Out now are the new Delerium singles “Remember Love (Zanias Justified Remix)” and “Falling Back to You (Myon Remixes)” featuring Mimi Page.

US singer-songwriter Mimi Page was a featured vocalist on “Signs”, the 2023 album by Canadian electronic duo Delerium (Bill Leeb and Rhys Fulber of Front Line Assembly). Two of the songs she contributed to on that release have been remixed by the US DJ and artist Myon and Australia-born but now Berlin-based solo performer, DJ and producer Zanias, with both issued as singles simultaneously. “Signs” also featured contributions from Phildel, Inna Walters and KANGA, next to Page.

Below are the two singles. First is the “Falling Back to You (Myon Remixes)” 3-track single.

This is the “Remember Love (Zanias Justified Remix)” download on Bandcamp.

About Mimi Page

Mimi Page is an American singer, songwriter, and composer known for her ethereal, atmospheric music. She grew up in Los Angeles, California, and is classically trained in piano. She attended the Berklee College of Music, where she focused on composition and production.

Her music blends ambient, electronic, and dream pop elements, characterized by a dreamy, otherworldly sound. Influenced by a wide range of genres, from classical to modern electronic and alternative, her eclectic soundscapes are a key feature.

She has released several albums and EPs, including “Breathe Me In” (2011), “The Ethereal Blues” (2013), and “The Cure for Sleep” (2015) and has collaborated with various artists and producers, notably working with the electronic duo Delerium on their song “Days Turn into Nights.”

Mimi has composed music for film and television, creating immersive and emotive soundscapes well-suited for visual media and has also contributed to video game soundtracks, showcasing her versatility as a composer.

Bernard - Side-Line Staff

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

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(Photo by Elemental Eyes Photography) Negative Gain Productions recording artists Bestial Mouths have an all new remix album, “Backbone”, out tomorrow. But you can already stream it exclusively via Side-Line today.

The release is the follow-up (or rather companion) to their latest LP, “R.O.T.T.(inmyskin)” and offers reworks mixing darkwave-industrial with synthpop elements. The remixes were executed by Broken English Club, Actors, Rebeka Warrior, Curses, XTR Human, Modern Men, Lana Del Rabies, IV Horsemen, Crune, Orphx, GenCAB, Trace Amount, Carrellee, Daniel Myer, Maduro, Snowbeasts and Bedless Bones.

“Backbone” will be available tomorrow on all major digital platforms including Spotify and Bandcamp. Stream the full release below.

Fronted by Lynette Cerezo the band formed in 2009 and has mixed a number of elements in their work, from goth, industrial, post-punk, New Wave, noise, metal, to other underground sounds using live acoustic and electronic drums and analog synthesizers.

In their decade-plus existence, the band has worked with myriad of producers and artists including Zola Jesus, Mick Harvey, Rhys Fulber, Egyptrixx, Boy Harsher, Die Krupps, Mater Suspiria Vision, Zanias, The Horrorist, and Ludovico Technique to name but a few.

Here’s the video for the genCAB remix of “iNNARDS”.

Bernard - Side-Line Staff

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

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(Photo by Hidrico Rubens) This February, 16th, Alison Lewis aka Zanias will release her newest album, “Ecdysis”. The 8-track album is following up last-years’ “Chrysalis“. The release mixes ambient, experimental electronics and EDM and will be out on vinyl, CD and download / streaming via Fleisch Records (Worldwide) and Metropolis (US).

“There were times during the making of ‘Chrysalis’, a process which coincided with the total destruction of my former life, when I was struck by how moments of extreme psychological pain are so often followed by an increased acuity for the beauty that’s all around us,” explains Alison Lewis, talking about the upcoming release.

And she adds: “(It was) a deep dive into this experience at my family home in Queensland, Australia, after a particularly difficult loss. I wanted to distil the feeling of standing in the rainforest alone at night, the vibrations of diverse and ancient life reminding me of what I’m made of, reminding me what ‘eternity’ truly means.”

Named after the final stage of emergence from a former self, “Ecdysis” offers an electronic soundscape influenced by the ethereal pioneering of Dead Can Dance, Enya and Fever Ray.

