Cabaret Voltaire announce 2 archive releases: ‘Chance Versus Causality’ and ‘1974-76’

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Cabaret Voltaire announce 2 archive releases: 'Chance Versus Causality' and '1974-76'

The cult act Cabaret Voltaire have announced the release of their 1979 soundtrack, “Chance Versus Causality”, which will be available officially for the first time since the film’s release. “Chance Versus Causality” will be out on limited edition transparent green vinyl, CD and digital formats on August 30 via Mute.

On the same day, “1974-76” will get its first vinyl release. The album, originally released on cassette via Industrial Records in 1980, was reissued on CD by The Grey Area of Mute (a division of Mute dedicated to reissues) in 1992 and will be available on limited edition transparent orange double vinyl and digital formats. “1974-76” is a selection of material recorded by Cabaret Voltaire in their formative years. Recorded in Chris Watson’s attic on a domestic reel-to-reel tape recorder, a number of the recordings were included in the now legendary limited edition cassette released by the band in 1976.

The lost “Chance Versus Causality” tapes

“Chance Versus Causality” was recorded in 1979 as the soundtrack for director Babeth Mondini’s film of the same name. The band originally met Mondini at the infamous Brussels Plan K show which saw Joy Division, Cabaret Voltaire and William Burroughs share a bill, and soon after, Mondini asked them to create the soundtrack for her film.

The soundtrack was recorded live by the original Cabaret Voltaire line up – Richard H. Kirk, Stephen Mallinder and Chris Watson – at the band’s Western Works studio with no prior knowledge of the film or instruction from the director.

Only one copy of the soundtrack existed on 2 reels of tape that were sent to Holland for inclusion in the split-screen 16mm film which was given a limited release and never even seen by the band. Around 15 years ago, the tapes were returned to Cabaret Voltaire and only recently resurfaced during discussions with Mute. The artwork for “Chance Versus Causality” was executed by Richard H. Kirk and Phil Wolstenholme.

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Electro rock duo Helalyn Flowers returns with the super delicious ‘Tetrachromatic’ EP

https://www.side-line.com/electro-rock-duo-helalyn-flowers-returns-with-the-super-delicious-tetrachromatic-ep/

https://www.side-line.com/?p=20508

Electro rock duo Helalyn Flowers returns with the super delicious 'Tetrachromatic' EP

Out now via Bandcamp first is “Tetrachromatic”, a brand new EP from the italian electro rock duo Helalyn Flowers. The title song is taken from the band’s last “Nyctophilia” and has been a fan favourite soon after the release. Expect a mix of fast-sequenced electro dance grooves, catchy sensual female pop vocals mixed with powerful electric guitar riffs.

The title track has been reworked by a lot of bands including Metroland, Aesthetische, Aiboforcen, Mental Exile, Junksista and Synapsyche, next to reworks by the band itself. The Bandcamp version includes an exclusive extended 18-page booklet design with conceptual band photos & design by Toxic Visions.

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Brand new Depeche Mode tribute EP ‘Master and Servant’ by AD:keY vs. Die Robo Sapiens has Jurgen Eng

https://www.side-line.com/brand-new-depeche-mode-tribute-ep-master-and-servant-by-adkey-vs-die-robo-sapiens-has-jurgen-engler-on-vocals/

https://www.side-line.com/?p=20499

Brand new Depeche Mode tribute EP 'Master and Servant' by AD:keY vs. Die Robo Sapiens has Jurgen Engler on vocals

Out now is a brand new single by AD:keY vs. Die Robo Sapiens (the 100% electro project of Die Krupps members): “Master and Servant“. The EP is based on the cover the two acts made for the recent tribute compilation to Depeche Mode: “Alfa Matrix re:covered vol.3” and is available now via Bandcamp.

The 7-track EP holds AD:keY’s characteristic male/female vocal duality wrapped around the voice of Jurgen Engler. Besides the single and extended versions, you also get alternative and diverse remix versions by Implant, Aesthetische, Rector Scanner, Zweite Jugend and Maschinenwart.

Good to know, the Bandcamp edition – which is out first – features the uncensored version of the cover artwork. You can check out the EP below.

