Die Krupps, the Düsseldorf EBM and industrial metal band, have announced that Marcel Zürcher is back in the band after a three-year absence. The news was shared in a Facebook post in which the band wrote: “Old friendships never die!!! We are pleased to announce that after a 3 year excursion Marcel Zuercher is back in DIE KRUPPS!!!”

The band will play the Brutal Assault festival (August 5 to 8) at Jaroměř-Josefov Fortress in the Czech Republic. Next is M’era Luna which takes place on August 8 and 9 in Hildesheim, Germany. The NCN Festival runs from September 4 to 6 at Kulturpark Deutzen in Germany. And they are also scheduled for September 6 on the Amphi stage.

About Die Krupps

Die Krupps formed in Düsseldorf, Germany, in 1980 including Jürgen Engler, Ralf Dörper and Bernward Malaka as founding members.

The band’s early work moved through industrial percussion, EBM and electronic rock. “Stahlwerksynfonie” appeared in 1981, followed by “Volle Kraft voraus!” in 1982 and “Entering the Arena” in 1985. In the 1990s, Die Krupps added a stronger metal component on “I” in 1992, “II – The Final Option” in 1993, “III – Odyssey of the Mind” in 1995 and “Paradise Now” in 1997.

After the 1997 break, the band returned in the mid-2000s releasing “Too Much History” in 2007, “Volle Kraft Null Acht” in 2008 and “Als Wären Wir Für Immer” in 2010. Later releases included “The Machinists of Joy” in 2013, “V – Metal Machine Music” in 2015, “Vision 2020 Vision” in 2019 and “Songs from the Dark Side of Heaven” in 2021.

In August 2025, Die Krupps signed a multi-album deal with Dependent Records. A new studio album is planned for 2026.

Their 2025 EP “Will Nicht – Muss! / On Collision Course” was issued through Dependent previewing the upcoming 2026 album.

Vexagon is a project by Briar Moth. This third album, and the first to be released through Cold Transmission Music, is a remarkable work. It emerged following a series of severe personal trials, including a house fire, the loss of a job, the beginning of a divorce, and ultimately coming out as a transgender and queer person—all within the span of about a year. Briar Moth viewed these experiences as the unveiling of a new future. The album explores the idea that becoming the person you want to be often comes at the cost of the person you once were.

Now, onto the music. The album contains 12 tracks and features numerous collaborations, primarily with guest vocalists, but also with guitarists and a drummer. The music of Vexagon has a soothing, sensual quality, particularly through the vocals, while also carrying a darker undertone. At times, the soothing atmosphere gradually shifts into something more menacing. Overall, it is a subtle and understated album that could be described as dreamlike Pop, with synthesizers and guitars complementing each other perfectly. There are also several beautiful vocal duets to discover, with singers who maintain a perfect balance and add a magical, sensual touch to the songs. The rhythms generally remain slow but are consistently infectious. To me, “I For An I” sounds both summery and like the kind of music you could enjoy while sitting in front of a crackling fireplace on a winter evening.

This album may feel somewhat like an outlier within the Cold Transmission roster, but as far as I am concerned, it is nevertheless a highly successful and thoroughly enjoyable record. (Rating:8).

Listen to “Mending”:

https://vexagon.bandcamp.com/track/mending

Earlier Belgian electro-industrial project Suicide Commando released “Come Down With Me (V2025)“. The track previewed “Collective Suicide Vol. 1+2”, an anniversary release out now, June 5, 2026. The earlier released EP also included “Jesus Freak (Die In Agony)”, “Death Lies Waiting (Death Will Find You Remix)” and the new track “Control & Consent”.

Suicide Commando now marks the 40th anniversary live during 2026. Confirmed dates include a São Paulo show at VIP Station on August 22, 2026.

“Come Down With Me” was originally released on “Implements Of Hell” in 2010.

“Collective Suicide Vol. 2” is out as digital, CD, double vinyl and as part of the limited “Collective Suicide Vol.1-2” wooden fan box set (limited to 200 copies). The box includes the “Collective Suicide Vol. 2” digipak CD, yellow 2LP, red 2LP of “Collective Suicide Vol. 1”, a 36-page photo book and a hand-numbered certificate.

“Collective Suicide Vol. 1” was first issued for the project’s 30th anniversary in 2016 and now receives a vinyl edition for the 40th anniversary. The collection covers recordings from 1987 through 2016, while “Collective Suicide Vol. 2” focuses on later material, rare tracks and reworked versions.

Below is the vinyl tracklist.

“Collective Suicide Vol. 1” tracklist

• Side A: “Suicide”, “Industrial Underground”, “Incinerate”.
• Side B: “T.V. Obsession”, “Come To Me”, “Kevorkian”.
• Side C: “Disposable Paradise”, “Body Count Proceed (2007 Re_Count)”, “Hate Me”.
• Side D: “Until We Die (Single Edit)”, “Body Machine Body (Demo Version)”, “My New Christ”.

“Collective Suicide Vol. 2” tracklist

• Side A: “Infliction Of Pain”, “Severed Head”, “Come Down With Me (2025 Version)”.
• Side B: “Kill All Humanity (Short And Painless)”, “Evacuate”, “Unterwelt (Apocalypse)”.
• Side C: “Control & Consent”, “Fate (Death is coming…again!)”, “Face Of Death (2023 Mix)”.
• Side D: “Death Lies Waiting (Death Will Find You Remix)”, “Jesus Freak (Die In Agony)”, “Better Off Dead”.

About Suicide Commando

Suicide Commando is the electro-industrial project of Belgian musician Johan Van Roy. The project started in Leopoldsburg, Belgium, in 1986.

Van Roy began experimenting with electronic music in 1986 and released his first tape under the Suicide Commando name two years later. He bought a Roland SH-101 in summer 1986 and then added Boss DR-110 and Boss DR-220E drum machines. He also named The Cure, Sisters Of Mercy, Depeche Mode, Fad Gadget, The Neon Judgement, Front 242 and The Klinik as early influences.

Before the 1994 debut album “Critical Stage”, Suicide Commando released a run of cassette material, including “Suicide Commando”, “This Is Hate”, “Industrial Rape I”, “Crap”, “Go to Hell”, “Into the Grave”, “Industrial Rape II”, “Black Flowers” and “Electro Convulsion Therapy”. “Critical Stage” was released on Off Beat and was followed by “Stored Images” in 1995 and “Construct-Destruct” in 1998.

The later releases includes “Mindstrip” in 2000, “Axis of Evil” in 2003, “Bind, Torture, Kill” in 2006, “Implements Of Hell” in 2010, “When Evil Speaks” in 2013, “Forest of the Impaled” in 2017 and “Goddestruktor” in 2022.

Chicago industrial collective The Joy Thieves have released the album “Apocalypse Pending” through Armalyte Industries. The 13-track The Joy Thieves “Apocalypse Pending” album is fronted by Chris Connelly and arrives with a video for “No Anchor” and the focus track “Ambush Vinez“.

“No Anchor” follows the earlier single “The Wrong End of Your Rifle” in April 2026 while “Ambush Vinez” is a focus track on the album.

The Joy Thieves operate as a rotating collective: Joy Thieves Productions, run by Dan Milligan and James Scott, assembles contributions from a roster the band lists at more than 80 members into finished tracks. Chris Connelly provides lead vocals across the release. The project blends alternative rock, industrial, punk and hip-hop elements, and the band describes the record as carrying an anti-fascist theme.

The album is available via Bandcamp as download and on CD.

About The Joy Thieves

The Joy Thieves are a Chicago-based collective built around Joy Thieves Productions, the studio operation of Dan Milligan and James Scott. The project works by gathering musical fragments from a large pool of contributing musicians and editing them into structured songs.

Vocalist Chris Connelly fronts the group’s recent output. Connelly is a Scottish-born singer and writer whose earlier work includes Fini Tribe, Ministry, Revolting Cocks and Pigface. We published an interview with Connelly and Andy McGregor of Fini Tribe in March 2026, and covered Connelly’s appearance on the Moiii remix “Needles on the Tundra” earlier that month.

“Apocalypse Pending” follows the band’s recent run of singles, including “The Wrong End of Your Rifle”, and is released on June 5, 2026.

The German EBM and electro act Digital Factor will release the album “0.8” on June 12, 2026 through the Belgian label Alfa Matrix. The twelve-track record arrives on CD (pre-order is available via Alfa Matrix), and in digital formats. It follows the band’s 2021 album “A Chemical Process” and the 2023 charity album “G.B.A. – General Behavior Abrogate“.

The band now is a duo with Mike Langer and permanent new member Gwendolyn Gaffa who already contributed on the EP “They Will Forget You (When You Die)” and on the 2023 charity single “I Am What I Am“, released as a free download.

‘0.8’ tracklist, guests and 1980s concept

The album contains twelve tracks and two guest features. Franziska Haucke appears on “Never”, and Marie-Luis Kiessling features on “We Are Blind”.

The record is a return to the band’s formative era, diving deep into the musical and cultural DNA of the 1980s. The first single “They Will Forget You (When You Die)” for instance already carries a nod to Depeche Mode’s “People Are People”, while the album track “Time” is presented as a homage to Kraftwerk.

Langer also used a special production method for “0.8”. He deliberately stepped away from modern production perfection, using stripped-down setups and monophonic synths to recreate the raw textures and subtle imperfections of early electronic music.

Good to know, “Feel To Little” uses speech fragments from Charlie Chaplin films, while “Never” is set to a James Bond-style atmosphere.

About Digital Factor

The band formed in 1993 in Altenburg, Germany. The founding lineup consisted of Torsten Heise, Mike Langer and Tino Schmidt. The project first brought a mix of EBM and electro, later adding techno, synth-pop and crossover elements,. They played early live support for acts such as Placebo Effect and X Marks the Pedwalk.

The band’s first release was the 1994 EP “F.A.L.L.I.N.G.- Down” on Hard Records. A move to Hyperium and Hypnobeat followed, bringing the debut album “Relationchips” in 1995 and the conceptual second album “On Demand” in 1996.