You can already check a first track on Bandcamp.

Lewis is probably known to some readers as one half of Linea Aspera, an English electronic music duo from London, formed in 2011. The band was fronted by Alison Lewis), with Ryan Ambridge on synthesizers. She also was part of Keluar with Sid Lamar of Schwefelgelb.

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: Electro, Ambient-Pop, Ethereal-Pop.

Format: Digital, CD, Vinyl.

Background/Info: “Chrysalis” is the third album by Zanias. Behind this project is hiding Alison Lewis aka ‘Zoe Zanias’ who you should know from projects like Keluar and of course Linea Aspera. The Australian born artist strikes back with eight new songs.

Content: The new album is a way to exorcize personal experiences and thoughts which have been transposed into a heavenly, sweet, Electronic creation. The songs are mixing different Electro influences which are mainly mixing Ambient and Pop. The vocals have something heavenly and sensual.

+ + + : It’s hard to define the sound universe of this artist but different parts evoke to me the sensuality of Delerium. I like the way different influences have been mixed while driven by down tempo rhythms. It’s a fully enjoyable sound experience to dream away upon serious themes.

– – – : I regret the work is only featuring 8 tracks while I’m missing a true apotheosis.

Conclusion: This album is fully accessible and definitely open for a wider audience.

Best songs: “Burial”, “Closing”, “Lovelife”.

Rate: 7.

Artist: www.facebook.com/zoe.zanias

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords

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

Metropolis Records has partnered with Fleisch Records to release the new Zanias album “Chrysalis” in North and South America. The album was originally released on May 1st in Europe via Fleisch Records, the label owned by Alison Lewis aka Zanias.

This is Zanias’ third full-length album so far and you can expect electronic art pop as you can hear below.

“Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of “Chrysalis” reflects the rich biodiversity of the rainforest, where I drew much of my inspiration,” Zanias aka Alison Lewis explains the sound of the new album.

The project was formed in 2014 by Alison Lewis, born in Australia, raised in Southeast Asia. Before that she was already known for her vocal work with Linea Aspera, Keluar and a record shelf’s worth of collaborations with the likes of Black Rain, Ancient Methods, Dax J, I Hate Models and Infravision. Zanias released its first work in 2016 with the single “To The Core” on Noiztank. Since then various singles and 3 albums followed. Since 2020 the project is house under the wings of her own label, Berlin-based Fleisch 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!

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For the past couple of months we have been testing ChatGPT at Side-Line to see if it could help us with our text writing. And we have been launching all kind of queries, sometimes with pleasant surprises. This is the first in a few articles where we let the AI powered chat software spin a few texts.

For those unaware, GPT (Generative Pre-training Transformer) is a machine learning model developed by OpenAI. GPT is a type of language model that is trained to predict the next word in a sequence of words, given the previous words in the sequence. ChatGPT is a variant of GPT that is specifically designed for conversation and it is trained on a large dataset of human conversation, and is able to generate human-like responses to a given input. It is able to understand the context and meaning of words, and can generate appropriate responses based on this understanding. ChatGPT is able to generate responses that are coherent and appropriate, and can engage in conversation on a wide range of topics.

In summary, ChatGPT is a machine learning model that is designed to generate human-like responses to input, allowing it to engage in conversation with users. It does this by predicting the next word in a sequence based on the previous words and context, using its understanding of language and meaning.

A few weeks ago we let it write a text on the future of industrial music, this is what it came up with.

What is the future of industrial music?

It is difficult to predict the future of any music genre with certainty, as it is influenced by a wide range of factors such as cultural trends, technological advances, and the evolution of musical tastes. However, it is possible to make some educated guesses about the future of industrial music based on its history and current state.

One potential future for industrial music is that it will continue to evolve and incorporate elements from other genres. Industrial music has always been a hybrid genre, incorporating elements from a wide range of styles such as punk, electronic, and metal. As such, it is likely that industrial music will continue to borrow from and be influenced by other genres in the future.