If you want to check out the full Depeche Mode tribute from where the single was taken, see below.

The post Brand new Depeche Mode tribute EP ‘Master and Servant’ by AD:keY vs. Die Robo Sapiens has Jurgen Engler on vocals appeared first on Side-Line Music Magazine.

Brand new Aesthetische ltd 2CD set ‘Co3xist3ns3’ out now – feat. Neuroticfish

https://www.side-line.com/aesthetische-return-with-co3xist3ns3-limited-2cd-set-in-june-incl-neuroticfish-featuring-check-the-first-2-tracks/

https://www.side-line.com/?p=19887

Aesthetische return with 'Co3xist3ns3' limited 2CD set in June incl. Neuroticfish featuring - check the first 2 tracks

Out now is the all new album by the Brazilian dance electro duo Aesthetische. CD1 of “Co3xist3ns3” holds 10 new tracks, including a track featuring nobody else but Sascha Mario Klein from German electro stars Neuroticfish. This song is also featured here as a club mix and as a remake by label mates Psychic Force.

The bonus disc offers a selection of 10 more songs which were featured on previous digital-only releases. You can order this limited 2CD set right here.

On this club oriented bonus disc you’ll get remixes by Neuroticfish, DK Simon Carter and the duo itself. You can also expect collaborations and featurings with singers in the likes of Mari Kattman, Noemi Aurora (Helalyn Flowers), Diana S. (Junksista) and Xev (Diffuzion).

You can already listen to the album below (the bonus disc is ONLY available on CD and not as download).

The post Brand new Aesthetische ltd 2CD set ‘Co3xist3ns3’ out now – feat. Neuroticfish appeared first on Side-Line Music Magazine.

‘Click Interview’ with OHMelectronic: ‘I Don’t Want To Put Out Music That I Feel Has Already Been Do

https://www.side-line.com/click-interview-with-ohmelectronic-i-dont-want-to-put-out-music-that-i-feel-has-already-been-done/

https://www.side-line.com/?p=20494

Craig Huxtable (Landscape Body Machine) and Chris Peterson (Decree, Left Spine Down, Damage Control, FLA…) started a common project Öhm and released a self-titled debut album in 2013. They renamed their project into OHMelectronic and are now back on track with this new and again self-titled album released by Artoffact Records. The songs are moving from sophisticated and intelligent EBM pieces to heavy, industrial power tracks. This is what Chris and Craig have to reveal about their work.  (Picture credits @heybadgood)

(Courtesy by Inferno Sound Diaries)

Q: From Öhm to OHMelectronic six years have passed, the name has changed, but the taste for electronic music seems to be intact. How do you perceive the evolution from your first album towards the new one and why did you have to change the name?

Chris: We went from a more exploratory approach on the first record, to a more focused vision on the new one. We both have wide and varied tastes in music, but with this project it is indeed very electronics focused and we’re both very passionate about that type of approach and sound. We wanted some more bite on this album, and to have less clutter so to speak, so it came together the way it did with that in mind. We also learned a fair bit from our live performances, and wrote new material that would help round out our live set and put some more energy into it. 

Craig: Chris and I will always try to do something different every record and it comes from a place of wanting to please ourselves as much as the listening audience. I don’t want to put out music that I feel has already been done, there’s not much of a point to that. We discussed a heavier album and then it evolved from there.

The name change felt natural and was something we felt necessary from a branding perspective. The more unique the name, the easier to find… and the name OHM was getting harder to distinguish from other entities using the name.

Q: You both are into music for numerous years now and have been involved with different projects. What brings OHMelectronic you maybe didn’t find into other projects and tell us a bit more about the sound you’d in mind for this project?

Chris: We compliment each other’s skill sets and have a working relationship based on mutual respect. Further to that, as with many other collaborations I take part in, we make each other better artists by learning from each other. When that stops happening you need to move on, but with Craig there is a long road ahead of us with much growth and music to be done. My time in FLA really helped me sharpen my skill-set as an electronic composer, but I stopped growing in that environment, however I really wanted to keep working on synth based music. Working with Craig, we both agreed this is very much a synth obsessed project for us and it fills a void that we see both in our music collections and our collaborations. 