Further releases included “De Facto” and “Countercheck” in 1997 and “Over One Million Times” in 1999, then “One More Piece” in 2006, “Look Back To Go Forward” in 2009 and “Trialog” in 2011. Tino Schmidt left the band in its earlier years, and in 2010 Torsten Heise left and was replaced by Leo von Leibnitz.

The band joined Alfa Matrix in 2020 and released the single and video ‘Come With Me’ in October of the same year.

The album “A Chemical Process” arrived in 2021, alongside remastered reissues of the back catalogue. The EP “What?” followed in 2022, and 2023 brought the charity single “I Am What I Am“, the “Ouvre” EP and the charity album “G.B.A. – General Behavior Abrogate“.

In April 2026, the EP “They Will Forget You (When You Die)” previewed the new album “0.8”, set for June 12, 2026 on Alfa Matrix.

During the spring, I discovered the mysterious Ukrainian solo project Cold Sector, a side project of the almost equally enigmatic Entangled System. The man behind both projects – whom we will simply refer to by his first name, Dmitry – uses his music as a sonic reflection on our growing dependence on digital systems, the vulnerability of modern infrastructure, and the invisible tensions that characterize today’s technological world. These themes are translated into an impressive debut album simply titled “Cold Sector”, released independently.

Musically, this Cold Sector album presents an exceptionally elaborate and immersive composition in which Dark-Ambient, Electro, Industrial, and even Noise elements merge into a desolate yet captivating atmosphere. Across its eight tracks, the Cold Sector album draws the listener into an imaginary journey through the darkness and uncertainties of modern times. The result is an extraordinarily creative and meticulously crafted work that figuratively blew me away. It marks a truly grandiose beginning for an artist whom I was fortunate enough to catch for a few questions, despite the ongoing war in his homeland and his relentless drive to create. (Courtesy by Inferno Sound Diaries)

Cold Sector interview

Q: Could we perhaps start with an introduction to Cold Sector? Who is behind this musical project, and what does this music mean within your artistic vision, alongside the project Entangled System?

Dmitry:My name is Dmitry. Due to the current situation in Ukraine, I would like not to reveal my full name, because some topics touched upon in the music, or in this interview, can be interpreted ambiguously. Cold Sector is my second one-man project; the first one is Entangled System and it’s more focused on Dark-Ambient with elements of Industrial and electronic sounds, whereas Cold Sector leans closer to a more rhythmic Electro-Industrial sound with elements of Ambient.

The only thing that unites these projects in my artistic vision is the desire to convey the feeling of a post-apocalyptic world through music: both the period after a catastrophe and the tension and decay leading up to it. And, since the causes of such disasters can be different, this is also reflected in the project concept.

I would describe Entangled System as the project which idea is leaning more towards the atmosphere of uncertainty associated with technological experiments and the consequences of human interference in uncontrollable processes, to the aesthetics related to the Chernobyl Nuclear Power Plant accident. Cold Sector is more focused on the possible consequences of technological progress and human interaction with the systems they have created: military equipment, industrial mechanisms, resource extraction, computer technologies, and the gradual transformation of the surrounding world into a cold technological environment.

Q: At this very specific moment, the war in your homeland, Ukraine, is still ongoing. For those of us who are far removed from the war zone, everything seems distant and, above all, surreal. But how do you experience this as a human being, and what meaning and value do music and cultural life still hold in such circumstances?

Dmitry:Of course, war is a terrible reality, and it affects not only everyday life but also creativity. However, I cannot say that I would like to directly reflect this in my music. Personally, I would like peace to come as soon as possible, because the costs of war are too high, and, in my opinion, the conflict’s continuation only worsens the situation in the country. We all only live once, and it is necessary to not underestimate it.

Speaking of personal struggles, the war makes me anxious. Living in such conditions, no one can feel completely safe: there are frequent air attacks, and it’s not possible to foresee whether a UAV/rocket will pass by or it will be shot down right over residential areas.

In such conditions, creating and working with sounds, and not just listening to it, helps to better distract from anxious thoughts and continue thinking about the future, even if it remains unclear. I think music, regardless of its genre or circumstances, is capable of affecting many people this way.

Q: To what extent have the war and all the suffering and loss it entails impacted your music? Do you notice a difference in your composition and artistic approach before the war and now, during the ongoing conflict?

Dmitry:Well, from a visual and atmospheric point of view, even long before the war, I liked post-apocalyptic imagery that can be found in music, games, and movies. I have always had a special interest in the Chernobyl Exclusion Zone, and am glad that I visited it when it was available for such activity. I was also influenced by Der Blaue Reiter. I got glimmered with enthusiasm by this project’s music to start working with a similar aesthetic myself, including the use of Martial-Industrial elements, which in some way also reflected in the sound of Entangled System.

In general, my interest in creating music appeared back in my youth. I listened to Dark-Electro and different genres similar to it and always had the desire to one day try creating my own music. However, various limitations, including technical ones, delayed this process for a long time. It was only around the end of 2021 that I began actively experimenting: at first, studying FL Studio, plugins, and then trying to find my own sound. The beginning of the war in 2022 accelerated this process because there was a feeling of the necessity to realize my creative ambitions while there was still the opportunity. Realizing at that time that I was best at creating music close to dark ambient, I decided to focus on it.

I think that military actions in any case affect the creative process and the way an artist wants to convey the atmosphere through sound. Although, as I have already said, I try to consciously limit the impact of the current conflict on my creativity, yet it is probably impossible to completely shield myself from the influence of what is happening.

Q: Earlier this year, you released the self-titled debut album by Cold Sector. How did the need arise to start another project alongside Entangled System and were there specific influences or references that shaped this music?

Dmitry:Due to my interest in music that varies from Post-Punk, EBM, and Dark-Electro to Industrial, Rhythmic-Noise and IDM, it is quite difficult for me to keep my creativity within just one style. Alongside my work on Entangled System, I was constantly trying to create something with a harsher and more rhythmic sound. Gradually, as I improved my composing skills and began to better understand the specific kind of what interests me, I realized that I would like to make a full-length album that would sound close to Electro-Industrial. At the same time Entangled System remains a predominantly Dark-Ambient project, which already includes elements of different genres. Therefore, I decided to create a side project – Cold Sector, within which I could focus specifically on a more rhythmic and Industrial sound.

The fundamental differences between the projects primarily lie in the musical styles. Entangled System was conceptually influenced, as I have already mentioned, by Der Blaue Reiter, as well as by the Ukrainian composer Alexey Omelchuk and the project Mooze, who participated in creating the soundtrack for the S.T.A.L.K.E.R. game series. There was also some influence from projects such as Atrium Carceri, Raison D’être and Dark Sanctuary, which I listened to a lot before. It’s a bit harder for me to describe the influences on Cold Sector, but the ones I would like to mention are Flint Glass, Orphx and The Opposer Divine. In addition, many releases on the Aliens Production, Hands Productions, and Ant-Zen have had a certain impact on my perception of the sound.

Q: I believe I understood that “Cold Sector” deals with the dangers of digital systems in which algorithms are playing an increasingly prominent role, especially when errors occur. In our modern world, this seems more like reality than fiction. What exactly were you trying to express, and what are your concerns or fears regarding this evolution? And what might we expect from the future?

Dmitry:I am truly concerned about the gradual introduction of AI into an increasing number of areas of life and humanity’s growing dependence on such technologies. Undoubtedly, artificial intelligence itself is a useful tool capable of facilitating many processes and actions. But at the same time, it seems to me that such systems are overly intelligent and could potentially approach the level of human thinking. The problem is that if such technologies are once deeply integrated into critically important systems, the consequences of errors could be catastrophic. Humans are prone to making mistakes, and such AI systems to some extent inherit this vulnerability. That is precisely why, in a certain sense, I feel closer to old analog systems and mechanisms, or very simple algorithms – it follows the rules of formal logic and its behavior is predictable. AI is also based on logic, but the different kind of it  – more internal, which over time may become too complex for full understanding and control by humans.

In essence, this idea is what underlies Cold Sector’s debut album. It is a kind of scenario about what could happen if digital technologies, in particular AI, gained a form of self-awareness, somewhat close to human, but was guided by a completely different logic. In my vision, such a system would gradually begin to develop autonomously, resist external control, and penetrate into different, e.g. analog, systems, creating disruptions and instability. It is reflected in the tracks “Intrusion” and “Signal Propagation”. Then the system would likely try to completely break out of human control affecting even strategic sub-ones such as nuclear-armed submarines – this is what the track “Data Leak” is about. After that, humanity would probably try to stop what was happening – this is the idea behind “Search Sector”, “Containment Protocol” and “Contact Gained” – but most likely either unsuccessfully or at the cost of enormous destruction. The bonus track “Into the Storm” is a kind of epilogue to this story – it conveys a sense of landscape emptiness and radioactive dust spreading over the destroyed world. Of course, I hope that such a scenario never becomes reality. But it seems to me that nowadays there are much more reasons for such concerns than there were a few years ago.

Q: How did you transform all these ideas into music and eventually into this Cold Sector album? Could you give us some more insight into the entire composition and production process? Which instruments, software, or tools did you use?

Dmitry:As I have already mentioned, while working on music for Entangled System, I experimented with more rhythmic and Industrial sound. Thus, in 2023 and 2024, the demos of “Search Sector” and “Signal Propagation” were done, although at that time they were still quite raw and in need of refinement. A clearer understanding of the album’s concept came later, in 2025, when “Where Machines Are Born” and “Contact Gained” were recorded. It was these tracks that largely set the structure and the feeling of the beginning and the end of the story. After that, the process turned into putting pieces together: I immediately understood which tracks formed the framework of the album and all that remained was to fill in the gaps and refine the existing material so that it would fit organically into the overall concept.

