building blocks of the album. We built upon these motifs and rhythms, adding layers of texture and variation throughout each track. This involved introducing new sonic elements, such as shimmering synth pads or vintage speech synthesis.

S. With tracks like “Glitzerstrahl” and “Auf der schönen grauen Autobahn,” how do you use musical elements to evoke the imagery and feeling of a car journey?

F. We used a variety of musical elements to evoke the imagery and feeling of a car journey. Both tracks build on a steady, driving beat that creates a sense of forward motion and momentum. We also use different synth textures such as lush, evolving synth pads that represent the vastness of the open road ahead, while arpeggios and simple repeating melodies evoke a sense of hypnotic movement akin to watching the scenery fly by. Perhaps most evident on “Auf der schönen grauen Autobahn”, the compositional structure plays a big part. The track (just like the album itself) is structured to mirror the flow of a car trip by combining faster, more intense sections representing high-speed stretches with sections of a more meditative quality reflecting long stretches of highway.

S. What was the most challenging aspect of creating “Motorik,” and how did you overcome it to ensure the album captured the essence of both ELEKTROKLÄNGE and KRAFTWERK’s influence?

F. We hold immense respect for Kraftwerk’s pioneering work and their influence is undeniable in our music. The most challenging aspect was creating an album that paid tribute while retaining Elektroklänge’s distinct sonic identity. We tried to overcome this by focusing on reinterpreting, not replicating. We meticulously programmed sounds and textures that resonated with “Autobahn’s” core aesthetic while adding different layers that reflected our signature style. This involved a lot of experimentation and refinement to ensure each element served the music without cluttering the sonic space. We used “Autobahn” as a sort of blueprint, employing its themes and motifs to craft new compositions that reflect our own musical perspective. In that sense “Motorik” is a tribute to the past, reimagined for the present.

S. As you celebrate the 50th anniversary of “Autobahn,” what do you hope listeners take away from “Motorik,” and how do you want it to impact their perception of electro-pop and its roots?

F. We haven’t given much consideration to that question. But ultimately, “Motorik” isn’t just an homage; it’s an invitation. We invite listeners to explore the roots of what you call electro-pop and appreciate the enduring influence of these musical pioneers. We hope “Motorik” inspires a renewed appreciation for the power of minimalism and experimentation. We also want listeners to rediscover the potential of the concept album format, where music and ideas intertwine to create a more cohesive experience.

Bernard - Side-Line Staff

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

side-line.com

The Belgian Metroland has been highly active in recent years. Their latest album -“Forum,” directly inspired by the economic forum in Davos, delivers a fresh dose of Robotic/Kraftwerkian-Electro. This album was preceded by the “Industry” EP, a song which offers different versions depending on the format (digital or CD). The other tracks remain the same, showcasing a rich and sometimes complex sound. Ranging from Experimental to Kraftwerk-Pop, this new work has much to offer, including a few standout tracks towards the end of the album. Metroland stays true to its signature sound and influences while embracing unexpected concepts. The Belgian duo continues to be a leading force in Electro-Pop, though they no longer surprise me as much as they did in their early years. (Rate:8).

Listen to “World Economic forum”:

Read the news on ‘Forum’.

About Metroland

Metroland is a Belgian electro-pop duo on Alfa Matrix, working in a Kraftwerk-influenced robotic electro style. The duo released the album “Forum,” inspired by the Davos economic forum, in 2024, and discussed their approach in a Side-Line interview that July, where they described every new release as “a fresh new audio canvas.” Metroland followed “Forum” with the second EP in a four-part series, “Cooperation,” in September 2024, the single “Activity” in February 2025, and the digital EP “Reset” in June 2025, which concluded the “Forum” cycle.

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 cult goth band Rosetta Stone returns this month with a new album on Cleopatra Records on August 30. It is 25 years since the group debuted with the EP “Darkness and Light” after having released five cassette tapes and having developed a loyal following around their hometown Liverpool.

Now they release “Under The Weather”, which will be Rosetta Stone’s seventh studio album, and their first since 2020’s “Cryptology”. The new full length will be out on CD and vinyl.

The band’s new single and video for the title track “Under the Weather” is released today.

About Rosetta Stone

Rosetta Stone emerged from the vibrant musical landscape of the late 1980s in the UK. Founded in 1988 by Porl King and Karl North, the band quickly garnered attention for their dark, atmospheric sound and compelling live performances.

Porl King, the creative force behind Rosetta Stone, played guitar and took on vocal duties, while Karl North handled the bass. The band’s lineup saw various changes over the years, but these two remained the core members during the formative period. Drawing inspiration from gothic pioneers like The Sisters of Mercy and The Mission, Rosetta Stone carved out a niche with their ethereal melodies and brooding lyrics.

Their debut album, “An Eye for the Main Chance”, was released in 1991. Throughout the 1990s, Rosetta Stone continued to evolve, experimenting with electronic elements and darker, more complex compositions. Their subsequent albums, “The Tyranny of Inaction” (1995) and “Chemical Emissions” (1998), reflected this progression.

Despite lineup changes and the shifting musical landscape, Rosetta Stone maintained a dedicated following. After a brief hiatus in the early 2000s, Porl King revived Rosetta Stone, releasing new material and performing live again.

In 2019, the band released “Seems Like Forever”, marking a return to their roots while embracing contemporary production techniques. It was followed by 2020’s “Cryptology”.

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

Maxime De Bollivier is an artist active in various artistic fields, ranging from photography to video making, and also music. Though he has released a substantial body of work, this is his first release on Hymen Records. The album is challenging to define and almost elusive, yet his fusion of styles captivates with its unique and sometimes freaky atmosphere. There is a certain nostalgia in his Glitch and IDM experiments that personally resonate more with me than pure free-style. Additionally, the album features subdued, Cinematic experiments primarily on piano. Maxime De Bollivier makes no compromises, following his instincts to create what I would call ‘sound anarchy,’ which I thoroughly enjoy. (Rating: 8)

Listen to “Departure”:

About Maxime De Bollivier

Maxime De Bollivier is an artist working across photography, video, and music, fusing Glitch, IDM, and cinematic piano experiments. “No Rules For Monster,” released on digital and vinyl formats, is his first release on Hymen Records after a substantial existing body of work.

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

Data Void emerged from the collaborative efforts of Don Gordon (Numb, Halo_Gen) and James Mendez (Jihad ao). This year, they released their debut album, “Strategies Of Dissent,” on Metropolis Records. The songs feature a Dark-Electro and EBM sound, yet there’s an overwhelming Cinematic vibe running through the work. It is a remarkable opus, and I had the opportunity to connect with Don and James, who revealed many details about their work and album. (Courtesy by Inferno Sound Diaries)

Q: The two of you have been in the music industry for a long time, but what has brought you together, and what has led to the origins of Data Void?”?

JM: The very beginnings of the project initially began back in June of 2020, where I initiated the idea of collaborating on a song to see how things would progress. In response, Don shared some early ideas that which evolved into the track “Seven Seconds”. The idea of collaborating on music together was something that came up after many different discussions we had (both music / non-music related) throughout the approximate year and half we remained in contact since meeting up in Southeast Asia where I met Don for dinner in Ho Chi Minh City where he was living at that time. From there, it wasn’t something we both knew we were going to pursue and continued working on more ideas/material which sort of played out organically throughout the entire process up to what you hear on the finished album.

DG: While there wasn’t an initial plan to release anything we realized quite quickly that there was something quite unique coming together out of the experiments. This led to discussion about possibly releasing some of the material as an EP which over time expanded into an album. The conceptual framework for the album emerged after the first couple of songs were finished. The name of the project was suggested by the alignment between themes we were exploring lyrically and articles that I was reading concerned with information data voids and misinformation/propaganda.

Q: I can imagine that such a new project must be very exciting. Did it feel that way for you throughout the entire writing and production process? How did the songs on the album come together?

DG: The album was developed through the online exchange of audio and MIDI files and lots of discussion. This meant that there wasn’t a lot of real-time interaction during the writing phase. The process would start with one of us sending a sketch of a groove or harmonic progression to the other person who would use this as a creative jumping off point. The first couple of exchanges usually led to quite marked departures and evolutions from the original source idea. This iterative back and forth allowed for unexpected ideas to be introduced and a more reflective approach to development of ideas. After structuring the primary instrumental components of a song, I would write lyrics and record a version of the vocals. These were forwarded to James who would then record an alternate variation. The most interesting elements from these different versions were then used as the basis for a song’s vocals. This resulted in some songs in which the main vocal part would alternate between James and myself in the verses and chorus (i.e. “Crash, Burn & Resurrect”), other songs where both vocal approaches were integrated throughout, and in some there would only be a single vocalist (i.e. “A Failure Of Language”, “This Night Goes On Forever”). While I executed the final mixes, these too would undergo revision based on discussion.

JM: I was really exciting to see how the ideas we started out with would evolve as they developed into full-length songs, and in turn how this would lead to a complete album. It was quite interesting to see how we both approached the song writing process, along with all technical aspects (i.e., sounds, textures, percussion, mixing elements, etc.).

Regarding how the songs came about on the album; one of us would start out by sending the other a short clip (~45s – 1m) that would entail several different sequences  that represented the beginnings of an idea where the other would then add additional parts to compliment where the other left off. Going back and forth in this fashion until we completed the outline of what felt like the song should be. We would complete a rough draft of each song and then repeat the process again, starting out with more ideas until we eventually completed the next song and so on. As we continued working on each song, we would also discuss all of the details via email, chats, and video calls when things became a bit more complex, as this would save a lot of time in conveying our thought process.

We both use different DAWs (Logic Pro and Ableton Live) when writing music but also use several of the same virtual instruments / effects which helped make things a little easier when sharing files back and forth. We would share a combination of audio files, MIDI, VST patches, screenshots, configuration files, etc. so we could essentially mirror all of the individual sequenced tracks and song structures on both of our DAWs respectively as we continued to complete each song.

After we finished each song, Don would write lyrics and share them along with a rough sketch as to how they may be structured. The vocal structure would also undergo the same iterative approach going back and forth until we were content with the final outcome. After finishing three songs, we both reevaluated what we were going to do as far as a release was concerned and decided to continue working on more music until we felt we had enough songs to complete an entire album.

Q: The title of the album, “Strategies Of Dissent”, sounds intriguing and particularly relevant in the context of world politics. What is the album all about, and what inspired the lyrics?