Another potential future for industrial music is that it will continue to be a niche genre, but with a dedicated and passionate fan base. Industrial music has always been a genre that appeals to a specific audience, and it is likely that this will continue to be the case in the future. While industrial music may not achieve mainstream success, it could continue to have a dedicated and influential fan base that keeps the genre alive and vibrant.

Technological advances may also play a role in the future of industrial music. The use of electronic instrumentation and production techniques has always been a key part of the industrial sound, and it is likely that technological advances will continue to shape the sound of industrial music in the future. For example, the use of virtual instruments and software synthesizers may become more prevalent in industrial music production, allowing artists to create new and innovative sounds.

Another potential future for industrial music is that it will continue to be a genre that reflects and addresses social and political issues. Many industrial bands have always used their music as a way to comment on and critique society and its problems, and it is likely that this will continue to be the case in the future. Industrial music has always been a genre that has addressed themes such as power, control, and oppression, and it is possible that these themes will continue to be relevant in the future.

Overall, the future of industrial music is uncertain, but it is likely that the genre will continue to evolve and adapt to changing cultural and technological trends. While industrial music may not achieve mainstream success, it could continue to have a dedicated and passionate fan base that keeps the genre alive and relevant.

What are the challenges for industrial music?

There are a number of challenges and issues that industrial music has faced and continues to face. Some of these challenges include:

• Lack of mainstream success: Industrial music has always been a niche genre, and it has struggled to achieve mainstream success. This can make it difficult for industrial bands to find a wide audience and to make a living from their music.
• Limited commercial appeal: Industrial music is often characterized by its experimental and unconventional sound, which can make it less appealing to a commercial market. This can make it difficult for industrial bands to gain the support of record labels and to find opportunities to perform and tour.
• Stereotyping and misunderstanding: Industrial music is often misunderstood and stereotyped by the mainstream media, who may portray the genre as being violent or dangerous. This can make it difficult for industrial bands to gain respect and recognition for their music.
• Competition with other genres: Industrial music has always been a hybrid genre, incorporating elements from a wide range of styles such as punk, electronic, and metal. This can make it difficult for industrial bands to stand out in a crowded music market, as they may be competing with other genres for attention.
• Limited resources: Industrial music is often produced on a small scale, with many bands operating on a DIY basis. This can make it difficult for industrial bands to access the resources and support they need to create and promote their music.

There are a number of ways that industrial music could potentially reinvent itself and adapt to changing cultural and technological trends. Some possible ways that industrial music could evolve include:

• Incorporating elements from other genres: Industrial music has always been a hybrid genre, incorporating elements from a wide range of styles such as punk, electronic, and metal. Industrial music could continue to evolve by borrowing from and being influenced by other genres, incorporating new sounds and ideas into its sound.
• Experimenting with new production techniques: Industrial music has always been characterized by its use of electronic instrumentation and production techniques. Industrial bands could continue to explore new and innovative ways of using technology in their music, such as using virtual instruments or software synthesizers.
• Collaborating with artists from other genres: Industrial music could potentially collaborate with artists from other genres, creating new and unique sounds and styles. This could help to bring industrial music to a wider audience and to reach new fans.
• Refocusing on political and social themes: Many industrial bands have always used their music as a way to comment on and critique society and its problems. Industrial music could potentially refocus on these themes, using its music to address contemporary social and political issues.
• Exploring new visual aesthetics: Industrial music has always had a distinctive visual aesthetic, with many fans sporting black clothing and leather or PVC gear. Industrial bands could potentially explore new visual styles and aesthetics, helping to keep the genre fresh and exciting.

Overall, there are many ways that industrial music could potentially reinvent itself and adapt to changing cultural and technological trends. It is likely that the genre will continue to evolve and adapt over time, and that new artists and bands will bring their own unique perspectives and influences to the table.

What were the most innovative industrial bands in the past?