Usually my creative process begins with an idea or an image that I think through and then try to turn into sound sketches. Often this doesn’t seem to get sorted out easily, but sometimes there is a kind of breakthrough when it becomes clear how exactly the music should sound. In such moments I try to make the most of this state and bring the tracks to the highest possible level of completion so that later, when this state starts to fade, I only have to put the final touches, which do not require deep immersion in the atmosphere.

The final stage of the album’s production was difficult because at that moment constant emergency power outages started to appear in Ukraine. With only about 8-10 hours of electricity per day in total, it was quite difficult for me to find appropriate time for creative activity.

The album was done in FL Studio without using any analog equipment. I used some plugins, mostly Dune 3 and Nexus 3, whose presets I could tweak to achieve the desired sound. For processing effects such as distortion or bitcrusher I mostly used the built-in FL Studio tools. The album also includes samples, e.g. a TTS-generated voice – it is heard at the beginning of the first track. Although, in general, I am not a supporter of using AI tools in music, in this case, given the concept of the album, adding such a “machine” voice seemed appropriate to me and helped enhance the atmosphere. I also used samples of recordings from numbered radio stations, which can be found in internet archives, samples of Morse code and sonar, engine sounds, and underwater currents.

Q: What were you trying to achieve artistically, and which audience are you hoping to reach with this project?

Dmitry: I wanted Cold Sector to be as close to Electro-Industrial as possible, but, at the same time, not limited by this genre’s specific traits, because the concept of the project itself requires different ways of conveying atmosphere. For me, genres in this case act as tools that allow expressing certain states, images, and parts of the story. For example, Ambient elements create a sense of isolation and underwater space, the Industrial and rhythmic ones – the operation of mechanisms and a technogenic atmosphere itself, and the noise ones – digital interference, instability, and the gradual destruction of the environment. Cinematic elements, in turn, help to perceive the album as a coherent narrative with a certain atmosphere and bring visual associations.

I wanted the music to give the listener a sense of being inside this world – cold, mechanized, and gradually getting out of control. I wanted the album to be perceived as a sonic journey or a fragment of some technogenic story, rather than just a set of tracks from a certain genre.

Q: In times of war, is it still possible to make long-term plans regarding your artistic projects? And what may we still expect in the future from Cold Sector and Entangled System?

Dmitry:Of course, I believe that in wartime periods it is not only possible but also necessary to make long-term plans. Creativity helps to get through such tough times, and any war ends sooner or later. Despite all the difficulties that the current situation causes for both everyday life and creativity, I still try to move forward gradually and continue making music.

I don’t have any set-in-stone plans yet, but, regarding Cold Sector, I would like to make a second album that would be a sort of continuation of the debut one. While the first album is more focused on underwater and digital infrastructure, the next one conceptually would be leaning more towards the progression of a post-apocalyptic story on the surface of the earth. However, it is possible that before these plans get turned into reality, a series of singles with no specific concept will appear. I am interested in working with vocals and right now experimenting in this direction. Since I have practically no experience doing my own vocals, I am looking for the right way for it to sound both musically and lyrically.

As for Entangled System, it is harder for me to speak about any plans at all. I can’t foresee if the inspiration for new material will come. But I would definitely like to re-release the first two albums as sort of redux versions with a more refined and improved sound.

Darkwave and industrial project NØIR (aka Athan Maroulis) has released the “Breath and Taxes” 4-track EP through the Pittsburgh, Pennsylvania-based label Distortion Productions. NØIR’s “Breath and Taxes” EP collects the title track with remixes by genCAB and Iszoloscope, and is available across all streaming and digital platforms.

The EP features cellist Tracey Di Lascio-Martinuk, programmer Dominic Smelt and engineer Xris Smack among its collaborators. NØIR is the project of vocalist Athan Maroulis.

The story behind NØIR’s ‘Breath and Taxes’

The title track has a long history. “Breath and Taxes” was the first song Maroulis co-wrote as a member of Spahn Ranch in 1993. The lyric idea even existed before when Maroulis was in Executive Slacks and the band was about to play at Scream in Los Angeles. Maroulis had attended a serial-killer art exhibit at a Hollywood gallery and later wrote the lyrics based on what he saw there. It eventually became a surreally sarcastic song about the contradictions of cults and capitalism.

About NØIR

NØIR is a New York-based project led by Athan Maroulis, a vocalist whose career runs through several dark electronic and industrial acts. Maroulis fronted Executive Slacks in the late 1980s and later joined the Los Angeles trio Spahn Ranch, which released a series of albums through the 1990s. At Side-Line we covered the reissue of the 1995 Spahn Ranch LP “The Coiled One”. He then performed and recorded with Black Tape for a Blue Girl before launching NØIR.

NØIR debuted with the “My Dear” single in 2012, followed by the album “Darkly Near” in 2013. Maroulis described the project in a 2020 Side-Line interview as “an amalgamation of each band I have ever been in”. The project has continued issuing EPs and singles, including the 2023 “Fallen” EP.

Daniel McCullough (Silver Walks) and Athan Maroulis (NØIR) also issued a new collaborative cover of Cyberaktif’s Wax Trax! single “Nothing Stays”, released September 19, 2025 via Distortion Productions. The four-track digital EP paired the core version with remixes by S Y Z Y G Y X, genCAB, and KLACK.

The new “Breath and Taxes” EP brings a song Maroulis first sketched in the early 1990s.

The Cassette Culture Podcast, a documentary podcast about the 1980s and 1990s DIY cassette underground, is running a mini-series titled “Tapes Received: Industrial Music for Industrial People“. The Cassette Culture Podcast “Tapes Received” series follows the contacts listed in “Industrial News”, the newsletter published by Throbbing Gristle’s label Industrial Records between 1978 and 1980, which printed a “Tapes Received” list of artists who had mailed in their own cassettes.

The podcast is produced and presented by Martin Franklin and, since 2025, co-hosted by Jerry Kranitz, author of the book “Cassette Culture: Homemade Music and the Creative Spirit in the Pre-Internet Age”. It is built as narrative documentary rather than straight interview.

The first episode of the series, published on May 28, 2026, brings together artists connected to that early network. Its participants include Val Denham; Philip Sanderson of Snatch Tapes and Storm Bugs; and Richard Rupenus, co-founder of The New Blockaders. Also Matt Johnson of The The will appear on an upcoming episode to discuss his early cassette-network years.

About the Cassette Culture Podcast

The Cassette Culture Podcast documents the international mail network through which underground artists exchanged cassettes and homemade artwork during the 1980s and 1990s. Presented by Martin Franklin and co-hosted by Jerry Kranitz, it approaches the scene as a connected story told by the people who took part.

The full archive is available at the Cassette Culture Podcast site. The current “Tapes Received” mini-series places Throbbing Gristle’s Industrial Records newsletter at the center of that history.

Infinite Fog Productions reissues the Nurse With Wound album “A Sucked Orange” on August 15, 2026. The experimental project led by Steven Stapleton first issued the record through his own United Dairies label in 1989; the new edition appears as a 2LP picture-disc set in a gatefold sleeve, a DigiCD and a limited tape, with an accompanying T-shirt.

“A Sucked Orange” collects short studio fragments, samples, spoken-word pieces and drone passages, several drawn from or related to other Nurse With Wound recordings.

The album is a collection of short pieces, 36 tracks in total (40 for the Bandcamp version), each clocking in anywhere from five seconds (“Raymonde Fluffs It”) to just over four minutes (“I’m A Frayed Knot”). Good to note that the Infinite Fog 40-track edition is not a straight copy of the original 1989 United Dairies CD, as that one only had 29 tracks.

The new tracklist goes from 29 to 40 entries, restores/adds tracks 30–36, and includes four full-side vinyl mixes.

Here are the extra tracks in this release:

30. Wisecrack
31. Praying Mantis
32. Its All Gone Weird/Nasal Hair
33. Automating (Some More)
34. It Just Ain’t So/In Heaven
35. Well What D’ya Know Henry
36. Relax

And these are the four format-specific tracks that are added on Bandcamp:

37. Vinyl mix – Side A
38. Vinyl mix – Side B
39. Vinyl mix – Side C
40. Vinyl mix – Side D

About Nurse With Wound

Nurse With Wound is the main recording name of British musician Steven Stapleton. The act formed in 1978 as a trio of Stapleton, John Fothergill and Heman Pathak, and recorded its first releases in a free-improvisation idiom that listeners associated with industrial music.

By 1981 Stapleton was the sole continuing member,. In 1982 he released “Homotopy to Marie”, the first fully realised Nurse With Wound release. Stapleton also runs the United Dairies label, which issued Nurse With Wound records alongside material by Current 93 and other experimental artists. The project’s catalog spans long-form drone works such as “Soliloquy for Lilith” and shorter, collage-based records, of which “A Sucked Orange” is an example.

Side-Line previously reported on the reissue of the Nurse With Wound album “Thunder Perfect Mind”, and on the project Nodding God formed by David Tibet and Andrew Liles of Nurse With Wound. The Infinite Fog reissue of “A Sucked Orange,” dated August 15, 2026, returns one of the project’s late-1980s United Dairies titles to vinyl.

As Bronski Beat‘s often-overlooked second album “Truthdare Doubledare” receives a deluxe 40th anniversary reissue, former vocalist Jon Jon Foster looks back on friendship, fame, self-doubt, and the remarkable journey that took him from the Essex music scene to the international charts.

When people talk about Bronski Beat, the conversation almost always begins with Jimmy Somerville.

It’s understandable. Songs like “Smalltown Boy” and “Why?” helped define an era and established Bronski Beat as one of the most important voices of 1980s synth-pop and queer culture. Yet Bronski Beat’s story did not end when Somerville left in 1985.

Instead, Steve Bronski and Larry Steinbachek recruited a singer they had known for years: John “Jon Jon” Foster.

The result was “Hit That Perfect Beat”, one of the biggest dancefloor anthems of 1986, and the album “Truthdare Doubledare”, a record that blended Hi-NRG energy, political commentary, introspective songwriting and electronic experimentation.

Forty years later, Cherry Red Records is revisiting that chapter with an expanded anniversary edition packed with remastered audio, BBC recordings, remixes and rare material.