DG: Lyrically and conceptually the album explores the themes of power, control and resistance to it, and the attraction for many to ‘lost causes’. Each song takes a different perspective, a different strategy if you will, to engaging with these themes. Not surprisingly, information spaces, misinformation, conspiracies, and technology figure into this with most of the songs having their basis in contemporary events and social/political currents. That being said, the lyrics were constructed so as not to come across as didactic, but instead to present these ideas at a more personal level.

“Nothing Changes” is intended as a ‘call to arms’ in response to the deception and erosion of individual control being exercised by big tech, corporations/banks and governments. The dilemma is that this is not some unified grand conspiracy but rather the outcome of a number of overlapping and competing self-motivated agendas.
“A Failure Of Language” and to a degree “What’s Left Unsaid” question the current collapse of language, the appeal of conspiracy theories and skepticism, and the increasing failure of our ability to communicate meaningfully and where this leads. A new Babel?

“Echoes Of Ritualised Performance”, while an instrumental track, was inspired by our need to repeat inherently negative social behaviors/tropes of the past and a seeming inability to learn from these… each echo a further degraded/distorted version of an initializing event from the past.

“This Night Goes On Forever” was conceived of as a reflection on the individual consequences for those who found themselves supporting and surviving a major conflict started for the wrong reasons, and the resultant aftermath of physical, psychological traumas and guilt that extend far past the event.

The 2020 Hong Kong protests and the 2021 coup in Myanmar resonated strongly with me after having lived in Southeast Asia for 20 years. So “Alien” was inspired by photos, reportage and interviews about these events and was an attempt to try and put yourself into the head of a person who has found their world suddenly and radically changed and themselves unexpectedly at the center of violence and/or as a symbol of resistance.
“The Goal Of Seven Seconds” was to evoke an anthemic quality while presenting a scathing critique of those who ‘sell dogma and deceit’ in order to incite an ill-conceived end of days for their own personal gain.

The tracks “Crash, Burn And Resurrect” and “Control” were written as a comment on the rise of extremist rhetoric and behavior.

Q: You’ve explained how this collaboration took shape, but can you tell us more about the chemistry between you?

DG: My sense is that the chemistry comes from our overlapping but distinct musical reference points and different approaches to our creative processes. It was the embrace of these differences that provided the creative dynamic that led to many of the interesting ideas as we developed over album.

JM: It was quite interesting for me to reconnect with Don 22 years after first meeting him in 1996 Austin, TX when Numb was on tour with FLA and Die Krupps. It became clear that we share some common perspectives and ideas about different things, which also happens to carry over into music. And because of our similar yet different musical preferences and approaches in our writing styles, this played a significant part into how the album turned out. As part of the musical journey when collaborating on the album, one thing I can appreciate is being challenged in a way that I would constantly be conscious of the writing style and mood I would contribute, to deliberately not write in the same fashion I am typically accustomed to and comfortable with. It certainly helped me take a different approach to writing for this project and in general.

Q: “As experienced musicians, do you still have certain influences or references when making and finishing a song? Also, how would you describe the album “Strategies Of Dissent”?

DG: In many ways you never outgrow your early influences as they are a baseline to which you add, refine and push-back against over the years. While I’m always listening to new artists and across genres, I find those early influences still subtly find their way into my more recent work.

“Strategies Of Dissent” is an album in the ‘old-school’ sense, a series of thematically connected songs that have been ordered in a manner so as to present the listener with a loosely structured narrative rather than just a collection of songs. I feel this provides a more interesting experience for the listener and allows them to get a better sense of where the project is coming from.

JM: Having been exposed to so many different kinds of music styles, genres, and artists over the years (to include the discovery of new bands regularly), there are many references I feel that have made their way (subconsciously) into music I’ve written years ago including some of the more recent work I’ve done. I think it’s inevitable.

With “Strategies Of Dissent” we set out to capture the intensity of early Electro-Industrial and integrate this into more contemporary Electronic music sound. The album as a whole, in my opinion, is homogeneous in that each song works well independently and thematically throughout the entire album.

Q: What does the future hold after this album? Do you have any concrete plans at the moment?

DG: We’ve been thinking about a follow-up release (EP?) with a combination of new material and dub versions of some tracks from “Strategies Of Dissent”. We’re also exploring the possibility for a version of Data Void to do some live European shows.

JM: We have discussed in passing the idea of working on some new material, whether that would be a new single/EP or possibly a new album at some point to also include some alternate versions of existing tracks. We’re also considering live alternate versions of the songs for some shows in Europe later this year and next.

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

“2150” marks the twelfth album by Swedish Dark-Ambient and Cinematic master Simon Heath (Atrium Carceri) and the sixth installment in the “Sabled Sun”-series. Building on the excellence of its predecessor “2149,” this new opus is steeped in profound Cinematic influences combined with Dark-Ambient elements. The sound remains space-like, filled with ghostly voices. Towards the end, more explicit Electro sequences emerge, reminiscent of Klinik’s more experimental work. “2150” is driven by the spirit of Ambient pioneers, with Simon Heath transforming their sound into a fascinating sonic journey. This is, without a doubt, my favorite work in the Sabled Sun discography. (Rate:8½).

Listen to “Space Walk”:

About Sabled Sun

Sabled Sun is a dark-ambient and cinematic series by Swedish producer Simon Heath, also known for his Atrium Carceri project, released on the American label Cryo Chamber. The series began with “Nyarlathotep” in 2016 and continued through “2148” and “2149.” Side-Line spoke with Heath about Atrium Carceri’s production methods in a 2024 interview. “2150,” the sixth Sabled Sun album, continues the series with denser cinematic and dark-ambient textures and closing electro sequences.

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

(Photo by Credit Mandi Martini) Out now on the fine Oklahoma City-based label, Re:Mission Entertainment, is the brand new album from Snowbeasts, “Devour”. The release comes hand in hand with a video for the title track, directed by Luke Haughwout.

The post-industrial duo Snowbeasts consists of Robert Galbraith (Raab Codec), Elizabeth Virosa (Elizabeth Galbraith). They are known for their heavy beat-oriented compositions and eerie synthetic atmospheres blending cinematic ambience with powerful modular squelches and heavily distorted beats.

Formed in 2014, initially as an experimental modular synth side project by Robert Galbraith, Elizabeth Virosa later joined, adding ethereal vocals and expanding the project’s scope. The duo has been prolific, with over 20 releases including collaborations with artists like Dead Voices on Air, Solypsis, D.U.M.E., and Theologian.

Here’s the video for the title track.

Bernard - Side-Line Staff

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

side-line.com

After “Télévision 1945 I” and “Télévision 1945 II”, the French label productionB presents another set of long-lost analogue treasures from Novocibirsk: “The Vasarely Project”.

Novocibirsk as a project is the product of experiments conducted by Hervé Isar between 1982 and 1993 in his home studio, connecting a network of synthesizers and analog sequencers to test their communications or synchronize their messages and speed multiplication, testing multi-oscillators pads out of mono generators, trying octave distribution, voltage additions and substractions.

Out now is a brand new video for the title track.

This new release holds 10 new analogue experiments also recorded in the late 80s / early 90s, culled from the Novocibirsk’s cassettes archives. The material was carefully restored and remastered for this new release. For this material Hervé Isar experimented with a very unique composition process: He transposed the painter’s color codes into electrical tensions programmed on three interconnected analogue sequencers with no preconceived idea of the outcome. It was subsequently played in front of a live audience in the Vasarely Foundation in Aix-en-Provence in september 1993 and recorded on audio tape, now available on CD, Limited 12″ LP and digital.

Bernard - Side-Line Staff

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

side-line.com

After two stylistic, elaborate, and promising albums, Belgian artist Pieter Coussement returns to his beloved Llumen project. The influences remain versatile, sounding like a sonic fusion of EBM, IDM, Electro/Future-Pop, and Ambient. Over the years, Llumen has become more danceable, and this is evident in the new work, which sounds like his most danceable production ever. It is an intelligent production that also dares to experiment with somewhat cheaper Dance leads. “You Can Have It All” is an absolute masterpiece. The album also gets a solid bonus with numerous remixes featuring big names like Grendel, as well as label mates like Implant, Aiboforcen, Aesthetischye, and others. It may not be Llumen’s best work, but it is still a creative and polished production which might appeal for Haujobb-fans. (Rate:8½).

Listen to “You Can Have It All”:

Read the news on ‘The Breaking Waves’.

About Llumen

Llumen is the solo project of Belgian musician Pieter Coussement, active in the dark electro and future-pop scene. Side-Line covered the project’s EP “The Dark In Her Eyes” in April 2021, featuring remixes by Auger, Implant, Antibody, and Entrzelle, followed by the album “Polygon Heart” in June 2021. The 9-track EP “Die Stille Totgeschwiegen” followed in December 2023. Llumen released “The Breaking Waves” as a limited 2CD set on Alfa Matrix in May 2024, discussed by Coussement in a Side-Line interview the following month about the album acting as a reflection of inner turmoil. “You Can Have It All” is featured on that album, alongside remixes from Grendel, Implant, and Aiboforcen.

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 iconic Belgian dark electro/future pop act Aiboforcen recently returned with their 7th studio album, “Between Noise & Silence”. Led by Benoit Blanchart and featuring the enigmatic Patrice Synthea (REGENERATOR), this album merges melancholic dark synth/EBM anthems with thrilling collaborations! Notable appearances include EBM/industrial legends like Patrick Codenys of FRONT 242, POUPPEE FABRIKK & IMPLANT (in a duet), and NUMB. The album also features outstanding female vocalists from the pop wave scene, such as Mari Kattman (HELIX), Noemi Aurora (HELALYN FLOWERS), Emke (BLACK NAIL CABARET), and SORROW STORIES… Without forgetting the splendid collaboration with Jan Dieckmann of NORDERNEY who sings on several songs and strongly contributes to crafting the album’s magic through moving lyrics, catchy dark pop melodies, and upbeat EBM sequences that often evoke the melodic and emotional depth of VNV NATION!  Benoit gave us more insights on his new album… 

You can order the new album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore. Note that the 3CD version was sold out immediately.

S. “Between Noise & Silence” is your 7th studio album and features an impressive 22 tracks. Can you share the journey of creating such a substantial body of work, and what inspired the album’s title?