There have been many innovative industrial bands throughout the history of the genre. Some of the most influential and innovative industrial bands include:

1. Kraftwerk: Kraftwerk is a German band that is often credited as the pioneers of electronic music. They were one of the first bands to use electronic instrumentation and production techniques in their music, and their experimental and innovative approach to sound helped to shape the industrial genre.
2. Throbbing Gristle: Throbbing Gristle was a British band that was active in the 1970s and early 1980s. They were known for their experimental and unconventional approach to music, and were one of the first bands to be associated with the industrial genre.
3. Einstürzende Neubauten: Einstürzende Neubauten is a German band that is known for their innovative and unconventional use of found objects and industrial materials in their music. They have been influential in the industrial genre, and have inspired many other artists to experiment with new and unusual sounds.
4. Skinny Puppy: Skinny Puppy is a Canadian band that is known for their innovative use of electronic instrumentation and production techniques in their music. They have been influential in the industrial genre, and have inspired many other artists to experiment with electronic sounds.
5. Nine Inch Nails: Nine Inch Nails is an American band that is known for their experimental and innovative approach to music. They have been influential in the industrial genre, and have incorporated elements from a wide range of styles into their sound.

What are the most innovative industrial bands today?

There are many contemporary industrial bands that are known for their experimental and innovative approach to music. Some examples of innovative industrial bands that are active today include:

1. Blanck Mass: Blanck Mass is a British electronic music project that is known for its experimental and unconventional sound. They incorporate elements from a wide range of genres into their music, and are known for their innovative use of electronic instrumentation and production techniques.
2. Youth Code: Youth Code is an American band that is known for their aggressive and experimental sound, which incorporates elements from industrial, punk, and electronic music. They are known for their innovative use of electronic instrumentation and production techniques, and for their unconventional approach to music.
3. Pharmakon: Pharmakon is an American noise musician who is known for her experimental and unconventional approach to music. She incorporates elements from industrial, noise, and electronic music into her sound, and is known for her innovative use of electronic instrumentation and production techniques.
4. Factory Floor: Factory Floor is a British band that is known for their experimental and innovative approach to music. They incorporate elements from a wide range of genres into their sound, and are known for their innovative use of electronic instrumentation and production techniques.
5. Zanias: Zanias is an Australian electronic musician who is known for her experimental and unconventional approach to music. She incorporates elements from industrial, techno, and ambient music into her sound, and is known for her innovative use of electronic instrumentation and production techniques.

These are just a few examples of the many innovative industrial bands that are active today.

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: Techno, Techno-Pop.

Format: Digital, CD, Vinyl.

Background/Info: Berliner based Alison Lewis aka Zanias this year released her second full length album, which has been introduced as exploring ‘the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before’. The work features ten songs.

Content: The songs are constantly moving in between techno- and Pop-music. It creates a sonic-hybrid with the sensual vocals of Alison Lewis on top. Most of the songs have something wafting, but you’ll also discover the harder and darker club-orientated title-track.

+ + + : You’ll rapidly notice the album is carried by a kind of conceptual approach in the choice of the titles. The sound is however hard to define, but clearly reveals an interesting approach creating this osmosis between Techno and Pop. The artist’s sensual timbre of voice injects a real hot effect to the production. The songs have been accomplished with subtle sound treatments featuring field recordings. I’ve been mainly impressed by the title-song, which has something extra, but especially the harder boost that emerges at the surface. The last track “Unbound” is also an attention grabber, reflecting an expression of pure ‘sex’.

– – – : I’m missing a true climax on most of the songs. I would have liked to hear a melody line now and then. 

Conclusion: Zanias isn’t setting the world alight, but “Unearthed” has something innovative.

Best songs: “Unearthed”, “Unbound”, “Unseen”.

Rate: 7.

Artist: www.facebook.com/zoe.zanias

Label: www.facebook.com/fleischrecords

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

By the end of 2020 Transmission unleashed the debut album “Cosmos” on Wave Records. The French solo-project is driven by Sandrine Deville. She’s dealing with a rather Minimal-Electro/Wave style with some violin tunes on top. It’s a fascinating- and accomplished experiment revealing an artist with a very own and creative approach. Here’s what Sandrine has to say about Transmission.

(Courtesy by Inferno Sound Diaries)

Q: How did you get contaminated by the music virus and finally come to set up your own music project?