Craig: I’ve spent most of my career as a solo artist with periodic collaborations, which is funny, because working alone is not my preference. It’s very hard to find people that you get on with and can work well with and that is OHMelectronic’s greatest strength. At the core is our bond and when you care about people and respect them your working relationship benefits. We both know what it’s like to work with difficult people and so it’s a relief that we meet in the middle on everything really.

Q: How did the writing of the new album happened, what has been the focal point and what makes the chemistry between both of you?

Chris: We don’t get to be in the same room as much as we’d like thanks to Craig living in Victoria and me being in Vancouver still.  When we are, we’ve become very efficient at writing and recording with very limited time. On one day we had a few hours to record vocals for 4 songs I think it was, at our friend Tom Slug’s studio space before Craig had to run off to catch the ferry back to Victoria. It was a crazy session considering we had to discuss what we wanted to capture and in one case even transplanting lyrics from one track onto another song… there was no rehearsing for him in that case, just us sorting out the timing and tone right there and then, hitting record, and that’s that. Other times like this featured me setting up some patches and such for him to bash out some keys for me, and again more than one song idea and in quick time. Besides those fun moments, the rest is sending files back and forth and lots of discussions about the direction things are going as I develop and produce the finished track. I suppose the simple way to see it is that Craig is a very good songwriter and musician, and I’m the guy that obsesses with the production and sounds, but as I’ve mentioned before we learn from each other and those distinctions get blurred as occasionally I add some melodic elements, or Craig’s ever improving production values make using what he sends me easier and I can spend less time cleaning things up or swapping things out. 

Craig: The chemistry is born out of wanting to make good music with no bullshit attached (laughs). Don’t get me wrong, Chris and I will disagree on parts and sometimes even whole songs, but we respect each other and put the music first. The best idea wins, no whining, and then we move on. I’ve been in creative situations where people refuse to back down because ‘it’s their guitar part’ or whatever and that’s when a good song can turn to shit because you’re not doing what’s best for the art itself. As soon as you start serving your own ego, it’s done. We truly enjoy working face to face in the studio and I believe that’s when the real magic happens between us creatively.

Q: There clearly is a duality running through this album; some songs are driven by sophisticated EBM influences while other songs are more into a kind of hardcore industrial style. How do you explain this sonic schizophrenia?

Chris: We are the sum of our influences added on to our original stories and perspectives. What category you find it in is of little concern to me. I guess some people would find my music collection very confusing, it’s all over the place.  With OHMelelctronic we love a good dance track, but also enjoy a blistering heavy as fuck ass kicker or an atmospheric piece, etc. Considering how far technology has come along, electronic music can be so many things, just don’t expect us to bust out the guitars 😉 We’ve both been doing this for a while now and have so many different influences, that I’m sure we will continue to confuse anyone wanting to say it’s one specific thing. I like that. 

Craig: At no point during the record were we consciously trying to go this way or that way other than going for a heavier sound and simpler song writing ideas. Is it a good song? Did I make you sad? Mad? Introspective?

I think your perception of this record and how it sounds depends on where you come from. You may hear variety where others may say the songs are too similar in their approach. We are trying to carve out a new niche in a sound we’ve both been a part of for a long time and I like the challenge of finding a new twist on something you’ve done before. I would rather make people upset by trying something new rather than make a cookie cutter EBM record.

Q: The clip of “Uppercut” is quite interesting; it has something retro-like, reminding me a bit of the 80s. Is it more a kind of message or a critical perception of the world we’re living in? And what have been the other sources of inspiration for the lyrical content?

Craig: The thing with “Uppercut” is the lyrical themes are timeless really. Religion where it intersects with power and money has been going on for thousands of years. My lyrics may appear topical, but I’m inspired as much by history as I am the present. I think things are pretty bad in world politics today but then again I thought they were pretty bad in the 80’s too… the more things change the more they stay the same I suppose.

Behind all of the topical lyrics is my own personal themes that I am working through. My first marriage was long, manipulative and abusive so I find when I listen back to songs like “With” or “Disarmed” I’m still working some of those things out.

Q: I noticed you’ll play the next Infest-festival (UK), which is an opportunity to see you on stage in Europe. How does OHMelectronic on stage looks like and how do you transpose the original song edits into live versions?  