B. I started working slowly on what would become this new album during the covid period.  Like many bands, those very special times allowed me to concentrate and spend much mor time in the studio creating new sequences and sounds.  After a few months, what was started with no clear objective became to take shape and I started gathering several demo tracks thinking I could use them for an EP or album.  It was a very creative period and also (hopefully for me) the opportunity to learn/improve a bit more the mixing and production side of the aïboforcen sound…  I thus also started thinking about the right vocalist for each track.  The title track “between noise & silence” is actually a sentence coming from a demo track that Tina from SORROW STORIES was working on for me…  it became the title for the track but also for the album.  It’s a bit of a special track (a bit more complex) that I really wanted to be on the album but couldn’t find the right vocalist for it…   Then Tina did a test and she nailed it down!! 😊  It also has a double meaning because since I’m not considering myself as a musician what I create in a studio probably lies in the grey area between noise and silence! 😉

S. On this album it seems that Patrice Synthea and Jan D. play a key role as vocalists? Tell us more about these collaborations?

B. Well, Patrice (REGENERATOR) has been the main vocalist with aïboforcen for quite a long time now and she helped creating some kind of a trademark for us.  But I’m always interested in working for certain tracks with other vocalists, either male or female.  Of course it can break a bit the cohesion of the album but for me it’s more like trying to avoid the monotony of the album. I see/hear the different voices as new instruments I can play with, and it can totally change the result of the tracks.  I also appreciate the fact that I can offer a broader pallet of sounds and emotions. I was introduced to Jan while working on a remix for our label mates of ELEKTROSTAUB.  I knew a bit of his project NORDERNEY that I also appreciated a lot and I thought he would be the right vocalist for a track I was working on at the time.  I sent him a demo and after a few days he came up with something really brilliant for me. I was so pleased with the result that I asked him to do a second track and the result turned out to be even better…  He has such an emotional voice that it really adds another dimension to the song and brings them to a next level.  After a while we started swapping ideas but also sequences and sounds and he eventually became more and more involved in the whole process.  He helped me a lot giving advises and also programmed several synth lines, what was totally new and unusual for me… it was surprising, challenging and it contributed in creating a more mature and developed sound.  In the end he helped for a great bunch of the album in various forms…  Therefore the album is also much more balanced between male and female vocals.  He also made a duet with Patrice on the track “everything” and I’m pretty sure that it’s something we should try again in the future…

S. The album indeed boasts collaborations with a variety of other artists too, from EBM/industrial legends to outstanding female vocalists. How did these collaborations come about, and what unique contributions did each guest artist bring to the album specifically?  

B. As I said, when a demo is finished I try to think about what would be the right vocalist and what it would add to the sound of it.  Of course there are some people/singer I would dream of having on the album but sometimes I have to stick to reality.  My choice is influenced by the music I listen to, people I met through remixing, bands I know and so on… I’ve been blessed in the past working with great artists such as Jean-Luc from FRONT 242 and this album also gathers some legend from the scene such as Henrikk from POUPPEE FABRIKK or yet Don Gordon from NUMB who both helped me deliver the most aggressive cuts from the album.  Tina from SORROW STORIES was also really involved in the process, contributing to several tracks that we can find both on the EP and the album but also on the special 8cm cd available with the limited edition.  I had met her through a remix I had done for PSY’AVIAH actually and I had been mesmerized by her rather delicate and otherworldly vocals. She is also a very passionate and nice person, and meeting and exchanging  with people is another aspect of collaborating on tracks.  Then there is also Noemi Aurora who helped us with her very characteristic and powerful voice and it helped adding the extra touch to “cycle of life” and “heaven knows” you can find on the album.  It was a pleasure working with her and she’s a professional and also involved and more than passionate with music…  Also doing a track with Emese from BLACK NAIL CABARET was really an honor for me.  She has one of the most distinctive voice from the scene at the moment and the result is a very captivating cut with upbeat sequences.  I really hope listeners will like this track as much as I do…

Mari Kattman also lends her voice on the opening track as well as on a remix of “In My Arms” (a track from the previous album) and she also has a very distinctive and beautiful voice. Last but not least I also worked with Len from Implant since he is a long time friend of us and I was glad to have him back in one form or another.  With the lyrics of the track he did evoke, it’s like a celebration of a long-time relationship between us (including also Seba, Bernard, Stephan) and how it was when we started this all as students (the magazine, the label, the bands, the gigs).

S. Your sound is often compared to iconic acts like VNV NATION, FRONT 242 or yet COVENANT. How do you approach honoring these influences while still maintaining your own distinct identity as AIBOFORCEN? “Between Noise & Silence” seamlessly weaves between oppressive industrial assaults and catchy synth-pop tunes. Can you discuss the creative process behind balancing these contrasting elements to create a cohesive listening experience?

B. Well, it’s sure that I’ve been listening to those bands a lot (one of my first vinyl was 242’s politics of pressure, along with Kraftwerk radioactivity’s 7”) but I am also influenced by other acts from inside and outside the scene.  I listen to a lot of music from the EBM but also to darkwave, gothic, experimental, industrial or yet metal…  All this is ingested and some parts/influences appear here and there in my music.  Also I hope that with time I manage to create a bit of my own distinctive sound and style. 

As far as VNV NATION is concerned, I have to admit that Ronan has a deep sense for great melodies and a very emotional voice and is an example of what soulful music is. So if we sound a bit like this it’s a good point for us! 😊  Remember he remixed one of our track at our respective very beginning!  But I always try to balance catchier tracks/tunes with a rougher sound and more complex structures or experimentations.  For me it’s kind of logical and it can create a cohesion because some sounds, fx, way of treating things are the same and reflects the different side of one same “machine”.  Also  I tend to focus on recording an album with highs and lows rather than a succession of single tracks…  so this new album (especially the first disc) needs to be explored and listened as a whole, with the tracks kind of merging one into another.  I spent hours / days / months working on sometimes very little details of mixing, samples, eq’s to find the best result I could.  I like it when it takes several listening to really get all the details included in the tracks and hopefully surprise the listeners…

S. One of the tracks on the album is a cover of DEATH IN JUNE’s “Break The Black Ice.” What drew you to reinterpret this particular song, and how did you make it your own while staying true to the original?

B. We’ve always tried to include at least one cover song on any of our releases, either for fun or to show where our roots are…  I was introduced to DEATH IN JUNE’s music more than thirty years ago and the album “The World That Summer” from 1986 has always been a favorite of mine.  “Break the black ice” was an obvious choice because it is a rather simple, dark but catchy song, kind of desperate also and I really liked the version sung by Rose McDowall which is a fragile and delicate dark cut.  I thought that Patrice could do it as well and recorded a demo.  The first version was really slower and darker than the one on the album. We will feature it on a compilation from our label later this year actually.  The final version has a stronger beat and an aggressive lead sound while the original one is softer.  Both Patrice and I liked the version very much and what was a the beginning more like a “b-side” became one of the main important track from the album…  I hope fans of DEATH IN JUNE and AIBOFORCEN will be pleased by this tribute…  the structure is rather close to the original version from DEATH IN JUNE but of course it’s 100% electronics and there are some distortions here and there… 😊

S. The album is described as a high-tension dark elektro masterpiece. How did you approach crafting the sound production to achieve this level of intensity and maturity?

B. I always spend a long time editing, changing, mixing, adding details and I hope it can be reflected in the overall sound of the album.  I never intend to choose the easiest way while producing the music and I hope I raised the level a bit more on this new release.  I spent much more time on the vocals (cutting, eq’s , volumes, …) than on any other previous releases; there are lot of movie samples (hidden or not), lots of different synths and fx…  I can sometimes leave a track for one month and then come back with new ideas and Jan also helped me developing as much as possible this new sound which is probably more focused than before.  It still goes into any directions but with a common thread and overall atmosphere throughout the numerous tracks.  It was exhausting (especially at the end) but it was worth (at least personally) and I really hope our fans will like it… 

S. How important is the visual aspect of your music, and what role does it play in enhancing the overall experience for listeners?

B. It is important, not as much as the music, but it sets the tone for the whole album.  We always tried to have eye-catching sleeve or at least mysterious ones that will give the envy to enter into the universe of aïboforcen…  When I was a kid, I used to go to a place where you could rent vinyls and I would sometimes rent releases just because the sleeve would attract me in a way or another.  On this release we obviously used AI to create the graphics but it was intended and assumed. It was our easiest way to express and get the closest to the images we had in mind while creating the music.  And since our music relies on techniques, processors, synthetic soundscapes, it makes sense…

S. Lastly, the first 50 orders from the official Alfa Matrix e-shop received a signed version with an exclusive bonus mini-CD. Can you tell us more about the significance of this bonus content and what fans can expect from these exclusive tracks?

B. When the album was completed and sent to the mastering, I noticed that there were a few tracks left without vocals that couldn’t make it on the album but were a good insight of what it’s like being in the studio and working on new tracks.  It is more like demo’s but also I had the feeling that they could stand on their own and give another view on our music.  The first of those 4 tracks is called “eliza effect” and is a brand new one that maybe will give some infos of how the future sound of aïboforcen will be (or not).  The track “pulsions” (with vocals by Tina from SORROW STORIES) arrived too late in the process of the album but was good enough as well. In the end it gives the opportunity to the die-hard fans to have some extra tracks (unreleased) and have a bit more “intimacy” with the band…

Bernard - Side-Line Staff

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

side-line.com

The Belgian electro-pop duo Metroland released “Forum” a few months ago, an electrifying conceptual hymn to the industrial revolution of the 21st century, a sonic journey exploring the crossroads of innovation and nostalgia. Fresh and experimental vintage electronic prowess for fans of the melodic Düsseldorf synth style. We talked with Passenger A and Passenger S about this new album, while new singles from this album are in the pipeline. 

The album is available on Bandcamp and on CD via the Alfa Matrix webstore.

SL. “Forum” is described as a continuation and evolution of your previous work “0”. Can you explain the conceptual link between these two albums and how the EP “Industry” serves as a bridge between them?

Passenger A&S: When “0” was not yet released and seriously delayed by many different factors, we were toying with the idea to extend the ‘World Economic Forum’ concept around the industrial revolutions. We planned 5 EP’s, each with a variance of the song “Industry 4.0” alongside new tracks. However, once “0” was out, we no longer had the urge to release these foreseen EP’s. We both felt it was simply not enough and, to be honest, it was close to being even pointless. After some creative discussions and a Belgian beer or 2 (make that 4) an album felt better, more significant and certainly in the afterglow of “0”, unfinished business.