Sandrine: I began to learn how to play violin at the Ferney-Voltaire regional conservatorium of music, in France, when I was ten years old, during four years. And, this was the time I listened to bands like A-Ha, Alphaville, U2, Pink Floyd, The Cure at the junior high school of my city, and, maybe one of the most influent band that led me to practice guitar, Dire Straits and the song “Money For Nothing”, for which I recorded a tape with this same only track, that I listened to for hours, showing me the power of music to immerse myself in a very special universe, at a high noise levels of my headphones.

I could define for Dire Straits a word that I will use to define my own music project: ‘soundscape’, when you discover landscapes from beautiful sounds. There also was Depeche Mode with the track “Never Let Me Down Again”, and, of course, Joy Division with the incredible bassline of “She’s Lost Control” were offering beautiful soundscapes to my ears when I was a teenager. Today I feel the same, but with other bands like Massive Attack, Bauhaus, Bowie, Linea Aspera, The Soft Moon, Kraftwerk, PJ Harvey, Nine Inch Nails, Kas Product.

On one hand, I wanted to play guitar in a band when I was teenager, but on the other hand, there were a lot of excellent guitarists and I was not, so, I decided to learn playing bass guitar. First, I was a bass player in a Funk/Folk /Psyche band called Hopupu and later on in between 2011 and 2016 in a Cold-Wave duo called Rive Droite Rive Gauche.

Then, I wanted to create my own music project and, after a few years of involvement with various bands, from Post-Punk to Punk, I decided to create the Electro/Dark-Wave solo-project called Transmission, recording first the track “Cosmos”.

Q: The name of your project is clearly reminding one of Joy Division’s legendary songs. Is it just a coincidence or clearly a link with some of your main sources of inspiration? What kind of sound did you’ve in mind when setting up Transmission?

Sandrine: Joy Division is one of my favorite bands. I adore all their songs and the atmosphere of “Shadowplay” gives me goosebumps each time I listen to this track. As I passed my bachelor in design in Toulouse (France) in 2018, I presented “Transmission”, the all white 3D printed Electro-Acoustic violin I created, inspired by pulsars shape, those mysterious white lines that we can see on the artwork of the LP “Unknown Pleasures” from Joy Division, and designed by Peter Saville. So, in this way, I could say that the name of my project is inspired by Joy Division, but mainly the white lines of the artwork of “Unknown Pleasures”. We can discover more about my violin called ‘Transmission’ on my own artist website here:

https://www.bluefactoriz.com/transmission

And we can discover more about my violin too, from pages 277 to 286 of the book of Pedro Peñas y Robles called “Joy Division, Paroles De Fans”, Editions Camion Blanc, 2018, here:

http://www.camionblanc.com/detail-livre-joy-division-paroles-de-fans-1216.php

Regarding the sound of my project, the effects are allusion to any effects used by the brilliant Martin Hanett for the soundscape of Joy Division, but, the kind of sound, the essence of the sound, come from a lot of references, as Kraftwerk, Nitzer Ebb, Covenant, Nine Inch Nails, Massive Attack, Linea Aspera, Boy Harsher, Buzz Kull, Minuit Machine, Years Of Denial, Kas Product.

Q: You last year released your debut album “Cosmos”. Tell us a bit more about the writing- and production process of this opus and what did you try to express lyrical wise?

Sandrine:The process of the composition was the same for all the tracks; I switched on my Korg Minilogue, synchronized with the little Korg Volca Sampler for the drums, and I tried to play live with this set up, recording a bass line using the Minilogue when I thought I could have something interesting. Then, recording this on my PC using Ableton software, I began to look for a structure, and sing the violin line, and the melody, or writing the words for the future track. Many times, I wasn’t able to record the exact bassline I wanted on the synth, and then, I tried to do my best with this new sound. Tracks like “Cosmos” and “Désuétude” both are like soflty spoken words; tracks like “De Stijl” or “Echouées” both are using punchy spoken words. As a reference, I could say that “Désuétude” is inspired by the way Anne Clark is ‘screaming’; “Cloud 9” and “Illusion” are both mixing spoken words, and a melodic chorus. I was very happy, too, in the way I used different languages: French, English, German, and Spanish too. For the lyrics, sometimes, first, I wrote them, and sometimes, they came after the soundscape, it depended of the feeling I had at the moment of the creation phase.