Chris: For now we’re not really getting into changing the arrangements in any significant way as we are doing limited time slots that don’t allow for adding extra verses/choruses and such. We both have keyboard setups, and hope to have a live drummer down the road as well, but as it is right now, we have to keep things very streamlined to be able to travel for these shows. I like to keep busy up there and always engaged, as does Craig. Both of us really enjoy performing and our setups let us add a lot of feel to the tracks and add new elements. The keyboards get a good workout, and much like my home studio, it’s a small setup but I get a lot out of it. If you want to see the traveling fetish circus with all the bells whips and whistles, featuring a bunch of people doing shit in costumes or on stilts, that’s not us 😉  If you want to see two guys that love what they’re doing, playing their asses off, come see us and be sure to say hi. 

The post ‘Click Interview’ with OHMelectronic: ‘I Don’t Want To Put Out Music That I Feel Has Already Been Done’ appeared first on Side-Line Music Magazine.

Side-Line presents: W-Festival – Waregem (BE)

https://www.side-line.com/side-line-presents-w-festival-waregem-be/

https://www.side-line.com/?p=20482

The 4th edition of the W-Festival will take place from 15th until 18th August 2019 in Waregem Expo, Belgium. About 70 new wave, EBM, industrial, post-punk, synth-pop and eighties bands are featured on 3 stages.

This year the line-up includes: The Stranglers, Echo & The Bunnymen, Killing Joke, Nitzer Ebb, And One, VNV Nation, Apoptygma Berzerk, Peter Hook & The Light, Blutengel, New Model Army, She Wants Revenge, Lebanon Hanover, Portion Control, Tyske Ludder, Mesh, Whispering Sons, Kaelan Mikla, Collection d’Arnell-Andréa, DaGeist, Pink Turns Blue, Red Zebra, Siglo XX, Merciful Nuns, Then Comes Silence, The Human League, Jimmy Somerville, Lene Lovich band, Blaine L. Reininger plays Tuxedomoon, Nik Kershaw, Howard Jones, Tony Hadley, Schmutz, Allez Allez and more!

On the camping area are a lot of special availabilities like B and Bee, Luxury Lodge and WaveTents. Other extra’s on the festival are silent disco, outdoor quiet zone, wellness, merchandise and more!

Tickets and VIP-tickets can be ordered here.

The post Side-Line presents: W-Festival – Waregem (BE) appeared first on Side-Line Music Magazine.

‘Click Interview’ with Beinhaus: ‘Electronic-Punk With Industrial Drums’

https://www.side-line.com/click-interview-with-beinhaus-electronic-punk-with-industrial-drums/

https://www.side-line.com/?p=20422

Did you ever heard of Beinhaus? I didn’t it! Set up in 1994 by core members Robert Glück and Marko Schröder, this German formation got joined by a few extra members and self-released all of their work. They this year signed a label deal with Krater Recordings (subdivision from Audiophob) unleashing the album “Zaehne”. This work sounds retro-industrial like and yet still modern. It for sure sounds different from the average industrial productions. Robert Glück brings us an introduction to Beinhaus, which I highly recommend to all industrial music lovers.

(Courtesy by Inferno Sound Diaries)

Q: Beinhaus saw the daylight in 1994, but I get the impression you first of all remain one of the best hidden secrets from the industrial scene. Tell us a bit more about Beinhaus considering elements such as influences, sound, recognition and the main facts in the band’s history?

Robert: Yes, Beinhaus has actually been around since 1994 -with some ups and downs and always times in which we did almost nothing for months. The last motivation boost came in 2015 when we started working with the Native Instruments machine, which characterizes our today’s background sound. In 2016 David joined Beinhaus as a multi-instrumentalist and sound engineer. He has brought our sound to the front and has just shaped our last album “Zaehne (Teeth)”.

In the years before, Marko and I made music together with a guitarist (1994-2000) and a female singer (2002-2007). With each change of personnel, our sound has changed as well. But we still play the same tracks -so they had to change over the years too.