The album indeed draws inspiration from the World Economic Forum in Davos. How did this influence shape the themes and musical direction of “Forum”?

Passenger A&S: It is in fact almost never the theme itself that shapes the songs or the direction. We mostly start from a sample, a sound, or a title. While building the song we come across other sounds and samples and even then what we had in mind to start with could turn out totally different from that. “Forum” is an album which is not as dark as its predecessor, but you can surely put it alongside the atmosphere and direction of it.

Tracks like “Happy Nothing”, “The Great Reset”, and “Infotainment” showcase your melodic side. Can you discuss the inspiration and creative process behind these particular songs?

Passenger A&S: These 3 songs all started from a totally different base. “Happy Nothing” came from a textual idea, whereas “The Great Reset” was built on a sampled baseline and “Infotainment” started from a melody. While melodies are a continuum of Metroland’s way of working, we don’t really have 1 way to go about a song, nor do we start together in the studio every time. It is quite possible that a Passenger comes up with a demo or a loop of a few seconds.

“Forum” includes experimental song structures and fresh sounds. What new techniques or approaches did you explore in this album that differ from your previous work?

Passenger A&S: Every album is an occasion to broaden our sound palette and discover new electronics. However, we never set out from the start with a clear goal; it mainly comes along during the creative process; our more ‘experimental’ side you could say. Sometimes, we even delete parts of a song or a sound, and yes, even sometimes a complete song is being omitted. We have around 5 to 6 songs that never make it on a release, and we never re-use any of these either. We do have our special things and tricks that we tend to do with shifting notes, trying different layers or strange effects. But we never look back, never try to copy something from our past, or use any of the sounds we used before. Every new release is a fresh new audio canvas where we use different approaches in sound scaping.

The EP “Industry” features different versions of the industrial revolutions, culminating in a 10-minute epic experience on the CD edition. How did you conceptualize and create this multi-part industrial journey?  And why these different versions always between CD, digital, vinyls… it’s quite conceptual for METROLAND isn’t it?

Passenger A&S: Apart from the music, there is art, there is concept, there is hard work. So, if you “only” want digital, you might get less. We strongly believe in the item as an entity to complete our message. It is only by holding, reading the booklet and seeing the full package that you understand what that message ought to be. Digital platforms should be an argument to buy a physical version on an album and not “the end”. We want to deliver value to those who appreciate it. That requires much more input from our end, more songs, more art, but in the end, it brings much more value. And yes, this is a harsh view, we confirm. But since we entered the music business in 2012 with “Mind The Gap” we get the appraisal for that from our loyal fan base.

Your music often reflects a blend of innovation and nostalgia. How do you balance these elements to create a sound that feels both fresh and rooted in the vintage electronic tradition?

Passenger A&S: It is the blend of our very rich background and music collectors from 80s to modern, from dark wave to electronics and everything in-between that results in the typical Metroland sound. Where Passenger S is inspired by dark music but loves the high-pitched sequences, Passenger A loves club stuff but prefers not to make things too jolly. We push each other in both directions and extremes, but we meet each other in the middle. It is that synergy that keeps us going, that delivers that Metroland attitude.

The tracks “Activity as a Timetrigger,” “Baukultur,” and “Quantum” continue the trajectory set by “Industry.” Can you delve into the themes and messages you wanted to convey through these electro-infused pieces?

Passenger A&S: We never thought of it that way. We never make a song, deliberately thinking of a message or a link with another album track. We do read and discuss often about the concept and about what would/could be the right direction to take, both music and art wise. Things just happen, albeit everything is linked to the theme. The current concept we are creating songs for is basically an easy one, opens a lot of opportunities, but is the hardest one for us to give it the right approach in art, when looking at all our endeavours.

As a duo, how do Passenger A and Passenger S collaborate in the studio? Can you share some insights into your creative dynamic and how it influenced the making of “Forum”?  And how different is it for both of you compared to your respective solo-projects?

Passenger A&S: Usually, we meet up weekly in the Underground Studio and work on no matter what upcoming release. There is never any pressure, but once someone holds the final result, he or she can be sure that everything is meticulously planned to the hilt, from every little stroke of art to the very last second of every song. But we never follow the same pattern or path; nor for music nor for art, and the further we can step outside of the box the more we like it!  The solo-projects are clearly without the influences of the other Passenger and music wise, although both electronic, it is very different for 90% (some things are in our DNA and we cannot ignore it. But that feels natural after working together for more than 30 years). The biggest difference is that the synthpop from 808 DOT POP (Passenger S) is built around concepts and more sequence based, whereas LECTREAU (Passenger A) works in singles only and aims for the club floors. The mutual aspect is electronics; that will remain a fact, no matter what.

Side-Line also covered Metroland’s ‘Cooperation’.

Bernard - Side-Line Staff

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

side-line.com

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

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

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

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

— Maya Baklanova (@mayabaklanova) July 7, 2023

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

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

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

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

— Ukrainki_UA (@Ukrainki_UA) July 28, 2024

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

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

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

— Ukrainki_UA (@Ukrainki_UA) July 28, 2024

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

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

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

About Uwe H. Schmidt

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

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

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

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

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

Bernard - Side-Line Staff

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

side-line.com

Celebrating 30 years in the music industry, Solitary Experiments have released a brand new remix of their hit single “Träumen”. This new rendition is titled “Träumen – Neuroticfish Albtraum Mix”.

Solitary Experiments, formed in 1994 in Frankfurt (Oder), is a prominent force in the melodic electro and EBM (Electronic Body Music) scene. Dennis Schober and Michael Thielemann began their musical journey in a small home studio, focusing on creating a unique sound characterized by melodic synth lines, driving beats, and harmonious vocals. Their early work quickly gained attention, leading to the release of their debut album, “Final Approach”, in 1999. The rest is history.

In further anniversary news, Solitary Experiments will host a special two-day festival in Berlin, featuring seven friends from the scene, special guests, and various surprises. This event is already sold out though.

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

(Interview by Janos Janurik) Ever since I got into online music journalism, I’ve always been interested in the background characters around my favourite musicians’ releases that add something important to the product we, the fans end up with.

With this in mind, over the years I have interviewed personalities such as Anton Corbijn (photographer of Depeche Mode and many other music greats), Gareth Jones and Mark Saunders (producers and mixmasters of Depeche Mode and Erasure amongst others).

About eight years ago I had the honour of helping to promote Vince Clarke’s then newly founded mini-record label (VeryRecords) and his releases. In addition to the artists whose albums have been released there in recent years, I also got in contact with Mat Smith, who, like me, is a freelancer – readers of Electronic Sound and Clash know him well – and works as a publicist for VeryRecords as well as being commissioned by Erasure and Mute for a number of press pieces. He also wrote the sleevenotes in the booklet of the new “Cowboy” Deluxe-Edition.

In addition to his journalistic work, he also has his own project “Mortality Tables”, which has just released a new mini-album on cassette and as a digital download. Last November, at the premiere of Vince Clarke’s solo album in London, I had the pleasure of meeting Mat in person and we had a lively chat about our shared passion for music. Knowing how important this project is to him, I approached him and asked him a few questions about it. 

But then life, or rather death, intervened. I didn’t mean this as a cheap shot, but it was indeed a sad event that forced me to make changes to the interview I had with my friend and colleague almost three weeks ago. Now that the aforementioned label is going on holiday, and before I do the same, I would like to bring this exciting musical venture (“The Engineer”) to your attention – and this interview with the man behind it.

SL: Tell us briefly about how you became interested in music. Have you had any musical training, have you learnt to play any instruments? Do you remember the first record you bought?

I grew up in a house where music seemed to always be playing, either on the radio or on my parent’s stereo. My mother listened to a lot of ABBA. Nothing about that was exceptional, particularly. When I used to go to friends’ houses, they always seemed to have the TV switched on, which felt strange to me. My family chose music, and I’ve surrounded myself with it ever since. 

I tried to play the recorder, which was the instrument that most of us learned as kids. My parents gave me a blue one for Christmas one year. I couldn’t play a single note. I briefly learned the basics of notation at school but very quickly forgot all of it. In early high school music classes I was more interested in recording real-life sounds into the Casio keyboard and using those to make compositions. Not long after that, I started making sample-based electronic music on my Amiga 500.

The first album I owned was Nik Kershaw’s ‘Human Racing’. I was given for my birthday the year it was released, along with a Sanyo portable cassette player. I played that album constantly. I wore out the cassette player after two weeks but I still have the ‘Human Racing’ tape and it still sounds incredible to me. 

SL: When did you discover electronic music? And who was the first electronic artist who introduced you to the world of electronic music?

My father is responsible for switching me on to electronic music. There were three pivotal events, and they all relate to times I was with my father.

The first was one evening when my mother was at her restaurant job, and my father was looking after me. I was playing with Lego in the lounge and Gary Numan was performing ‘Cars’ on TV. That performance completely captivated me.

The next was driving around in my father’s car while he did his second job as a debt collector. A friend at work had recorded two tracks from OMD’s ‘Architecture & Morality’ album onto a cassette for him. The songs were ‘Joan Of Arc’ and ‘Maid Of Orleans’, and we’d listen to them over and over.

The third was Soft Cell’s ‘Non-Stop Erotic Videotape’, which he brought home from work one day. That was pretty mind-blowing for a five-year old, and I can only imagine he didn’t realise what it was. It was definitely not suitable for a kid of my age, but, looking back, I don’t remember the imagery – I only recall the music. 

So I owe my father a huge debt for how he shaped my music tastes at a very early age. He was also the one who brought home a cassette copy of ‘The Innocents’ by Erasure and gave it to me. He had no idea quite what he started that day. 

SL: When did you start writing journalistic texts for Mute Records and its artists? What was your first article for Mute and about which artist, which release?

I began a blog called Documentary Evidence in 2003, which was focused on my personal Mute Records collection. I’d just write about the releases from a mostly non-musical perspective, explaining how they made me feel. I still write reviews like that today for Electronic Sound. I also got really interested in telling the stories of specific releases or artists, and that led me to interview people who released music through Mute, or were somehow connected to the label. I have a natural curiosity and inquisitiveness, and that seems to mean people like talking to me and opening up. 