Q: I’m always wondered why there’re no more female artists composing Electronic underground music? Do you’ve an explanation and what have been your experiences as female artist in this scene so far?

Sandrine: I really don’t know why there are no more female artists composing Electronic underground music. Well, one of the most iconic is Anne Clarke, but today, we have the excellent solo-project of Alison Lewis called Zanias who’s also involved with the excellent duo Linea Aspera and Keluar. In France we have the excellent female duo from Paris, called Oktober Lieber. And there is also the excellent female solo-project called Hante from Hélène De Thoury who’s also member of the female duo Minuit Machine.  In the USA, even if it is a mixed duo, there is the excellent Boy Harsher. And I recently discovered the solo-undergound artist from New-York called Ani Klang. I also think to the excellent first LP “Push” from the L.A based Iranian producer and DJ Maral. In Germany there is in a dark, clubby style Ellen Allien.

So even if there are less female artists involved, I think that there will be more and more female Electronic underground artists. As I am beginning in this scene, I don’t have yet a lot of experience, the only thing I could write, is that I think that maybe women have to forget their shyness (if they are), and to prove by themselves that they can make Electronic underground music as well as male artists.

Q: Transmission has been introduced as a solo-project although you got some help to achieve “Cosmos”. Tell us a bit more about this collaboration and what has been the impact and bonus on the final result?

Sandrine: At the beginning of the year of 2019, I had a first demo of the track “Cosmos”, and I was wondering how to go on with this project. Thanks to my duo Rive Droite Rive Gauche I met a lot of people of the Gothic scene of Bordeaux who became good friends. In January, I went with two friends to the Nitzer Ebb gig in Bordeaux, and, then, we met a lot of friends of the Gothic scene of the city like Jean-Philippe Torres who has his Drone Studio. He is also one of the musicians of the excellent duo Dark Line Spectrum; Speaking with him, it became to me an evidence that he could be the most appropriate friend to achieve “Cosmos”. I sent him the demo of “Cosmos”, “Désuétude” and “Echouées” in order to know if this project could have an interest for him, and, as he was enthusiastic about this, then, we began a very friendly and productive collaboration.

The process was for each track the same; I sent to Jean-Philippe the ‘pre-mixed tracks’ by wetransfer, and then, he added his additional synths and old-school rhythm box, made the sound design and the arrangements, and the mix and mastering. It was perfect! I am used to comparing him to Martin Hanett. Martin Hanett defined the special soundscape of Joy Division, and Jean-Philippe defined the special soundscape of “Cosmos” and I think that he made my dream come true: having my debut LP realized on a good label.

Q: It’s probably a bit risky and also a true challenge to release a debut album during the ongoing pandemic. How do you –and Wave Records, manage this aspect and how do you expect things evolving considering live performances, further releases and  plans?

Sandrine: I really thanks so much Alex from Wave Records. I know that, in this special context of this long pandemic, the action of releasing albums for new artists, is a very risky business for the labels, moreover, for independents labels, as they don’t know how they can sell the albums and if people will buy or not a debut work.  Alex is doing his best for the promotion of the album with a large number of contacts, with an effective sharing on the social network, on Youtube too for the videoclips of various tracks I realized myself.

I gave my first gig on the 2^nd of July, thanks to the association Distopia Mutante of San Sebastian in Spain, and it was an unbelievable good moment as there was a good interaction between the public and me. It is since January that Distopia Mutante tried to organize a gig for my project. But finally we did it, at the beginning of July, and we hope that there will be others. I hope I will be able to perform at other places and in other countries, even if we don’t know what the future will be.

Thinking about the second album of Transmission, I will not change the way I am using to create the sounds, and I am thinking about around ten tracks that could explain a lot of feelings that we are facing to in a whole life, using various BPM’s.

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

(Picture by Renee Parkhurst ) Let’s hope this article doesn’t get flagged by Google, Facebook and related because the follow-up of words in the title is rather worrysome (joke aside).

Adult has launched a remix of the Bestial Mouths song “Unshivered”. A video was equally made and can be seen below. The song is included in Bestial Mouths’ remix album “Thousandneedles” that features collaborations with SRSQ, Ash Code, Void Vision, Light Asylum, and more and which dropped earlier this month.