Our influences are very wide and only partially obvious. Of course bands like Einstürzende Neubauten or Test Dept. have really inspired us. The biggest influence was the band Babyland from the USA. This is much closer to our sound we wanted to create: electronic-punk with industrial drums.Modern and retro at the same time.

Q: You are definitely one of the few industrial bands inspired by the early industrial sound; a sound composed with electronics, but also with self-made metal instruments. Can you give us more details about it?

Robert: Our sound is definitely sequencer-driven. In that way, we do not differ from many other electronic acts. The tracks follows a song structure and arrangement, which is based on beats and bass sounds. But as we do the live drumming, they can be very reduced. What we do on the metal drums forms another layer on top of it. For me, the performance and the visual is actually much more important than the sound… we could make it sound better and more brilliant with samples. But it just makes more fun beating the equipment without compromise -and this is what makes our live performance really outstanding.

Q: I’ve been always wondered why the truly industrial spirit from pioneers like Einstürzende Neubauten, Test Dept., SPK ao has been progressively replaced by power-noise artists composing music with their laptops. Beinhaus tries to be a little bit different and your new work even sounds as an antidote to the current industrial music. How comes and how do you see this evolution in industrial music?

Robert: I see industrial in the tradition defined by bands like Throbbing Gristle: extra-musical elements and performance, shock tactics, anti-music, information and self-organization. This is what industrial really means to me…

Many of these elements have guided us through the years… and still do today. This is the first time we have had a label (Krater Recordings) in 25 years. Before, we always did everything by ourselves… which was also a reason why we did not have a very long reach.

I have a bit of a feeling industrial concerts today are rather hard-techno parties. By the way, that’s not bad at all. I like that too. But it lacks a bit of the thrill that something unexpected, maybe dangerous or disturbing could happen. Meanwhile, we do not use elements such as masks or video images on stage. That’s what so many do… and I’m sure it’s much more effective to look people in the eyes -and again… it’s more fun!

Q: Tell us a bit more about the new album “Zaehne”? What has been the main focus in the writing process and how do you look back at the global composition?

Robert: As in all CDs so far we have some new and also very old tracks. “Dldeng” is one of our first songs ever and was the opening track of our demo “Zorn” of 1998. Tracks like “Zähne” or “Ich Weiss Alles” have been created in the last years. For example, “Abriss” is so new that we have never played it live -but we will do. We work very slowly and like to recycle our own material. Mostly we just rehearse and play our tracks.

We publish some songs again and again, but they’re always different. The tracks are in a permanent metamorphosis. We have almost no songs that have fallen out of our tracklist over the years, so we do not play them anymore. But actually a maximum of 2-3 really new tracks are created each year.

Q: I can imagine it’s not that easy recording and mixing metal percussions. How did that happen and do you’ve specific criteria to get the sound production you like?

Robert: Since Dave joined in, he does our sound engineering. It’s actually not easy to transfer the energy of the raw metal sounds to CD. There is a lack of visual impression which is very important for us. I have also been very inclined to mix the metal sounds very fat -so they took up a lot of room in the mix… But the mix also loses sharpness and dynamics.

Dave is trained to do that much finer. With many layers of different sounds that are not so much in the foreground. That makes a much more professional sound you can hear on “Zaehne” -although we did not record in a studio, but in our rehearsal room. But we, especially Dave, spent a lot of time on the recordings and the mix.

Q: You already mentioned the live performances of Beinhaus, which I guess must be something special. How does Beinhaus on stage looks like?

Robert: Beinhaus is absolutely a live band. Of course, the performance sets us apart from many current industrial bands. There is no table between us and the audience. It creates a lot of energy from the interaction with the audience. It feels very good, at the end of the concert, when we drum together on metal plates with the people in the front row.

I think people are very grateful for a real hard sweaty performance. And we enjoy the total anarchy on stage. It’s always very exhausting, we have to transport a lot, have a long build-up and cut-down times, but for the 60 minutes on stage that’s absolutely worth it. We always give 100% from ourselves and the audience see and feel that. Therefore, we can probably never do a tour. We can’t deliver this intensity night after night. We do about 6-7 concerts a year. That’s perfect. So we make each concert an experience -for us and hopefully for the audience. So thanks to all that joined our show.