From there I started writing for Clash, and then Electronic Sound and some other places. In 2017 I got asked to chair a panel discussion with Anton Corbijn, Daniel Miller, Paul A. Taylor and Steve Claydon (Add N To (X)) at Rough Trade East in London, about the visual identity of Mute. The first written Mute commission I got was to write a press biography for Chris Carter’s ‘Chemistry Lessons Vol. 1’. I couldn’t believe they asked me to do that, and I couldn’t believe I was being paid to write for the label I loved so much. The team at Mute liked what I did and I’ve been given a few more things to do since then, as well as with the team at BMG who look after the Erasure reissue programme, and Erasure themselves. 

SL: Did Vince Clarke’s VeryRecords label and the associated promotion give you any impetus for your own project, which you called “Mortality Tables”?

Indirectly, yes, but perhaps not in the way you might expect.

My task with VeryRecords was to assemble the press releases. It was the first time I’d worked behind the scenes of a release, where I’d often get involved before the album was even mastered, or before the artwork had even been considered. So I’d be talking to the artists – Reed & Caroline, Alka and Brook – at a very early stage, generally when Vince felt that the album was finished enough for me to listen and for me to start engaging the artists.

It took a while for me to realise this, but the process of working with the artists to write a press release became a collaboration – between all of us, and between my words and their music. I wasn’t just a writer but part of the collective effort to put this music out into the world. I did the same with Nick Hook’s Calm + Collect label, working on releases by Gareth Jones, Spiritual Friendship and others.

In 2019, when I began forming Mortality Tables, I envisaged it as a creative community of collaborators. You can definitely draw a line between that and the ideas that began to form as I worked with VeryRecords and its artists. I also took a lot of inspiration from Vince, who didn’t feel that he needed to only focus on the music that people would expect him to release. That sense of freedom, which Daniel Miller also brought to Mute, directly fed into what Mortality Tables has become. I wanted something where I could work with people making sound art as well as people making images. It had to have artistic breadth. 

I wanted Mortality Tables to be like a gallery, with a portfolio of artists in vastly different disciplines. That’s why Neil Coe deigned the first sleeve image to look like the description of an artwork on the wall of a gallery.

SL: The name of the project refers to the work of actuaries who measure the statistical probability of life insurance payouts. You do something like this in your everyday working life, don’t you?

That’s right. I work with insurance companies all around the world, and have done for over twenty years. I find lots of parallels between the worlds of insurance and electronic music, and the kinds of people I engage with in both of my jobs.

The story goes that I was meeting a friend in a café in Bloomsbury in London one morning. He runs a record label, which is another big inspiration for Mortality Tables. He wishes to remain anonymous, but he is actively involved, in the sense that he must approve anything we decide to do. I call him the Creative Consultant.

So I was meeting him and he had an LP of one of his releases to give me. He asked me if I had a bag to put it in, and I reached into rucksack and retrieved a tote bag. It was from the Institute and Faculty of Actuaries and had been given to me by an actuary a few years before. The Creative Consultant saw the bag with its logo and Latin inscription (‘e peritia ratio’ – ‘reason from experience’) and asked what it meant. I replied, “It’s all mortality tables and shit like that.” The name stuck.

We created our first Mortality Tables Product that morning. It’s called FORKTALK and is a conversation between two friends. We do not publish the details of our conversations. Its entry in the Mortality Tables Catalogue is MTP0.

SL: Dave Clarkson, who is mostly active in electronic and experimental music and Wonderful Beasts, a sound art/electronic music duo consisting of the anonymous Xqui and Carl Knott (boycalledcrow, Spacelab) were your first artists, right? How did you get in touch with them?

The release that moved Mortality Tables from something conceptual to something ‘real’ was ‘Two Meditations For Freya’ by Goodparley (whose name has now changed to Please Close Your Eyes). That was in 2022. It signalled what I wanted Mortality Tables to be: I would come up with ideas and hand them to someone to ‘respond’ to.

That concept has stayed consistent through the first two years of Mortality Tables. I’ll come up with an idea and pick someone to get involved. At the last count, there are at least fifty people who are collaborators. And it isn’t just sound projects – Mortality Tables encompasses sound, art, and words. And insurance. 

However, all rules in creativity are there to be broken, and I broke my own rules in 2023 with the release of Dave Clarkson’s ‘Ghosts Of Christmas Past (Music From Vintage Toys)’. I had nothing to do with the concept of that album, so I guess that’s a bit like Mortality Tables acting like a traditional record label, which is a description I never want to use. The same is true of Andrew Brenza and Alka’s ‘pod’ and boycalledcrow’s ‘Kullu’. However, all these releases only existed because of an earlier collaboration, and that’s how I got myself comfortable with releasing these projects. You’ll see a few more of those types of projects from Mortality Tables over the next few years. 

In answer to your question about how I find artist, it’s actually really straightforward. Anyone involved with Mortality Tables is someone whose music I’ve written about. As for how I choose an artist for a particular project, that’s mostly a case of matching a collaborator to an idea that feels aligned to what they would usually do. However, some of the most enjoyable projects are where the artist is working a long way outside of what they might normally do.

SL: After artists like Andrew Spackman, Rupert Lally, Simon Fisher Turner and Veryan, two years ago you released a strange and experimental piece called “On Mortality, Immortality & Charles Ives”. The piece is a spoken word piece in which you read out the Mortality Tables’ manifesto: “In life, our one true certainty is death.” This narration, recorded by Gareth Jones, was then sent to Vince Clarke who recorded a musical response to the text, which forms the soundtrack to the release. How did you come up with this, somewhat absurd, idea?

I had bought a copy of a book by Alex Danchev called ‘100 Artists’ Manifestos – From The Futurists To The Stuckists’ at the Scottish National Gallery of Modern Art in 2021. I read each of the manifestos from groups like the Surrealists, Dadaists and Situationists as if they were short stories, and it became a really profound experience. On the back of ‘Two Meditations For Freya’, people had started to ask me what Mortality Tables was all about, so it seemed completely natural (and not absurd at all) to write a manifesto.

Mostly it was designed to help me understand why I was doing this, and then I decided to explain it to everyone else. That’s when I asked Gareth to record my narration. At the same time I approached Vince and an anonymous sound artist called venoztks to create sound pieces to accompany it.

The listener can judge whether it successfully explains what this is all about, or not. It does explain why the composer and actuary Charles Ives is so critical to the evolution of Mortality Tables. In fact, the second Mortality Tables Product to be made available was a postcard containing an illustration of Ives in front of a mortality table from 1874, the year of Ives’s birth. That piece was a collaboration with Savage Pencil who had illustrated a lot of the Blast First sleeves.

SL: Released on June 16th, the 40-copy limited edition cassette “The Engineer” is a charity project for Alzheimer’s disease featuring Vince Clarke, Penelope Trappes, Chris Illingworth, Barney Ashton-Bullock, Lara Jones, Simon Fisher Turner, Hattie Cooke, Gareth Jones, Veryan and others. The title character is your father, isn’t he? Is that why you chose Father’s Day as the release date? Tell us a bit about this project!

The title character, the engineer, is based on my father. This project dates back ten years, probably longer, a long time before Mortality Tables was an idea.

I wrote a short story that tried to deal with my feelings about my father as he approached retirement. He lived for work, had no hobbies or friends, and I envisaged him struggling to cope with the concept of stopping work. I was angry when I wrote it, but I was also scared for him. It’s fiction, but it’s rooted in his reality. His actual retirement was very different to what happens in the story. He was diagnosed with Alzheimer’s in 2018, and that’s why we’ll donate all profits from ‘The Engineer’ to the Alzheimer’s Society. Sadly he passed away shortly after ‘The Engineer’ was released. 

When I published the story on my blog, an electronic musician called Laica (Dave Fleet) offered to create some music inspired by the story. He composed a beautiful piece but the project never got completed. A few years later, I came up with a different idea, which involved someone narrating the story with a piece of music behind it. That version also never got off the ground at all, but I liked the idea of asking someone to narrate the story. That’s when I asked Barney Ashton-Bullock if he would do it. He has a brilliant speaking voice, and it was perfect for this story.

It was Gareth Jones who suggested the idea of having different artists respond to different sections of narration. He said it was a bit like the Surrealist game ‘Exquisite Corpse’. I think of Gareth as my spiritual guru. He has a way of unlocking ideas, and freeing you from obstacles that are only there because you’ve put them there. ‘The Engineer’ wouldn’t exist in this form if it wasn’t for Gareth. 

From there, it was a case of picking the collaborators and asking them to respond to a specific 30-second section of narration. No one heard the full story, and no one asked to hear the whole thing. The order the artists agreed to say yes determined which section they got. The only rule I gave them was that their sound response needed to last exactly thirty seconds. 

There are two editions of ‘The Engineer’. One is a digital file that combines the narration and sound responses. The other is a cassette that splits the narration and responses apart. That means the only place you can hear Vince Clarke’s sound response without Barney’s narration is on the cassette, which has now sold out. 

SL: Barney Ashton-Bullock (the creator of Andy Bell’s “Torsten” projects), Vince Clarke, as well as Reed Hays, Alka and Gareth Jones will be familiar to most of our readers, but who are the other contributors? 

Again, everyone involved is someone I’ve written about. When I came up with my collaborator list for this, it was important to me to achieve some sort of diversity. So a lot of the artists here are electronic, but you have artists covering everything from pop to sound art. That was deliberate.

I also wanted diversity of textures. That’s why I included Charlotte Keeffe, Chris Illingworth from GoGo Penguin and Luce Mawdsley. When you put all 29 sound responses together as a single piece, it sounds like a right fucking mess. As the responses were coming in over a 30-month period, I realised that the sprawling, messy quality was a lot like my father’s Alzheimer’s – ideas form, are quickly forgotten before they develop, and are then replaced by something else. That wasn’t planned, at all, but now I can see it was a subconscious idea that must have been there from the moment that Gareth suggested involving lots of artists. 

SL: What plans and ideas are currently circulating in your head? Will it be something journalistic or another Mortality Tables release?

I’m always writing, and I’ve got a few big things underway right now, including something for a label I’ve done a few pieces for before.