For Jon Jon Foster, the reissue is an opportunity to remember friendships, celebrate the legacy of Steve Bronski and Larry Steinbachek, and revisit a period that changed his life forever.

Speaking with Side-Line, Foster reflects on joining Bronski Beat, the making of “Truthdare Doubledare”, the challenges of following Jimmy Somerville, and the friendships that shaped one of the band’s most fascinating chapters.

Jon Jon Foster (Bronski Beat) interview

Q: When “Hit That Perfect Beat” was released at the end of 1985, it quickly became one of the biggest dancefloor anthems of 1986, reaching No. 3 in the UK charts and entering the Top 10 in several countries around the world. For many fans and journalists, the song proved that Bronski Beat could still have a strong identity and future even after Jimmy Somerville’s departure. Did you personally feel that pressure at the time – stepping into a band that already had such a strong image and legacy?

Jon Jon Foster: The pressure didn’t really come from stepping into Jimmy’s shoes. The real pressure came from London Records. After Bronski Beat’s “Hit That Perfect Beat” became such a success, they wanted us to deliver an album very quickly, and “Truthdare Doubledare” was completed within about three or four months.

Steve and Larry were already my friends long before I joined the band. I’d known Larry since around 1979 and got to know Steve shortly afterwards. We had been spending time together for years, making music, jamming and hanging out. There was already a connection between us.

Because of that, it never felt like I was entering a completely unfamiliar situation. It was more like a jigsaw puzzle finally finding its missing piece. Everything seemed to slot naturally into place.

Our manager Anthony Kawalski was also someone I had known for years, so there was already trust between us. Looking back, I remember that period as a lot of hard work, but also a tremendous amount of fun.

Q: Many contemporary reviews described “Hit That Perfect Beat” as raw, energetic Hi-NRG dance music that shifted Bronski Beat away from melancholy political tension toward something more physical and club-oriented. Looking back today, do you think the band consciously moved queer identity from protest into the dancefloor itself?

Jon Jon Foster: Looking back, most of Bronski Beat’s major hits were already very dancefloor-oriented. At the same time, there was always a political and emotional thread running through the band’s music, and you can hear that in my lyrics as well.

Songs like “C’Mon! C’Mon!” are a good example of that. It was never our intention to say, “Let’s make a dance record now.” “Hit That Perfect Beat” was certainly designed as a Hi-NRG dance track, but the rest of the album came together much more organically.

The truth is that there was no master plan. Steve, Larry and I hadn’t spent months rehearsing together or writing material before entering the studio. Everything developed very spontaneously.

If we had made an entire album in the style of “Hit That Perfect Beat”, I think it would have become rather predictable. Instead, deeper and more personal songs emerged naturally, and those songs felt right for the album.

Q: How did you originally become involved with Bronski Beat? Had you already been singing or performing in other projects before joining the band?

Jon Jon Foster: It all started through my dear friend Gill Wisson, whom I’ve known for most of my life. We both grew up in Essex and eventually moved from Basildon to Southend.

Gill had a bedsit in Southend, and upstairs lived two young men called Larry and Anthony. They used to frequent the only gay pub in town, called The Cliff.

Through Gill, I met Larry, Anthony and a whole circle of artists and musicians connected to the local art college.

Music quickly became part of our friendship. We spent countless hours playing together, experimenting and creating things. Alison Moyet was also around at that time, and whenever she sang, we would all stop what we were doing and simply listen.

One of the most important moments came during the final days of the original Bronski Beat line-up. The band had an appearance on Wogan and needed to attend a camera rehearsal. Jimmy didn’t turn up, so I stepped in and mimed “I Feel Love” alongside Marc Almond.

That moment planted a seed in our manager Anthony Kawalski’s mind.

Many people assume there was some huge audition process when Jimmy left, but I don’t think Steve and Larry would ever have chosen a complete stranger. We already knew each other well, and there was a natural chemistry between us.

I eventually recorded several songs with them, including tracks that now appear on the new anniversary edition. Once London Records were convinced, I officially joined Bronski Beat. We recorded “Hit That Perfect Beat”, the song became a hit, and everything developed from there.

Q: Had you already been involved in music before joining the band?

Jon Jon Foster: Yes, absolutely.

One of my earliest bands was called Yellow Jellies, which I formed with friends while we were still at college. We played a few gigs and had a fantastic time.

Later came another group called Bust, where I played alongside my friend David. Ironically, David would later go on to play bass with The Communards.

At the time I was heavily involved in performance art, filmmaking and street performance. I was constantly creating things with friends.

When the opportunity came to move to London and work with Steve and Larry, I knew I had to take it. It was a chance to become part of something bigger, even if it meant putting some of my own projects on hold.

Q: By the mid-1980s, Basildon had already become one of the symbolic centres of British electronic pop culture through artists like Depeche Mode, Yazoo, Alison Moyet, Erasure or Robert Marlow. Did you feel connected to that scene in any way?

Jon Jon Foster: Very much so.

Of course I knew Depeche Mode from Basildon. I knew Alison Moyet, and later I met Andy Bell as well. Robert Marlow was someone whose gigs I used to attend.

In many ways, we were all connected. I admired all of those artists and watched many of them emerge from the local scene.

I remember seeing Alison Moyet perform in Basildon long before she became famous. People absolutely loved her.

We would also go to clubs like Rocks in Rochford, where all sorts of bands were performing, from electronic acts to punk groups.

It was a very exciting time. Everyone was involved in music, fashion, art and self-expression. We were all trying to be outrageous in our own way.

Looking back, we were rivals in some respects, but there was also a lot of mutual respect and admiration. We all came from the same environment and shared the same excitement about creating something new.

Q: What do you remember most vividly about the recording sessions for Bronski Beat’s “Truthdare Doubledare”? What was the atmosphere like inside the band during that period?

Jon Jon Foster: “Truthdare Doubledare” was a wonderful album to make. We had a fantastic time recording it.

We worked in some of the best studios in London, although we also spent time in some rather ramshackle places doing additional work. Because Steve and Larry were working primarily with electronic instruments and sequencers, they didn’t always need luxurious surroundings. The music could be created almost anywhere.

Our producer, Adam Williams, did a brilliant job. We probably tested his patience on more than one occasion, but always in the best possible way.

What I remember most is the sense of adventure. Suddenly I found myself travelling to New York, staying there for months while Steve and Larry were also completing work on “Hundreds & Thousands”. We had an incredible apartment on the Upper West Side.

For someone who had recently been living on Social Security in Newcastle, it felt like entering another world.

My professional training had actually been as a chef and waiter. Then, almost overnight, I was taken from a very modest life and placed in some of the most exciting cities and studios imaginable.

The strongest memory is still the laughter. We spent so much time creating, experimenting and enjoying ourselves. We were friends making music together, and that made all the difference.

Q: Songs like “Hit That Perfect Beat”, “C’Mon! C’Mon!” and “Punishment For Love” still sound energetic and unique today. Do you have a personal favourite track from this Bronski Beat album?

Jon Jon Foster: In a way, all of them are favourites because every song is attached to a particular memory.

“Hit That Perfect Beat” will always hold a special place for me because it was the first professional song I ever recorded. It was my first proper record, and suddenly it became a hit around the world. Naturally, I’m very proud of that.

Another song I feel very strongly about is “Punishment For Love”. That track deals with loneliness, isolation and the feeling of having nowhere to belong. It reflects the experience of having love inside you but being prevented from expressing who you truly are.

“Dr. John” is also very personal. It’s almost autobiographical. When I listen to it now, I hear someone looking into a mirror and asking difficult questions about life, identity and where they are heading.

And then there is “C’Mon! C’Mon!”, which reflected the political climate of Britain during the Thatcher years. At times it felt as though the country was moving backwards rather than forwards.

Q: At the same time, Jimmy Somerville launched The Communards, which quickly became hugely successful. Did this create any sense of competition or pressure for the “new” Bronski Beat?

Jon Jon Foster: Not really.

Any pressure that existed came from the record company rather than from Jimmy or The Communards. London Records wanted results, wanted records and wanted momentum.

Personally, I never felt involved in any rivalry. My relationship was with Steve and Larry, not with the business side of things.

Jimmy was free to pursue his vision, and we were free to pursue ours. I never felt any need to compete with him. We simply got on with making our own music.

Q: Looking back today, do you feel you were ever truly accepted as the new voice of Bronski Beat?

Jon Jon Foster: That’s an interesting question.

Outwardly, I always appeared confident. I could do interviews, stand in front of cameras and perform on stage without too much difficulty.

The real struggle was internal.

I constantly dealt with feelings of insecurity and what people now call impostor syndrome.

But at the same time, I wasn’t trying to become Jimmy. I wasn’t trying to copy him or replace him. I simply tried to sing the songs as honestly as I could and contribute what I had to offer.

Looking back now, I realise that “Truthdare Doubledare” was almost an experiment for all of us.

I think we did.

Q: The 40th anniversary of Bronski Beat’s “Truthdare Doubledare” is also overshadowed by the loss of both Steve Bronski and Larry Steinbachek. Do you ever think about what a reunion or celebration of that era could have been like?

Jon Jon Foster: Absolutely.

I know Steve would have been delighted to see this album being rediscovered.

What many people don’t realise is that my relationship with Steve and Larry didn’t end when I left Bronski Beat. Steve and I continued performing together in America and Hawaii. We played clubs, toured with other artists and remained close friends.

I also stayed in touch with Larry for many years. Both he and Steve eventually lived in Amsterdam, and I regularly visited them there.

That’s why this anniversary is emotional for me. Of course it’s sad that neither of them is here to witness it. But at the same time, it’s wonderful to see the music being celebrated again.

And I think both Steve and Larry would be proud of that.

Q: Years later, you also recorded your own version of Yazoo’s “Only You”, one of the defining songs of the Basildon electronic scene. What drew you to that song personally?

Jon Jon Foster: When Alison Moyet used to visit Gill’s bedsit and Larry would be recording music there, we would often sit together and listen to her sing. I still have some of those old tapes.