“Thousandneedles” will be available on vinyl and cassette versions this August via Fill-Lex Records and Soil Records.

In a reaction Adult says: “We got this remix request in the summer from Bestial Mouths and it was just the thing we needed to get us back in the studio again. It wasn’t like looking at a blank canvas and it felt more like collaboration in a way, which was much needed during such an isolating time.”

The track’s visual counterpart offers a psychological portrait of a person clawing their way to meaning. Director Jamie Parkhurst, who has previously worked with Los Angeles post-punk outfit, Death Bells, and experimental electronic artist Trevor powers, was helped by producer Yelena Akopian, stylists and designers Bradley Soileau and Elliott Evan, photographer Renee Parkhurst, DP Connor Ellman, and camera operator Alex Van Putten. The video was edited by editing is by Alex Nicolaou (Drab Majesty).

Here is the video.

Tracklist “Thousandneedles”

1. Grendel – Ruins Remix
2. Adult – Unshivered (If I Could Feel Mix)
3. Rodney Anonymous Or 7th Victim (Of Dead Milkmen) – Withiin Remix
4. Plackblague – Heavy Coil Mix (Industrial Waste Remix)
5. Ash Code -The Bleed Remix (Mixed/Mastered By Doruk Ozturkcan From She Past Away)
6. Nnhmn – The Loss Remix
7. Statiqbloom – The Falls Remix
8. Buzzkull – Lain To Rust Remix
9. Srsq – Reimagination (Souls Take Remix)
10. Shannon F /Light Asylum – Industrial Waste Remix
11. Kontravoid – Dry As Dust Remix
12. Void Vision- (A) Siren Calls Remix
13. Crowhurst – 23 Hours Before Resurrection Bestial Mouths Remix
14. Melania – Inshroudss

About Bestial Mouths

From their inception in 2009, the core root of Bestial Mouths has combined Lynette Cerezo’s voice with several genre influences across the spectrum of goth, industrial, post-punk, new wave, noise, metal, and other underground sounds using live acoustic and electronic drums and analog synthesizers. Since 2018, Bestial Mouths has been the sole project of Cerezo.

2019’s “Inshroudss” EP was the first Bestial Mouths release entirely written and conceived by Cerezo. The EP was released on the independent label RuneE & Ruin, which Cerezo formed together with friend and frequent collaborator Alison Lewis (Linea Aspera / Zanias / Fleisch Records).

In their decade-plus existence, Bestial Mouths have worked with a long list of producers and artists. Zola Jesus, Mick Harvey, Egyptrixx, Boy Harsher, Die Krupps, Mater Suspiria Vision, Zanias, The Horrorist, and Ludovico Technique are just a few collaborators, while they’ve shared the stage with the likes of Psychic TV, Austra, Chelsea Wolfe, DAF, 3 Teeth, OAKE, Front Line Assembly, White Ring, Suicide Commando, David J, King Dude, Youth Code, Cut Hands and Light Asylum.

Bernard - Side-Line Staff

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

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(Photo by Sandy Holmes) Bestial Mouths has a new video to be released for their single “Dry as Dust” taken of their album “Resurrectedinblack” that was released earlier this year and which comes out on vinyl on October 31, via Rune & Ruin Records.

The video for “Dry as Dust” comes just in time for Halloween and lay bare a barren post-apocalyptic universe dreamt up by director Vicente Cordero in which we have come to reside.

Director Vicente Cordero : “What I will say is that it was an honor to work with such an expressionistic artist and I am humbled and flattered to combine visions and create this abstract video, rarely do I get the opportunity to be solely abstract and I feel the video captures the song beautifully.”

Here’s the video.

Since 2018, Bestial Mouths has been the sole project of Cerezo and 2019’s “Inshrouds” EP was the first Bestial Mouths release entirely written and conceived by Cerezo. The EP was released on the independent label Rune & Ruin Records, which Cerezo formed together with friend and frequent collaborator Alison Lewis (Linea Aspera / Zanias / Fleisch 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