In terms of Mortality Tables, now that ‘The Engineer’ has been released, all activities will he paused until later in the summer. We’ve released a huge number of Products in just over two years and I need a break. We’ll return later in the summer with Season 03 of LIFEFILES, which is an ongoing project where artists respond to my really basic field recordings.

We’ll also release a single from Please Close Your Eyes, an album from Andrew Spackman and the full version of Andrew Brenza and Alka’s ‘pod’ collaboration. I’ve been working on one of several projects inspired by Charles Ives, ‘Central Park: A Picture-In-Sounds’, which will be issued as a ‘score’ in October, along with some additional performances of the piece. We’ll begin work on another large-scale collaboration called ‘The Impermanence Project’.

Other things will happen. Other things will not.

More information on Mortality Tables releases.

Use code janos for a 10% discount off anything in the Mortality Tables Catalogue. 

I would like to end this article with a personal message from Mat Smith, who asks the readers and the music listeners to support, if they can, the Alzheimer’s Society, which has received the proceeds of the tape release mentioned in the interview. If you feel able to, please donate to alzheimers.org.uk directly.

János Janurik

I began my career in online music journalism in 2001, writing about artists I had followed since the late ’80s and early ’90s, including Depeche Mode, Erasure and The Cure. I later edited the Hungarian Mute microsite for EMI Music Hungary. This led to interviews with Erasure, Nitzer Ebb and Alan Wilder, and some of those collaborations developed into lasting friendships. Since 2014, I have been part of the editorial team of depechemode.de. I also contribute interviews to Reflections of Darkness, Peek-A-Boo Magazine and Kaput Mag. I maintain a close connection to Mute Records artists and have also supported releases on Very Records. I am proud to collaborate with Side-Line Magazine, where I regularly publish interviews and features.

The German Synapscape duo strikes back with 2 digital EPs entitled “Dressur” and “Catwalk Massacre” that are also available as a double CD called “Dekadenz”. “Dressur” sounds more complex and raw creating a fusion between Industrial- and Experimental music. There is a dark atmosphere running through the instrumental compositions driven by bombastic rhythms.

“Catwalk Massacre” also contains 6 songs but sounds completely different. Here we discover a rather retro-Electro/Industrial sound with hard vocals. It is a hard and brutal composition that also features some additional influences such as Acid sequences and Tribal elements. The brutal and unpolished work is also refined with some subtle arrangements. (Rate:8).

Listen to “Last Night”:

About Synapscape

Synapscape is a German duo working at the harder end of Industrial and Experimental electronic music, longtime associated with the Ant-Zen label. “Dekadenz” brings together two digital EPs, “Dressur” and “Catwalk Massacre”, on a single double-CD release, spanning a raw Industrial/Experimental fusion and a harder, retro-leaning Electro/Industrial sound.

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

“Artifacts” EP by Divider is out now via Re:Mission Entertainment. Vocals on “Artifacts” are by Peter Beal with synths, programming, and mixing by Bryon Wilson.

The EP holds 4 remixes of the title track plus the original version. The ‘Primitive Remix’ was executed by Peter Beal while the ‘DvDSX remix’ includes additional arrangement by Bryon Wilson and Dejan Samardzic. Also included on the 5-track EP are remixes of the title track by Hex Wolves and Snowbeasts.

You can expect hard-hitting rhythmic EBM. The EP is available on Bandcamp, all major digital platforms, and as a limited edition t-shirt as you can see below.

About Divider

Divider is an electronic music project formed by Bryon Wilson and Peter Beal. The project began in the summer of 1995 when Wilson, then 17 years old, started experimenting with electronic music. Divider’s sound encompasses elements of EBM (Electronic Body Music), industrial, and experimental minimal-electro.

Bryon Wilson and Peter Beal have been the primary creative forces behind Divider, with Wilson handling synths, programming, and mixing, and Beal contributing vocals and remixes.

Divider’s work has been featured on various label compilations and has seen them remix tracks for other artists.

Bernard - Side-Line Staff

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

side-line.com

The Polish Schröttersburg has been experimenting with old-school Industrial for several years, but this new work is without a doubt the most faithful to the early Industrial style. The metal percussion takes the listener back to the early experiments of 80s Industrial legends such as Test Department and to a lesser extent SPK. The work also features Epic arrangements, vocals that sound like exclamations and a certain melancholic atmosphere. The album features 7 songs that sound like sonic gems, piece after piece. A real great work! (Rate:9).

Listen to “Djab”:

About Schröttersburg

Schröttersburg is a post-punk / noise rock band from Płock, Poland, founded in 2008. According to Discogs, the band’s catalog includes the albums “Ciało” (2016), “ד” (2021), “Om Shanti Om” (2022) and the vinyl release “Melancholia” (2023), alongside “Kosmogonia”, first issued on CD in December 2023.

The edition reviewed here brings “Kosmogonia” to digital, CD, vinyl and cassette formats via Zoharum, DIY Kolo, Bat Cave and N.I.C. Records.

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

Dark-Electro band Funker Vogt was born almost 30 years ago. Core member and operator Gerrit Thomas has already worked with several singers, but for some reason the group always continues with a new singer. The newest album “Final Construct” released by Repo Records saw Bastian Polak (Intent:Outtake) joining the German formation. The album sounds in the fullest Funker Vogt-tradition; somewhere between Dark-Electro and EBM with a slightly more melodic touch on top. In my opinion, a strong production that shows that this legendary group is far from exhausted. I talked about the latest work with Gerrit and Bastian. (Courtesy by Inferno Sound Diaries)

Q: The new album “Final Construct” seems to be another turning point in the long career of Funker Vogt. After three albums singer Chris L. was replaced by Bastian Polak so how did this change come about and how did Bastian’s presence change and/or influenced the overall approach and production of “Final Construct”?

Gerrit: We produced three great albums with Chris, but as he started again with Agonoize we reached to a point where working together was no longer possible. I don’t want to go into that in more detail. In any case, we knew that we weren’t finished yet, we just needed a new singer. I already knew Bastian from vocal recordings with Intent:Outtake and the two Fusspils-11-songs, so it made sense to get him on board with Funker Vogt. He’s just a perfect fit. Because I knew what he was capable of, I was able to compose a little more boldly, because you simply don’t have to make any compromises with him.

In this respect, he helped to make the album more extensive and melodic than usual. I also wanted the sound to be very original to Funker Vogt, because in my opinion a new singer brings enough innovations with him.

Q: I personally experienced “Final Construct” as one of the hardest albums in years; a bit like featuring the brutal energy of the early years with the experience and knowledge you gained over the years on top of it. What is your own perception of this work?

Gerrit: Hm, I personally don’t think it’s that hard. On the contrary -there’s still a lot that can be done in that way! As I said, the album should sound as close to Funker Vogt as possible so that our fans aren’t confused when everything is suddenly completely different. I think that you’ll hear a few experiments and unusual things on the next album. But for this album, a new voice is enough of a change.

Bastian: As the new singer of Funker Vogt, I have of course made it my mission to do everyone justice and I think we have found a good way, on the one hand sounding more modern, but also like the old albums. I think “Final Construct” has everything the listener could have hoped for. Hardness, melody, profundity, but also time to take a deep breath 😉

Q: That brings me to ask you how much of the ‘young’ Gerrit Thomas do you still recognize in the approach, writing and production of “Final Construct”? And what are the biggest differences/evolutions compared to this new work?

Gerrit: Well, I would say that I still like the same kind of atmosphere in my music as I did 25 years ago. Only today the technical possibilities are much bigger and I know what I’m doing now…;-)

Q: Lyrical wise I think “Final Construct” seems a bit like a reflection of our contemporary world and all its misery. Can you be a little more specific about the content and how do you face it as human being?

Bastian: The world currently provides us with enough fuel for our music and our socially critical lyrics. However, many people keep thinking that we’re in favor of war, but that’s not the case and we’ve made that clear again on this album. We hold up a mirror to humanity, appeal to their reason, but also sing about solidarity and confidence.

Q: I think you always must have favorite songs and others where you might feel like everything was left out. What about “Final Construct” and can you make a kind of final balance sheet about this production? And do you think the latest album is always the best one?

Gerrit: Yes, we also have our favorites on every album. For me this time it’s “Rain Of Ashes”, “Tiefer”, and the club mix of “The Signaller”. In my opinion, all the others turned out great too, so I can’t say there’s a single one that doesn’t fit or should have better be left.

For me personally, the latest album is always the best one immediately after its release. Of course, I know that this is not always the case. To be able to judge this neutrally, you need to have a few months’ distance from the latest production, sometimes even years!

Bastian: I have already written the lyrics of many albums in my music career and I have to say that “Final Construct” is one of the best. For me, each of the 19 songs has something special, but my personal favorites are “Death Seed”, “Zinnsoldat”, “Die Leinen Los” and definitely “Im Auge Des Orkans” because it stands out a bit from all the other songs.

Q: Funker Vogt is now active for nearly thirty years! What were the biggest challenges you faced during this impressive career?  And do you sometimes feel like you have gotten the most out of it or do you still face new challenges and dreams? And if so, which ones?

Gerrit: Well, there were some setbacks due to the changes of singers that we had to deal with -and obviously we did so! Even though there are always a few people who recommend that we should better stop or rename the band when a new singer comes along, we stay true to our line and keep going on! That’s the ideology behind Funker Vogt. We would be questioning everything we have practiced for 28 years if we gave up. Following the well-known 242 motif: ‘Never Stop’!

Inferno Sound Diaries

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

www.side-line.com

Out now is a brand new Fatal Casualties new track, “Monomania“, which holds guest vocals by Gin Devo (Vomito Negro).

“Monomania” is the first track taken from the coming “Guest EP II” (release date to be announced). You can check out the track below.

Fatal Casualties will release 3 “Guest EP´s” in 2024 via the German label Minimalkombinat. The contributing guests on the first “Guest EP I” were: Dean Piavani (Portion Control), Stephen Mallinder (Cabaret Voltaire), Émelie Huard (Prosymna), Pelle Ossler and Mick Clarke.

3 of the songs from “Guest EP I” has been released earlier as videos:

About Fatal Casualties

Fatal Casualties is a Swedish experimental electronica band formed in Stockholm in 1986 by Stefan Ljungdahl and Ivan Hirvonen. Initially active from 1987 to 1991, they went on a long hiatus before reuniting in 2010. The band’s first official release was the EP “Paria” in 2012, following years of releasing demos and live performances.