Quite honestly, there were times when tears would come to our eyes. Alison had such a beautiful and powerful voice that it genuinely moved people.

My version of “Only You” was really a small tribute to her.

I’ve always loved that song. It has stayed with me throughout my life, and recording it felt like a way of saying thank you to someone who was not only an extraordinary artist but also a friend.

We were all connected through Essex, through music and through friendship.

I still go to see Alison perform whenever I can. It’s wonderful to watch her on stage after all these years and hear those songs again.

Forty years after its original release, Bronski Beat’s “Truthdare Doubledare” remains one of the most underrated albums in the Bronski Beat catalogue.

Often overshadowed by both “The Age Of Consent” and the success of The Communards, it nevertheless captures a fascinating moment in the band’s evolution: a period of reinvention, experimentation and resilience.

Listening to Jon Jon Foster today, it becomes clear that the album’s story is about far more than replacing a singer. It is a story of friendship, creative chemistry and the courage to move forward when many expected the story to be over.

The 40th Anniversary Edition of “Truthdare Doubledare” is available for pre-order now and will be released on July 3, 2025.

© JJanurik

Sleep Kills is a project based in Los Angeles (USA). I ​​discovered that they released two singles earlier this year that can be found on this EP, along with three additional tracks.

The five songs are clearly driven by a solid EBM foundation and built upon other influences ranging from IDM, Dark-Techno, and Industrial. The menacing atmosphere and overwhelming sound production are infectious, but on top of that, you discover a fantastic female vocalist who brings a lot of variation to her voice. One moment she sounds half-whispered, mysterious, and sexy, but later she becomes powerful and commanding. Every track sounds like a potential single, though I do have a preference for “No Limits” and “Stahlfleisch”.

This debut EP is an absolute masterpiece. It has been a long time since a new band blew me away to this extent. A modern, electric EBM mix backed by strong production. Sleep Kills is a name to remember! (Rating:8½).

Listen to “No Limits”:

https://sleepkillsaudio.bandcamp.com/track/no-limits

Eastside Festival will return to Karlsbad in Halle/Saale on 3 and 4 July 2026. Presented by Pluswelt Promotion, the Pop and Wave open air event brings together synthpop, EBM, dark wave, electro and alternative electronic music in a lakeside setting.

Now entering its fourth edition, Eastside Festival has grown from a pandemic-era idea into an established meeting point for the electronic and wave-oriented scene. The festival takes place at Karlsbad Halle, located by the Angersdorfer Teiche, with camping options, a beach setting and a summer atmosphere closer to a scene gathering than to a standard large-scale commercial festival.

Nitzer Ebb, Devision Redux and Black Nail Cabaret on Friday

Friday’s programme connects several generations of electronic underground music. British EBM pioneers Nitzer Ebb remain one of the defining names of body music, known for their stripped-down force, commanding vocals and percussive physicality. Their appearance gives the first Eastside Festival day a clear historical anchor.

Another major point of interest is Devision Redux, the new electronic format around Steffen Keth and Daniel Myer. The project reworks material from the De/Vision catalogue into a club-oriented language, giving familiar songs a leaner, more contemporary and more physical shape.

Black Nail Cabaret bring their elegant, dark electronic pop to the line-up. The Hungarian duo have built a distinctive identity around sharp synth work, controlled sensuality and a sense of theatrical restraint. Canadian duo Traitrs add a colder post-punk and darkwave presence, with a sound shaped by guitars, tension and emotional urgency.

In Strict Confidence appear with an electro set, linking the Eastside Festival to the long-running German dark electronic tradition. Future Lied To Us bring polished synthpop with a melodic, emotionally direct approach, while Spanish act Huir open the day with a newer voice from the electronic underground. The evening continues after the concerts with a DJ set by Richard Silverthorn of Mesh in a separate area.

Covenant, Solitary Experiments and Bigod 20 on Saturday

Saturday expands the spectrum from synthpop and dark electronic music to EBM history and club culture. Covenant remain one of the most important Swedish electronic acts, combining philosophical lyrics, elegant synth architecture and a strong live presence. Their place in the programme gives the second day a major synthpop focus.

Solitary Experiments bring a different kind of emotional force: melodic, powerful, direct and deeply connected to the German futurepop and electro scene. Bigod 20 provide the midnight special, adding a classic EBM and electronic heritage element to the festival’s second night.

Priest contribute a darker, more stylised synth-based sound, while UK act Auger bring a more alternative, song-oriented edge to the programme. Beborn Beton add sophisticated German electronic pop with a long history in the synth scene, while Swiss act Blackbook represent a newer generation of sleek, melodic synthpop.

M/A/T open the second day with harder electronic energy, and Lennart Salomon performs a special lakeside acoustic set, creating a quieter contrast before the programme returns to full electronic intensity. The night continues with a DJ set by Talla 2XLC and an after-show party in a separate area.

A lakeside festival for the pop, wave and EBM audience

The full 2026 line-up includes Nitzer Ebb, Covenant, Devision Redux, Bigod 20, Solitary Experiments, In Strict Confidence, Priest, Traitrs, Auger, Black Nail Cabaret, Lennart Salomon, Beborn Beton, Blackbook, Future Lied To Us, Huir and M/A/T. Christian Schottstädt of Forced To Mode will host the festival as moderator.

The location gives Eastside Festival its particular identity. Karlsbad offers an open air setting by the lake, with a sandy beach, camping possibilities and a relaxed summer atmosphere. For an audience often associated with clubs, dark venues and late-night dancefloors, this combination of electronic music and open air surroundings gives the festival a distinct rhythm.

Eastside Festival 2026 does not present itself as a purely nostalgic event. The programme places established names next to newer and mid-generation acts, connecting different branches of the electronic underground: EBM history, synthpop melancholy, contemporary darkwave, alternative pop structures and club-oriented electronics.

Tickets are available through the official Eastside Festival website, Pluswelt Promotion ticketing and Eventim.

Eastside Festival 2026 agenda

Friday, 3 July 2026

• 17:00 Huir
• 17:50 Future Lied To Us
• 18:50 Black Nail Cabaret
• 20:00 Traitrs
• 21:10 In Strict Confidence Electro Set
• 22:20 Devision Redux
• 23:45 Nitzer Ebb
• 01:00 DJ Richard Silverthorn/Mesh, separate area

Saturday, 4 July 2026

• 16:00 M/A/T
• 16:45 Blackbook
• 17:45 Beborn Beton
• 18:45 Auger
• 19:50 Priest
• 20:35 Lennart Salomon, lakeside acoustic set
• 21:25 Solitary Experiments
• 22:30 Covenant
• 00:05 Bigod 20, midnight special
• 00:05 DJ Talla 2XLC
• 01:05 After-show party, separate area

Hollywood Vampires will return to the UK and Europe in 2026, bringing Alice Cooper, Johnny Depp, Joe Perry and Tommy Henriksen back to the stage for a new run of shows. The tour marks the band’s return to European audiences after almost three years away and includes dates in the UK, Germany, France, Italy, Croatia, Austria, Czech Republic, Hungary and Poland.

The Polish stop – and also the last stop – will take place at Atlas Arena in Łódź on 10 September 2026. It will be the band’s only concert in Poland on this tour.

Hollywood Vampires take their name from the legendary 1970s musicians’ club founded by Alice Cooper, whose circle was connected with the rock’n’roll mythology of the Sunset Strip. The current band transforms that legacy into a live project built around classic rock, theatrical stage presence, guitar-driven energy and tributes to rock history.

Their concerts combine original Hollywood Vampires material with interpretations of rock classics. Rather than functioning as a static nostalgia project, the band bring together several layers of rock culture: Cooper’s shock rock theatricality, Perry’s Aerosmith guitar lineage, Depp’s rock sensibility and Henriksen’s experience as a powerful live musician and Cooper collaborator.

The UK dates will feature special guests The Jesus And Mary Chain and The Damned on selected shows, while further guests for the European dates are to be announced.

Hollywood Vampires UK + Europe Tour 2026 dates:

• 12 August 2026 – London, UK – The O2
• 14 August 2026 – Cardiff, UK – Cardiff Castle
• 15 August 2026 – Scarborough, UK – Scarborough Open Air Theatre
• 17 August 2026 – Glasgow, UK – OVO Hydro
• 18 August 2026 – Manchester, UK – AO Arena
• 19 August 2026 – Birmingham, UK – Utilita Arena Birmingham
• 21 August 2026 – Colchester, UK – Castle Park
• 22 August 2026 – Halifax, UK – The Piece Hall
• 25 August 2026 – Nuremberg, Germany – PSD Bank Nürnberg Arena
• 26 August 2026 – Paris, France – Adidas Arena
• 28 August 2026 – Cologne, Germany – Lanxess Arena
• 30 August 2026 – Hamburg, Germany – Barclays Arena
• 1 September 2026 – Novegro-Tregarezzo, Italy – Parco della Musica di Milano
• 2 September 2026 – Este, Italy – Castello Carrarese
• 3 September 2026 – Pula, Croatia
• 5 September 2026 – St. Pölten, Austria
• 6 September 2026 – Prague, Czech Republic
• 8 September 2026 – Budapest, Hungary
• 10 September 2026 – Łódź, Poland – Atlas Arena

Tickets and VIP packages are available through the official Hollywood Vampires website and authorised ticketing platforms.

Here’s what you can expect live.

Hamburger Bahnhof – Nationalgalerie der Gegenwart in Berlin will present “Ryuichi Sakamoto. seeing sound, hearing time” from 11 September 2026 to 23 May 2027, marking the first major European retrospective dedicated to the late Japanese composer, producer and artist.

Opening during Berlin Art Week, the exhibition will occupy around 1,500 square metres in the Rieckhallen and will bring together seven works in five large-scale installations, placing Sakamoto’s practice at the point where composition, film, performance, technology and visual art begin to alter each other’s grammar.

Here’s a glimpse of the Ryuichi Sakamoto retrospective that took place at the Museum of Contemporary Art in Tokyo in 2024.