The post ‘Click Interview’ with Beinhaus: ‘Electronic-Punk With Industrial Drums’ appeared first on Side-Line Music Magazine.

Front 242 announces brand new tourdates for 2019 and 2020

https://www.side-line.com/front-242-announces-brand-new-tourdates-for-2019-and-2020/

https://www.side-line.com/?p=20468

Front 242 breaks into the TOP 10 most downloaded releases on Bandcamp with free remix EP

The Belgian cult act Front 242 has released a string of brand new concertdates for 2019 and 2020. The dates will all occur in Europe, including: Denmark, Finland, Sweden, Switzerland, Slovakia, Hungary, Czek Rep., Germany and of course… Belgium!

Here are the dates:

2019

  • 03 Oct Thu Copenhague – Amager – Denmark
  • 04 Oct Fri Helsinki – Ääniwalli – Finland
  • 05 Oct Sat Stockholm – BodyFest Nalen – Sweden
  • 16 Nov Sat Zurich – X-TRA – «schwarzer Ball» – Swiss
  • 30 nov Sat Bratislava – MMC – Slovakia
  • 01 Dec Sun Budapest – Akvárium Klub– Hungary

2020

  • 10 Jan Fri Leipzig – PMD Werk2 Halle D- Germany
  • 11 Jan Sat Prague – Meet Factory – Czek Rep.
  • 07 Mar Sat Namur – Parc Scientifique Créalys – Belgium
  • 13 Mar Fri Kortrijk – De Kreun – Kortrijk Belgium

The post Front 242 announces brand new tourdates for 2019 and 2020 appeared first on Side-Line Music Magazine.

New Hocico album ‘Artificial Extinction’ sees release in 3 formats: 2LP, 2CD Box, CD

https://www.side-line.com/new-hocico-album-artificial-extinction-sees-release-in-3-formats-2lp-2cd-box-cd/

https://www.side-line.com/?p=20415

New Hocico album 'Artificial Extinction' sees release in 3 formats: 2LP, 2CD Box, CD

“Artificial Extinction” is the brand new album by the Mexican dark electro devils Hocico which will be released later in July.

The new Hocico album sees a release in 3 formats: 2LP, 2CD Box and a regular CD. The double vinyl edition comes in blue and silver and is limited to 500 copies

The deluxe boxset is limited to 1000 hand-numbered copies and includes an exclusive 10-tracks bonus CD with remixes and collaborations.

Tracks CD 2 (only available in the Boxset):

  • Damaged (remixed by Hallucinator)
  • Artificial Extinction (remixed by ErilaZ)
  • Cross the Line (remixed by Tragedy of Mine)
  • Dark Sunday (remixed by LUCKIID)
  • Cross The Line (remixed by Zardonic)
  • Dark Sunday (remixed by Poizon Party IV)
  • Shut Me Down! (remixed by Kreign)
  • Shut Me Down! (remixed by 89s†)
  • Palabras de Sangre (remixed by Nohycit)
  • Artificial Extinction (remixed by Static of Masses)

The post New Hocico album ‘Artificial Extinction’ sees release in 3 formats: 2LP, 2CD Box, CD appeared first on Side-Line Music Magazine.

The legendary act Numb returns with an all new album: ‘Mortal Geometry’

https://www.side-line.com/the-legendary-act-numb-returns-with-an-all-new-album-mortal-geometry/

https://www.side-line.com/?p=20411

The legendary act Numb returns with an all new album: 'Mortal Geometry'

Out later this Summer is the all new album by the legendary electro act Numb. Numb’s Don Gordon will offer electro with trance elements, ambient interludes & dark EBM on his newest studio effort “Mortal Geometry”.

The new album will be available on CD and vinyl.

For the newbies, Numb was founded by Don Gordon, David Hall and Sean Stubbs in 1986 and is originally a Canadian electro-industrial band that is based in Vancouver, British Columbia, Canada. Since starting in 1986 the project has been releasing material via various labels including Metropolis Records, Zoth Ommog, Re-Constriction Records, Kk Records, Lively Art, Edge Records and Burning Records.

The post The legendary act Numb returns with an all new album: ‘Mortal Geometry’ appeared first on Side-Line Music Magazine.