The band’s music blends various electronic styles, often characterized by dark, cinematic atmospheres and experimental sounds. Their third album, “Filter”, released by Seja Records, exemplifies their evolution, incorporating ambient and slow rhythmic elements with an experimental edge.

Fatal Casualties have regularly collaborated with other artists, such as their work with Stephen Mallinder of Cabaret Voltaire and Dean Piavani of Portion Control. These collaborations feature prominently in their trilogy of EPs titled “Guest”, exploring themes of resilience and introspection.

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

Negative Gain Productions recording act Mortal Realm has just unveiled its debut, full-length album, “Stab In The Dark”. The project was founded by Adam Jones (Haex and Sterling Silicon) and blends various genre elements like electro-industrial dance, dark experimental, and gritty machine sampling.

Adam Jones explains what the tracks are about: “Most of the tracks are about some of the worst thoughts I’ve had, how messed up the world is (particularly with the rich, the rulers, and authority), and the struggle of overcoming these things.”

“Stab In The Dark” is available on LP and CD formats as well as on all major digital platforms including Bandcamp and Spotify. Read the review of ‘Stab In The Dark’.

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

Intrusive Pinky is a new female duo releasing their debut EP on Jean-Marc Lederman’s new Belgian label. We get to hear 5 songs that bring a somewhat experimental form of Electro-Pop. It’s a Minimal-Electro approach with some funny lyrical passages on top. There’s something of Miss Kittin in this promising debut. (Rate:7)

Listen to “We’re The Meow Meow Generation”:

About Intrusive Pinky

Intrusive Pinky is a synth punk duo based in Long Beach, California. The band was the first signing to Les Disques De La Pantoufle, the label founded by Jean-Marc Lederman in partnership with Christian Petke’s COP International, with the “I Hate Your Patriarch Fuck” EP marking the label’s debut release.

Inferno Sound Diaries

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

www.side-line.com

Out via Bureau B in October is the brand new Propaganda album, simply titled “Propaganda”. The new album will hold 8 tracks and will be out in 3 formats.

This self-titled set was co-written by Ralf Dörper and Michael Mertens. Recorded entirely in their native Düsseldorf it features guest appearances from Hauschka and Thunder Bae.

The album will be out on vinyl, CD and as a limited expanded digipak 2CD in a hand numbered edition of 1000 copies worldwide. The expanded version holds 5 exclusive bonus-tracks, namely “Not good for You”, “Solace in Sin”, “World out of Joint”, “I feel mysterious” and “The Calling”.

There will also be a double-vinyl edition. A first version on orange vinyl was already sold out on pre-order.

Below is the track “Purveyor of Pleasure“, the first of two single released already next to “They Call Me Nocebo“.

About Propaganda

Propaganda was formed by Ralf Dörper, former synthesist with electro-punks Die Krupps, and Andreas Thein in 1982, but it wasn’t until the addition of Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as the dark synth-pop powerhouse which would see chart success as part of the ZTT machine.

Upon signing with Trevor Horn’s imprint in 1983, Propaganda, now comprised of vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered their classic debut LP “A Secret Wish” and a string of international hit singles, such as “Dr Mabuse”, “Duel” and “P Machinery”.

After a late 80s hiatus spent escaping their unfavourable contracts, during which the singers went their separate ways, the project returned on Virgin in 1990, with a new line-up, including Betsi Miller on vocals and former Simple Minds rhythm section Derek Forbes and Brian McGee. Working alongside producers Ian Stanley and Chris Hughes, the ensemble delivered “1234”, featuring collaborations with Howard Jones and David Gilmour.

After this album, Dörper resurrected Die Krupps and Mertens moved into TV and Film composition and provided a conduit for Düsseldorf’s experimental electronic scene via his Amontillado Music label.

It was a 2015 remix request from Zang Tumb Tuum chum and former Frankie Goes To Hollywood frontman Holly Johnson which finally prompted the pair to revamp the band. Still, it would take them another 9 years to announce a new studio album, their third.

Bernard - Side-Line Staff

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

side-line.com

(Photo by Bobby Talamine) Metropolis Records announces the signing of industrial-electronic Vancouver-based music legend Bill Leeb for his debut solo effort “Model Kollapse”, out September 13.

“The album explores the intricacies of artificial intelligence and the survival of humanity itself,” says Bill Leeb.

The first single “Terror Forms” features Shannon Hemmett of Actors and Leathers and will be out on July 9. This album also involves Front Line Assembly / Delerium cohort Rhys Fulber, mixing engineer Greg Reely, Actors’ frontman Jason Corbett, and LA artist Mimi Page.

“We are proud to announce that Metropolis Records has signed Bill Leeb for his first solo project. Bill Leeb has had a prolific career as a founding member of Skinny Puppy, Front Line Assembly and Delerium. His music has been highly influential, and we are excited to see what this new chapter in his career will bring for him and his listeners,” says Nina Heckman of Metropolis Records. “I’m honored to fulfill my father’s (Dave Heckman who died in the summer of 2022) lifelong vision and to be doing this project with a lifelong family friend I can honestly call family (Bill Leeb). This project is near and dear to all of our hearts here at Metropolis and I know it would make my father proud.”

“Model Kollapse” marks Leeb’s very first solo venture since the mid-80s days of Front Line Assembly, when he used to make recordings in his bedroom and released them on limited edition cassette format. Almost four decades on, his new album was recorded and produced in Vancouver, Toronto and Los Angeles with assistance from Vancouver/Toronto-based production duo Dream Bullet.

The “Terror Forms” single will be unleashed digitally everywhere on July 9. The full “Model Kollapse” album will be released on vinyl and CD, as well as digitally, on September 13.

About Bill Leeb

Bill Leeb, born Wilhelm Anton Leeb on September 21, 1966, in Vienna, Austria, is best known as the founder and lead member of the industrial music group Front Line Assembly (FLA). Leeb moved to Canada in the 1980s, where he began his music career.

Before forming Front Line Assembly in 1986, Leeb was a member of the influential industrial group Skinny Puppy, where he performed under the pseudonym Wilhelm Schroeder. His departure from Skinny Puppy marked the beginning of his career with Front Line Assembly.

In addition to Front Line Assembly, Leeb has been involved in several other music projects, including Delerium, which achieved commercial success with its fusion of ambient and pop music elements. Leeb’s other projects include Noise Unit, Intermix, and Conjure One, each exploring different facets of electronic music.

Bill Leeb discography

Bill Leeb has had a diverse range of musical projects, each with its own unique style and sound. Here’s an easy-to-read breakdown of the differences between his major projects:

Front Line Assembly (FLA) is characterized by a dark and aggressive style, blending industrial, Electronic Body Music (EBM), and electro-industrial sounds. The music features heavy use of synthesizers and electronic beats, often exploring dystopian and sci-fi themes.

Delerium, on the other hand, focuses on ambient, ethereal, and electronic music with a new age twist. Its sound is soothing and atmospheric, emphasizing melodies and textures. Delerium often incorporates world music elements and features various guest vocalists, achieving mainstream success with tracks like “Silence” featuring Sarah McLachlan.

Noise Unit features a mix of industrial, EBM, and techno influences. Over time, the project’s sound has varied, combining harsh industrial elements with more danceable EBM and techno beats. Collaborations with artists like Marc Verhaeghen of Klinik add to its diverse range of styles.

Intermix leans more towards techno, ambient, and electronic music. This project focuses on instrumental tracks, blending electronic and ambient music with techno rhythms. It is generally less aggressive than Front Line Assembly.

Conjure One presents a melodic and ethereal sound, incorporating ambient, electronic, world music, and pop influences. It features prominent guest vocalists and offers polished production with a radio-friendly appeal, blending electronic beats with organic instruments.

Cyberaktif, a collaboration with cEvin Key of Skinny Puppy, delivers a dark and experimental sound. Combining the signature styles of Front Line Assembly and Skinny Puppy, Cyberaktif features heavy use of samples and aggressive beats, resulting in a dense, experimental industrial sound.

Equinox focuses on ambient and atmospheric soundscapes, similar to early Delerium works but more abstract and experimental. It emphasizes creating immersive sound environments with a minimalistic approach.

Pro>Tech is a dance-oriented project with techno and trance influences. It features high-energy beats and repetitive, hypnotic structures, offering a clear departure from the darker styles of Leeb’s other projects, aiming for a more mainstream dance music appeal.

Below are the releases.

Front Line Assembly

• The Initial Command (1987)
• State of Mind (1988)
• Gashed Senses & Crossfire (1989)
• Caustic Grip (1990)
• Tactical Neural Implant (1992)
• Millennium (1994)
• Hard Wired (1995)
• FLAvour of the Weak (1997)
• Implode (1999)
• Epitaph (2001)
• Civilization (2004)
• Artificial Soldier (2006)
• Improvised. Electronic. Device. (2010)
• Echogenetic (2013)
• Wake Up the Coma (2019)
• Mechanical Soul (2021)

Delerium

• Faces, Forms & Illusions (1989)
• Morpheus (1989)
• Syrophenikan (1990)
• Spiritual Archives (1991)
• Stone Tower (1991)
• Spheres (1994)
• Spheres 2 (1994)
• Semantic Spaces (1994)
• Karma (1997)
• Poem (2000)
• Chimera (2003)
• Nuages du Monde (2006)
• Music Box Opera (2012)
• Mythologie (2016)

Noise Unit

• Grinding into Emptiness (1989)
• Response Frequency (1990)
• Strategy of Violence (1992)
• Decoder (1995)
• Drill (1996)
• Voyeur (1998)
• Dead Sector (1999)
• Deviator (2021)

Intermix

• Intermix (1992)
• Phaze Two (1993)
• Future Primitives (1995)

Conjure One

• Conjure One (2002)
• Extraordinary Ways (2005)
• Exilarch (2010)
• Holoscenic (2015)
• Innovation Zero (2023)

Cyberaktif

• Tenebrae Vision (1991)
• Temper (EP) (1990)

Equinox

• Holon (1998)

Pro>Tech

• Orbiting Cathedrals (1997)

Side-Line also covered Front Line Assembly’s ‘Molotov (Remixed)’.

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: Ritual, Dark-Ambient, Experimental.

Format: Digital, 2CD.

Background/Info: Chris Undirheimar has released an impressive number of productions over the past few years. He now moves back to Cyclic Law unleashing “Ginnngagaldr” which resulted from very personal experiences.