About Ryuichi Sakamoto

Born in Tokyo in 1952, Ryuichi Sakamoto entered the wider musical map with his 1978 solo debut “Thousand Knives” and, that same year, co-founded Yellow Magic Orchestra with Haruomi Hosono and Yukihiro Takahashi, a group whose influence on electronic pop, synth-based production, techno, hip-hop and game music still reads like a hidden operating system behind large parts of contemporary sound culture. His solo work moved restlessly between avant-pop, chamber music, ambient composition, electronic experimentation and piano-led minimalism, while albums such as “B-2 Unit,” “Neo Geo,” “Beauty,” “async” and the final “12” reveal an artist who treated sound as matter, climate and memory rather than as genre.

His film work brought that language to international cinema. Sakamoto scored Nagisa Oshima’s “Merry Christmas Mr. Lawrence,” in which he starred alongside David Bowie, and later composed for Bernardo Bertolucci’s “The Last Emperor,” “The Sheltering Sky” and “Little Buddha,” as well as Alejandro González Iñárritu’s “The Revenant.” His awards included an Academy Award, a Grammy, a BAFTA and two Golden Globes, yet the significance of his film music lies beyond prestige: Sakamoto could compress political history, erotic tension, exile, landscape and private grief into themes whose elegance never softened their emotional pressure.

“Ryuichi Sakamoto, seeing sound, hearing time” focuses on Sakamoto’s later spatial and audiovisual practice, especially the three-dimensional sound environments he developed from the 2000s onwards with collaborators including Shiro Takatani, Carsten Nicolai and Apichatpong Weerasethakul. Among the central works is “Is Your Time” from 2017, created with Shiro Takatani, in which a piano damaged by the 2011 tsunami becomes an acoustic object activated through real-time seismological data from earthquakes around the world. Further installations grow out of “async,” Sakamoto’s 2017 album shaped by fragility, decay, field recordings and the presence of mortality, while two films by Carsten Nicolai use music from “12,” the intimate sonic diary recorded by Sakamoto between 2021 and 2022.

The retrospective arrives in Berlin as part of the 30th anniversary programme of Hamburger Bahnhof, a museum whose history has long involved the friction between contemporary art, sound, performance and expanded media. Curated by Ingrid Buschmann of Hamburger Bahnhof together with Tokyo-based curator Sachiko Namba, the exhibition will be presented in cooperation with KAB Inc. / KAB America Inc. and Dumb Type Office Ltd.

For audiences connected to electronic, experimental and post-industrial music, Sakamoto’s work remains essential because it never reduced technology to surface or spectacle. His machines breathed, his pianos carried weather, his silences had architecture. This Berlin exhibition promises a rare encounter with an artist who understood sound as a way of measuring time, damage, tenderness and the invisible forces moving through bodies and rooms.

Ryuichi Sakamoto passed away at the age of 71 in March 2023 after succumbing to cancer after a years-long battle.

’12’, the last Ryuichi Sakamoto album (January 2023)

In January 2023 Side-Line presented Sakamoto’s last album, “12”, out via Milan Records. The 12 compositions were recorded by Ryuichi Sakamoto in Tokyo during his 2-year long fight with cancer throughout 2021-2022. The album, his 15th, was the first of new solo material since 2017. The album’s twelve tracks are titled and sequenced by the dates each were written, culminating in a diary-like collection of music that provides an intimate snapshot into this period of Sakamoto’s life.

Prior to the release of his album, Sakamoto debuted a special solo piano concert that was streamed online to over 60,000 viewers worldwide. His first live performance in two years, the concert was recorded at Tokyo’s renowned 509 Studio over a week and featured an hour of the composer playing new arrangements from his extensive repertoire and new album.

Watch “Merry Christmas Mr. Lawrence” from the live-streamed “Ryuichi Sakamoto: Playing the Piano 2022” on Sunday, December 11, 2022.

Australian industrial-punk project Schkeuditzer Kreuz has released the single “Keep Dancing” on June 5, 2026. The Schkeuditzer Kreuz “Keep Dancing” single pairs the “Fresh Graves Mix” of the track, taken from the 2025 album “Swan Grinder”, with the B-side “Poor Impulse Control (Three Days Deep)”.

The single is issued as a 7-inch vinyl release with a digital edition. The artwork is by Rufus Dayglo, and the audio was mastered by Martin Bowes of Attrition, who also mastered the parent album “Swan Grinder”. “Keep Dancing” originally appeared on that record; the “Fresh Graves Mix” reworks the track for this release.

Kieren Hills says: “Keep Dancing is a song of rebellion. It is a song about standing up for what you think is right. And it is a song of standing up for those who can’t stand up for themselves. It is about sticking together and sticking around to make our voice heard in a time where we feel under constant attack. The world feels pretty bad right now, but the song is about not switching off even when that feels like the only option.”

Kieren continues: “I have always wanted to have a go at putting guitar with one of my songs and this seemed like the perfect one to do. So I rerecorded it with guitars as well as redoing the drums and synths to make it sound more urgent and more, well, danceable.”

About the B-side “Three Days Deep” he says: “I took the original song and sped it up to 240bpm, distorted the fuck out of everything and well, we all know what Three Days Deep refers to…”

Meanwhile, Schkeuditzer Kreuz is also using the “Keep Dancing” release to make an early announcement of an own 19-date tour of Japan, Cambodia, Thailand, Malaysia, the Philippines and Indonesia in October this year.

Schkeuditzer Kreuz – Japan & Southeast Asia Tour 2026

• 02 Oct ’26, Fri – Japan / Tokyo – Earthdom
• 03 Oct ’26, Sat – Japan / Tokyo – Ochiai
• 04 Oct ’26, Sun – Japan / city TBC – venue TBC
• 06 Oct ’26, Tue – Japan / Shizuoka – Sou-gen
• 07 Oct ’26, Wed – Japan / Osaka – Hokage
• 08 Oct ’26, Thu – Cambodia / Siem Reap – Atlantis Metal Bar
• 09 Oct ’26, Fri – Cambodia / Phnom Penh – Distortion
• 10 Oct ’26, Sat – Thailand / Chiang Mai – Yoda Gallery
• 13 Oct ’26, Tue – Thailand / Bangkok – venue TBC
• 16 Oct ’26, Fri – Malaysia / Kuala Lumpur – Moutou
• 17 Oct ’26, Sat – Philippines / Bacolod City – Visayas Hardcore Punk Fest
• 18 Oct ’26, Sun – Philippines / General Santos City – venue TBC
• 19 Oct ’26, Mon – Philippines / Davao City – venue TBC
• 20 Oct ’26, Tue – Philippines / Cebu City – venue TBC
• 21 Oct ’26, Wed – Philippines / Quezon City – venue TBC
• 22 Oct ’26, Thu – Philippines / Dasmariñas Cavite – venue TBC
• 23 Oct ’26, Fri – Indonesia / Bali – Gimme Shelter
• 24 Oct ’26, Sat – Indonesia / Jogjakarta – venue TBC
• 25 Oct ’26, Sun – Indonesia / Purworejo – venue TBC

About Schkeuditzer Kreuz

Schkeuditzer Kreuz is the solo project of Kieren Hills, who was born in New Zealand and is based in Lawson, in the Blue Mountains of New South Wales, Australia. The project combines electronic body music and industrial with crust and d-beat punk, a sound Hills has described with terms such as “industrial synth crust” and “d-beat raw synth punk”.

The discography includes “Isolated and Alone” (2021) and “No Life Left” (2023), the latter repressed on Bad Habit Records. In November 2024 the project shared a split 7-inch with Decide Today, which Side-Line reported at the time. The third album “Swan Grinder“, mastered by Martin Bowes, was released on August 30, 2025, and was supported by a European tour across September and October 2025.

The “Keep Dancing” single is released on June 5, 2026.

UK dark alternative artist j:dead released the single “Keep Walking” on June 5, 2026, via Infacted Recordings. The track is the seventh single in a year-long monthly release series and is available to stream and download.

“Keep Walking” continues a release campaign that j:dead launched in December 2025. Side-Line reported on the start of the run when the project launched the year-long single series with ‘Pressure’ in December 2025, and again in January 2026 when j:dead announced ‘Who Knows’ as the third single in the series. In March 2026, j:dead premiered the ‘Feeling Alone’ video on Side-Line one day ahead of its release.

These are the 2026 singles released so far: “Disgusting,” “Who Knows,” “Feeling Alone,” “Silence Calls,” “Over The Years” and “Keep Walking,” following “Pressure” in December 2025.

“Keep Walking” was inspired by the act of literally walking through trauma. It was written, performed and recorded by j:dead (Jay Taylor). Guitars were played by Hilger Tintel. The track was produced by Motel-Music and mastered by Studio-600.

About j:dead

j:dead is the project of UK artist Jay Taylor. He produces a mix of industrial, gothic, electronic and modern-metal. The project started with the single “Haunt” (2019), followed by “Feeding On Me” (2020) and the album “A Complicated Genocide” (2021).

Subsequent releases include the singles “Tearing Me Apart” (with Teknovore) and “I’ll Wait” (both 2021); “DAS OM3N” (a cover), the EP “Vision Of Time,” and the single “Hold Tight” (all 2022); and the collaborations “High Time (Chinese Takeaway)” with FabrikC and “Thrive” with Nature Of Wires (both 2022).

Side-Line covered the EP “Vision Of Time” on its 2022 release via Infacted Recordings. In 2023 j:dead issued “Surrendering,” a cover of “You Spin Me Round (Like a Record)” with Menschdefekt, the single “Harbour,” and the EP “ROOTS,” followed by “What We’ll Be” (2024) and “Pressure” (2025). The latter opened a year-long campaign of monthly singles continued in 2026 by “Disgusting,” “Who Knows,” “Feeling Alone,” “Silence Calls” and “Over The Years.” “Keep Walking,” released on June 5, 2026, is the seventh single in that series.