Content: The first disc features 7 cuts leading the listener into an obscure sound universe featuring Ritual elements mixed with a dense, Dark-Ambient music style. Heavy droning percussion empower the impact of the work while throat singing accentuates the Ritual side. The second disc features a single cut which is the title track. Sound-wise the influences remain exactly the same.

+ + + : I remain fascinated by the technique of throat singers. It has something intriguing, definitely Ritual but still magic. It injects a true bonus to the composition which is totally fitting with the obscure sound treatments. The heavy percussion drones inject some diversity. It’s interesting using headphones to discover the sonic welfare of this production.

– – – : A few passages sound a bit monotonous and missing substance. The title track is cool and definitely interesting to accentuate visual art but also a bit monotonous after a while.

Conclusion: “Ginnungagaldr” appears to be a true offspring between Ritual- and Dark-Ambient music.

Best songs: “Gandreiðarstafur”, “Þursaseiðr”, “Uphafsdauðsþjòt”.

Rate: 7.

Artist: www.facebook.com/ThursianRitualArt

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

About Undirheimar

Undirheimar is the solo Ritual and Dark-Ambient project of Chris Undirheimar, a prolific producer with a steady stream of releases over recent years. “Ginnungagaldr” marks a return to Cyclic Law for the project, drawing on throat singing and dense droning percussion to build on the obscure sound world of its earlier work.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-Electro, EBM.

Format: Digital, 2CD.

Background/Info: After three self-released and four official albums C-Lekktor breaks the silence after a hiatus of five years. Mexican Dark-Electro head Marco Barientos aka ‘Markko B’ signed to Alfa Matrix. He’s already familiar with the Belgian label having released music from his side project Circuito Cerrado. The last album of this side-project “Furious Basslines” might have inspired him for the slogan of this new C-Lekktor work ‘Are You Ready For The Bass?’

Content: The album stands for pure C-Lekktor Electro-terror and yet I noticed a little evolution in sound. The mix between Dark-Electro and EBM has never been so perfect. The songs are driven by hopping rhythms and sequences while carrying leads are pushing the songs to a higher dimension. Markko B is singing like a possessed creature.

The bonus disc features remixes by Xperiment, Centhron, ESA, Nevel, Llumen, The Psychic Force, Skynthattack, Venal Flesh, Neikka RPM, Chamaeleon, Nano Infect, FabrikC, Third Realm, Aesthetische, Miseria Ultima and Circuito Cerrado.

+ + + : C-Lekktor stands for power and terror; a violent Dark-Electro experience which became the trademark of this artist. C-Lekktor definitely belongs with projects like Hocico and Amduscia to the best Mexican bands in the genre. Markko B knows how to compose pure dance-terror. I like the way he created a perfect symbiosis between Dark-Electro and EBM resulting in great songs like “God Killer”, “Me”, “Death Dealer” and “Are You Ready For The Bass?”. Among the remixes featuring great names I especially like the job done by Neikka RPM industrializing “Obsession” in a true masterpiece with female backing vocals by Dominique. Other essential remixes are these by The Psychic Force and Chamaeleon.

– – – : The first part of the album sounds okay but the best cuts are definitely featured on the second part. I however have already heard better stuff from C-Lekktor.

Conclusion: ‘Are you ready for the bass?’ No doubt about it C-Lekktor will take dancefloors by force!

Best songs: “Me”, “Are You Ready For The Bass?”, “God Killer”, “Dearth Dealer” + “Obsession – Neikka RPM Remix”, “House Of Pain – The Psychic Force Remix”. 

Rate: 8.

Artist: www.facebook.com/Clekktor

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

Listen to “New World Disorder”:

About C-Lekktor

C-Lekktor is a Mexican dark-electro project led by Marco Barientos, known as Markko B, who also records as Circuito Cerrado. After three self-released and four official albums, the project signed to Alfa Matrix and returned with “New World Disorder” following a five-year hiatus, released October 28, 2022 as a 2CD and digital bonus-tracks edition with remixes by Xperiment, Centhron, ESA, Nevel, Llumen, The Psychic Force, Skynthattack, Venal Flesh, Neikka RPM, Chamaeleon, Nano Infect, FabrikC, Third Realm, Aesthetische, Miseria Ultima and Circuito Cerrado.

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

C-Lekktor expands, the duo consisting of Markko and Jamie, welcome a 3rd member to their line-up: Dj/Producer Dimitri Berzerk aka d·b. The news was announced on Facebook last night as you can see below.

C-Lekktor has a new album out since last week, the 2CD “New World Disorder” which is also available as download via Bandcamp and all other services. With “New World Disorder”, the band breaks 5 years of extended silence. The release offers a fusion of classic dark hellektro with upbeat industrial EBM.

Note that this 2CD is a limited edition first pressing including a 16-track bonus disc featuring remixes by ESA, Centhron, Xperiment, The Psychic Force, Fabrikc, Aesthetische, Neikka RPM, Venal Flesh, Nano Infect, Circuito Cerrado, Llumen, Nevel, Synthattack, Chamaeleon, Miseria Ultima and Third Realm.

Below is the Facebook announcement.

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

One of the leading bands from the Mexican dark elektro scene, C-Lekktor, has landed a record deal with the Belgian electro label Alfa Matrix. After having been focused on some side-project activities (for instance the excellent Circuito Cerrado) and other collaborations over the last years, Markko B. has concentrated his attention back on C-Lekktor.

Alfa Matrix announced today that they will release the new C-Lekktor album “New World Disorder” later in October. With this new release C-Lekktor breaks 5 years of extended silence (and pandemic struggle).

The first pressing of this “New World Disorder” album comes out as double-CD digipak limited edition with extended artwork and a 16-track bonus disc featuring remixes by Esa, Centhron, Xperiment, The Psychic Force, Fabrikc, Aesthetische, Neikka Rpm, Venal Flesh, Nano Infect, Circuito Cerrado, Llumen, Nevel, Synthattack, Chamaeleon, Miseria Ultima and Third Realm.

You can already check two tracks on Bandcamp (they are yours for immediate download if you pre-order the download release). The 2CD limited edition can be pre-ordered now from the Alfa Matrix webshop.

The project debuted in 2004 with the self-released album “Re-A-Gression”. It was followed by “Cloned And Mutated” in 2007, again self-released. The same year the project offered “Refusing The Paradise” after which they got picked up by COP International. On that label they released 3 albums, “The Silence Procession” (2008), “X-Tension In Progress” (2012) and “Final Alternativo” (2014). The band’s last album was the 2017 release “Out Of My Way” re-released in an anniversary edition in 2019.

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

Genre/Influences: Dark-Electro, EBM, IDM.

Format: Digital, CD.

Background/Info: After having released three albums on Aliens Production, the Slovakian Samhain project strikes back with their new opus which is the first one released on Electrofrequent. The Samhain members are still involved with the pure EBM project Last Influence Of Brain.

Content: This work is a true sonic symbiosis between EBM (mainly reminding me of Frontline Assembly), Dark-Electro and IDM. The composition features vintage sound treatments and is mainly driven by a slow cadence. There’s a mix of instrumental- and sung tracks.

+ + + : Just imagine a sonic offspring between Frontline Assembly, Front 242, Yelworc and Lassigue Benthaus and you might have an idea about Samhain’s new opus. The dark atmospheres are immensely powerful. The sound treatments are unpolished, raw, and yet subtle. This is a new masterpiece by this Slovakian combo but I especially recommend listening to “The Hole – Stanford Experiment”, “Project 4.1”, “Black Sun 731 – Unit 731” and “Monstrum”. I also have to say a word about the industrial-like and metallic front cover.

– – – : Those guys have accomplished a new masterpiece so no minus points to mention.

Conclusion: Samhain stands for intelligent Electronics with a vintage flavor and yet that visionary.

Best songs: “The Hole – Stanford Experiment”, “Project 4.1”, “Black Sun 731 – Unit 731”, “Monstrum”, “Guatemala Experiment”, “Project MK Ultra”.

Rate: 8½.

Artist: www.facebook.com/Samhain-music-1072520006194485

Label: www.electrofrequent.com / www.facebook.com/Electrofrequent-102179464888936

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 russian dark electro act Obsidian FX (aka the duo R.DarkArt and D.Fox) are back with a brand new EP, “Harpies”. Released via the Xperiment XII label, the new album holds 7 original tracks next to 7 remixes by Cellhavoc, Ironhand, Simon Carter, Violet7rip, The Left Hand of Creation, Sarcophagic and Chainreactor.

You can download the EP right here on Bandcamp for just 5 dollars and you can preview it below. Recommended to those into dark idm and dark ambient with a pinch of dark electro rhythm and vocals.

Bernard - Side-Line Staff

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

side-line.com

Out by March 30 via the Xperiment XIII label is the newest 2CD album by Parasite of God, “Outcasts and Freaks”. The limited 2CD deluxe gatefold edition package can be ordered right now from Bandcamp (as well as the digital album, which only has the tracks from CD1). The complete trackless for the 2CD can be found here.

The package also includes this:

• 1x Band Autographed A6 Postcard
• 5x POG A6 Fridge Magnets with Artwork [High-quality | Vinyl material]
• 2x POG Stickers [Different Artwork on each]
• 1x POG Keyring Torch for First 30 orders ONLY

The material was mastered by X-Fusion Music Production with artwork by Tomoki Hayasaka of Sheerheart, who also made some lovely designs for recent releases by bands such as Acylum, Suicidal Romance, Avarice In Audio, Ayria, the Endzeit Bunkertracks series, Zombie Girl etc..

You can already listen to 5 tracks from this album below:

We quickly spoke to Parasite of God who have this to say about the album: “This album was made over a longer time. Our goal has always been to make music we enjoy ourselves. We have a wide range of musical influences and the result is here. We don’t make music to fit in a genre or to tie us down to certain rules, we simply do what we want. The lyrics on this album mainly follow the same spirit! Stand up proud never bow, follow your own heart and be yourself, leave the judging to the weak ones. If u enjoy this album it makes us proud; if u don’t just Keep searching for the things that makes your life richer!”

The band clearly is getting its momentum as both the videos for “Outcast” and “Through Sorrows” are getting thousands of view on YouTube. You can watch them below.

Bernard - Side-Line Staff

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

side-line.com