Clock DVA has released a 45th-anniversary remastered reissue of “Thirst” through The Grey Area of Mute. The Clock DVA “Thirst” reissue is the second instalment in Mute’s campaign to reissue the Sheffield industrial and post-punk group’s catalogue, following the 2025 remaster of “White Souls in Black Suits”. The reissue appears on double thirst-red 2LP, CD and digital.

“Thirst” was first issued in 1981 on Fetish Records . It was Clock DVA’s second album, following the 1980 debut “White Souls in Black Suits”, and marked the band’s move from the improvised, tape-driven approach of that debut into a sharper, song-based framework.

What the Clock DVA ‘Thirst’ reissue includes

The 2026 edition was cut from the original tapes with input from surviving members and carries the original sleeve notes by Genesis P-Orridge. It expands the original nine-track album with live recordings, the original single mixes of “4 Hours” and “Sensorium”, and two newly recorded DVATION 2026 versions by the current line-up. Side-Line previously reported on the remastered “Sensorium” two-track single issued ahead of the album.

Clock DVA – “Thirst” 2026 tracklist

1. “Uncertain”
2. “Sensorium”
3. “White Cell”
4. “Piano Pain”
5. “Blue Tone”
6. “North Loop”
7. “4 Hours”
8. “Moments”
9. “Impressions of African Winter”
10. “The Opening (Live at The Lyceum)”
11. “Remain Remain (Live at The Lyceum)”
12. “4 Hours (Single Mix)”
13. “Sensorium (Single Mix)”
14. “4 Hours (DVATION 2026 Version)”
15. “Sensorium (DVATION 2026 Version)”

The vinyl edition is a double thirst-red 2LP set, issued in a standard pressing and a signed art-card edition, while the CD comes in an eco card sleeve. The reissue is also available digitally and can be streamed and ordered via the official “Thirst” 2026 remaster page.

The original recordings feature Adi Newton (voice, clarinet, manipulated tapes, piano, modified guitar, EMS Synthi E), Steven J. Turner (bass and treatments), Charlie Collins (saxophones, African flute, African thumb piano), Paul Widger (guitar) and Roger Quail (drums). The album was recorded at Jacobs Studio in Surrey and produced and engineered by Ken Thomas with the band, with artwork by designer Neville Brody.

About Clock DVA

Clock DVA are an industrial, post-punk and electronic group from Sheffield, formed in 1978 by Adi Newton and Steven “Judd” Turner. The name pairs Anthony Burgess’ Nadsat slang from “A Clockwork Orange” with the Slavic word for “two”. The band worked early on with treated tape loops and EMS Synthi E electronics, releasing cassette material before the 1980 debut “White Souls in Black Suits” on Industrial Records; that debut returned in a remastered edition on The Grey Area of Mute in 2025, when Side-Line covered the single “Brigade”.

“Thirst” followed in 1981 on Fetish Records and reached the top of the UK indie charts. Newton later steered the project toward a more electronic direction, signing to Polydor for “Advantage” (1983) before moving into sample-based and cybernetic work on releases including “Buried Dreams” (1989) and into the early 1990s.

Newton also ran The Anti Group Communications (T.A.G.C.) as a separate research vehicle; Side-Line reported on the vinyl reissue of its 1994 album “Iso-Erotic Calibration”. The band reactivated in 2008 with a new line-up and has since revisited its catalogue, including the vinyl release of rare tracks on “Re-Konstructed”. The 45th-anniversary “Thirst” reissue continues this chronological re-presentation of the group’s early work.

Darkwave duo Vox Umbra released “Afterglow,” a two-song maxi-single paired with “The Train,” on June 5, 2026 as a digital release through Bandcamp.

Here’s the video for “Afterglow”.

The duo says that “Afterglow” / “The Train” “is a cohesive two-song statement about how people carry each other through uncertain times.”

The duo describes “Afterglow” as “a sweeping and urgent meditation on disillusionment, loyalty and perseverance in a world where direction grows uncertain,” citing the lyric “I loved you before the damage, I’ll love you through the break.” They describe “The Train” as “reflective, restrained and quietly devastating,” built around the lyric “Maybe this time I have done enough.”

About Vox Umbra

Vox Umbra is a darkwave duo formed in 2025 as a transcontinental collaboration. Tiffany, based in Seattle, composes the music; Florian, based in northern France, provides vocals. The two work across the geographic distance to produce what they describe as a fusion of introspective, melancholic rhythms with dark, cinematic arrangements.

The project’s first releases reached listeners through video premieres. Vox Umbra premiered the debut single “Cold Heart” as a video in October 2025, then premiered the video for “On the right” in November 2025 ahead of the duo’s debut EP, “Unchained.” The two-song maxi-single “Afterglow” / “The Train,” released June 5, 2026, follows that debut EP.

Electronic musician Rodrigo Passannanti released “Timeless Conceptions” on June 5, 2026 through Cyclical Dreams. Musicaly the nine-track album offers Berlin School and space-synth material. It is available as a digital release and on CD.

“Timeless Conceptions” runs to nine tracks: “Mineral Silence,” “Never Was,” “Time Watches Itself,” “Raccoglimi (feat Claudia Placanica),” “Voidstar,” “Dustborn,” “Magic Flight (ZX4827),” “Residual Existence,” and “Lucid Call.” The album was composed, produced and mastered by Rodrigo Passannanti in London, United Kingdom. Vocals on “Raccoglimi” are by Claudia Placanica (Costume) of Italy, and “Residual Existence” uses vocal samples credited to Audioslave.

The label describes the record as a sequence of “long, evolving sequences, widescreen ambient chords, and rich analog textures,” with the artist working under his own name rather than his harsher Hypercube alias.

“Timeless Conceptions” is available as a digital album on Bandcamp as well. A CD edition is available through Kunaki.

About Rodrigo Passannanti

Rodrigo Passannanti is an electronic music producer who has been active since the early 1990s, working across a range of styles under several aliases. He has collaborated with producers including Andy Hughes (The Orb), Michael Allen (Wolfgang Press, 4AD) and Håkan Lidbo.

Alongside composing music for short films and video games, he records experimental material under the name Hypercube. He is based in London, United Kingdom, and releases through the Cyclical Dreams label, whose catalogue spans vintage and contemporary ambient synth. “Timeless Conceptions”, issued June 5, 2026, is presented as a return to a classic Berlin School and space-synth approach under his own name.

French covers project Nouvelle Vague has announced a 13-date UK tour, “A Date With Depeche Mode,” running across March 2027 to mark a new album of the same name.

Nouvelle Vague was founded in 2003 by Marc Collin and Olivier Libaux, who reworked post-punk and new-wave songs in a bossa nova style. Libaux died in 2021 but the project continues to tour.

Tour dates for Nouvelle Vague

All confirmed dates take place in the United Kingdom in March 2027. Tickets went on sale on 5 June 2026.

• 4 March 2027 — Stratford-upon-Avon, Rother Street Arts House, United Kingdom
• 5 March 2027 — London, KOKO (Camden), United Kingdom
• 6 March 2027 — Manchester, Band on the Wall, United Kingdom
• 7 March 2027 — Norwich, The Waterfront, United Kingdom
• 10 March 2027 — Hove, The Old Market, United Kingdom
• 11 March 2027 — Cambridge, The Cambridge Junction, United Kingdom
• 12 March 2027 — Canterbury, Gulbenkian Theatre, United Kingdom
• 13 March 2027 — Liverpool, Hangar 34, United Kingdom
• 14 March 2027 — Bristol, The Trinity Centre, United Kingdom
• 17 March 2027 — Nottingham, Metronome, United Kingdom
• 18 March 2027 — Leeds, Howard Assembly Room, United Kingdom
• 19 March 2027 — Glasgow, Saint Luke’s, United Kingdom
• 20 March 2027 — Edinburgh, The Queen’s Hall, United Kingdom

‘A Date With Depeche Mode’ album

The tour celebrates the launch of Nouvelle Vague’s new album “A Date With Depeche Mode.” The set focuses on Depeche Mode material reworked in the band’s bossa nova and lounge idiom.

Depeche Mode and Nouvelle Vague have crossed paths before. The band’s third album, “3” (2009), included a version of “Master and Servant” sung by Depeche Mode’s Martin Gore with Nouvelle Vague vocalist Mélanie Pain. That album also featured Ian McCulloch of Echo & the Bunnymen, Terry Hall of The Specials, and Barry Adamson.

For this new album the band reworked thirteen iconic Depeche Mode songs. The whole was recorded in Rio with Brazilian musicians. The first single from “A Date with Depeche Mode” is a duet of “Enjoy the Silence” performed by Skye Edwards (Morcheeba) and Larry Love (Alabama 3) alongside Nouvelle Vague.

About Nouvelle Vague

Nouvelle Vague is a French covers project formed in Paris in 2003 by producers Marc Collin and Olivier Libaux. The name plays on three references at once: the French New Wave cinema of the 1960s, the new-wave music the band covers, and bossa nova. Collin’s idea was to record Joy Division’s “Love Will Tear Us Apart” in a bossa nova arrangement; the duo then recorded versions of Depeche Mode’s “Just Can’t Get Enough” and The Clash’s “The Guns of Brixton” and assembled a debut over roughly eight months.

The self-titled debut album “Nouvelle Vague” was released in 2004 on Peacefrog and reworked songs by acts including XTC, Modern English, Killing Joke, The Clash, Joy Division, Tuxedomoon, The Cure and The Undertones. The second album, “Bande à Part”, followed in 2006 and included versions of Buzzcocks’ “Ever Fallen in Love”, New Order’s “Blue Monday”, Echo & the Bunnymen’s “The Killing Moon” and Blondie’s “Heart of Glass.”

The band’s third album, “3” (2009), brought in guest vocalists linked with the original songs, including Martin Gore, Ian McCulloch, Terry Hall and Barry Adamson. “Couleurs sur Paris” (2010) collected French-language remakes with guests such as Vanessa Paradis and Cœur de pirate.

The project is known for a rotating cast of mostly female vocalists, several of whom went on to solo careers, including Camille, Phoebe Killdeer, Mélanie Pain, Nadéah Miranda and Élodie Frégé. Marc Collin also released “Hollywood, mon amour” (2008), applying the same method to 1980s film-soundtrack songs. After “3” and “Couleurs sur Paris,” the band reduced its activity before returning with the EP “Athol Brose” and the album “I Could Be Happy” in 2016.

Olivier Libaux died in 2021, and Collin has continued to lead the project live. The 2027 UK tour, “A Date With Depeche Mode,” ties the band’s covers approach to a new album built around Depeche Mode’s catalogue.

Poeme Electronique is a British band formed in 1980, featuring the quartet Dave Hewson, Sharon Abbott, Julie Ruler, and Les Hewson. “The Echoes Fade” was originally released as a single. In 2009, a self-titled album was released, featuring many other songs from the early years. Now, many years later, comes this reissue with exactly the same number of tracks.

The 16 tracks take us back in time, and in that sense, Poeme Electronique sounds truly magical: synth music from a bygone era. This is pure Electro-Wave with indescribable space-like sounds, but also Psychedelic elements. The main course remains Electro-Wave, supported by slow yet danceable rhythms and female vocals. The music is not an ode to the 80s, but simply the 80s itself, with very recognizable sounds and effects. This is vintage Electro, featuring some strong tracks as well. However, I find the eight tracks on the second vinyl somewhat weaker, sometimes even a bit bland, as if the inspiration had run out.

“The Echoes Fade” seems to me primarily an album for insiders and collectors of the golden age of 80s electro. (Rating:7).

Listen to “She’s An Image”:

https://davehewson.bandcamp.com/track/shes-an-image

This is already the sixth album from the French act Dekad. We had to wait another four years for “A Distorted View”, but fortunately the excellent predecessor “Nowhere Lines” (2022) remained fresh in our memories.

Operator JB Lacassagne has prepared ten new tracks for us, preceded by the single “I Should Have”. The album offers a diverse selection of material: on the one hand, harder, darker, and highly danceable songs infused with clear EBM elements, interwoven with the characteristic beeps and sequencer patterns so typical of the French Boredom label; on the other hand, quieter, more ethereal, and even ballad-oriented Electro-Pop compositions. Throughout the album, these contrasting elements are held together by a strong foundation of melodic Pop sensibilities. The first half of the album is simply outstanding. Despite the wide range of influences and styles, one excellent track follows another. From menacing atmospheres and aggressive sequences filled with dark sonic manipulations to soft, dreamy passages enhanced by refined arrangements, Dekad seems capable of turning everything he touches into gold. The closing tracks lose a little of the momentum established earlier on. They are by no means weak, but they do feel somewhat less inspired compared to the album’s strongest moments.

From a technical and production standpoint, this may well be Dekad’s finest album to date, although I still have a particular fondness for its predecessor. Either way, “A Distorted View” is an essential listen and a welcome highlight within today’s often rather predictable Electro-Pop landscape. (Rating:8).

Listen to “Adrenaline”:

https://boredomproduct.bandcamp.com/track/adrenaline

Spanish synthpop and futurepop act Culture Kultür release their new album “Atomic” tomorrow, June 6, 2026, through Caustic Records, with a launch concert on the same date in Madrid. The Culture Kultür “Atomic” album is the group’s first full-length since “Humanity” in 2019.

Tickets are sold online right here and in physical outlets Rara Avis and Escridiscos.

The album was preceded by the single “Atomic Radio”, which we covered when it appeared in March 2026. Caustic Records also issued the band’s “Time” on vinyl in 2025.

About Culture Kultür

Culture Kultür is a synthpop and electronic project from Málaga, Spain, formed in 1992 around José Luis Clotet, who performs under the name Josua. Singer Salva Maine joined in 1999 and has fronted the band’s recordings since. The live line-up has included Distortiongirl on keyboards.

The group’s studio discography includes “Reflex” (1999), “Revenge” (2001), “Reborn” (2005, Out Of Line), “Spirit” (2010, Caustic Records) and “Humanity” (2019, Caustic Records). The band’s catalogue moves between synthpop, futurepop and darker electronics, and it has been signed to Caustic Records for the recent years.

“Atomic” is the band’s latest album, released on June 6, 2026, alongside the launch concert in Madrid.

Norwegian darkwave and cyberpunk duo Rule of Two have released a cover of Depeche Mode’s “It’s No Good“. The Rule of Two “It’s No Good” version is accompanied by an official music video directed by band member Kristian Liljan.

The cover is Rule of Two’s fifth single of 2026, following “Afterlife” via Polypiel Records on May 7 and “All Time Low” in February.

‘It’s No Good’: the original

“It’s No Good” was released on March 31, 1997, as the second single from Depeche Mode’s ninth studio album “Ultra” (Mute Records, April 14, 1997). The track was written by Martin Gore and produced by Tim Simenon, recorded at Eastcote Studios in London and Larrabee West in Los Angeles, and mixed at Abbey Road Studios. It reached number five in the United Kingdom and number one in Denmark, Spain, Sweden and on the US Billboard Dance Club Play chart.

About Rule of Two

Rule of Two is a darkwave and cyberpunk duo formed in Oslo, Norway, in 2023 by Ronny Flissundet and Kristian Liljan, both from the Oslo metal and alternative rock underground with prior activity in Damokles, Dunderbeist and Kite.

The project blends eerie synthesizers, mechanical rhythms and glitch textures into a sound the duo describes as taking a darker, more industrial direction with each release. Their debut album “Aiming for the Sun” was announced by Side-Line in November 2025. The “It’s No Good” cover, out June 4, 2026, is their first cover of a Depeche Mode track.

Montréal-based darkwave and dark synthwave producer Das Mörtal has released the double single “Parasite & Ghost” via Lisbon Lux Records. The release also serves as a preview of the forthcoming mini-album “DECVY I,” scheduled for October 29, 2026, on the same label.

The double single pairs two tracks that occupy distinct stylistic territory. “Parasite” is described as a fast-paced darkwave track about illness. Regarding the track, Das Mörtal says: “An illness has affected my body for some time now, and Parasite was made under a pain that I can’t quite shake off.” “Ghost” is a witch-house-infused pop single, with catchy vocal melodies and driving kick drum-infused percussion.

Alongside the double single, Das Mörtal has announced “DECVY I,” a mini-album due October 29, 2026, via Lisbon Lux Records.

About Das Mörtal

Das Mörtal is the project of Cristobal Cortes, a Santiago, Chile-born producer who grew up in Montréal. His musical journey began in Berlin, where he relocated roughly a decade and a half ago seeking electronic music with a more aggressive, punk-oriented edge than the minimalist house and techno sound that dominated the Montréal scene at the time. In Berlin, Cortes encountered the DJ culture of clubs associated with Ellen Allien’s BPitch Control label, an experience that informed his understanding of dancefloor dynamics and formed his subsequent production approach.

Back in Montréal, Cortes developed the Das Mörtal project and found a label home in Lisbon Lux Records, a Montréal-based imprint that helped disseminate his music internationally. His debut album “Always Loved” was followed by further EPs and singles, and his catalogue expanded to include the full-length “Bury To Sorrow” (October 2023), a twelve-track record featuring a collaboration with Dance With the Dead.

An instrumental version of the album was released in May 2024. His most recent work before the current release was the EP “Origins” (October 17, 2025), which included the single “Falsche Daten”

And now there is the double single “Parasite & Ghost”. “DECVY I” follows on October 29, 2026, on the same label.

A fan (interesting that we are being informed this way in 2026) of the Portland EBM duo Puerta Negra informed us that they have released the lead single and official video for “Complejo de Victima,” the first track issued from their EP “Metafísica,” due June 12, 2026 on Oráculo Records. The single is sung entirely in Spanish, with vocals by María Aguirre, and its video was directed by Zach Flanary.

Oráculo Records is a Spanish label whose recent catalogue Side-Line has covered through labelmate releases such as Neon Electronics’ “Liberation”.

“Metafísica” will be the duo’s third release, following the 2022 debut “Costo Humano” and the 2023 EP “Playa Sola.” A vinyl edition will also be available for pre-order through the label’s Bandcamp page.

The EP runs to six tracks: “Ventana Cerrada,” “Quien Es tu Dios,” “Complejo de Víctima,” “Explosión Cósmica,” “Después Del Cuerpo,” and “Ojo De Aguja.”

The video for “Complejo de Victima,” which translates as “victim complex,” was directed by Zach Flanary and shot in black and white.

About Puerta Negra

Puerta Negra is a duo from Portland, Oregon, formed by María Aguirre and Mark Arciaga. Aguirre, who handles vocals, previously played in Vueltas; Arciaga came from Lizard Skin. The project takes its name from the Los Tigres del Norte song “La Puerta Negra” and writes its lyrics in Spanish.

The debut “Costo Humano” arrived on March 8, 2022 through the Berlin label Detriti Records, issued on cassette as a run of 40 copies. The six-track release was co-produced and mastered by Susan Subtract. Oráculo Records later pressed “Costo Humano” to vinyl, on 180-gram black vinyl mastered by Daniel Hallhuber at Young and Cold Studios in Germany.

In 2023, the duo released the EP “Playa Sola” through the New York label Synthicide, a 12-inch pressing limited to 250 copies with a full-colour insert. KEXP featured the track “Caída al Mal” as a Song of the Day in May 2023. The duo’s discography is documented on Discogs; no Wikipedia entry for Puerta Negra was found.

“Metafísica” continues the duo’s work with Oráculo Records, which previously handled the vinyl edition of “Costo Humano,” and is set for release on June 12, 2026.

Meanwhile, Artaud Seth and Ashley Dayour have been active as Near Earth Orbit (N.E.O.) for more than ten years and have built up an impressive discography. With this latest work, they once again delve into dystopian themes that, unfortunately, seem to be drawing ever closer to reality. This time, the focus lies on controlled chaos, manipulation, and rebellion within an authoritarian world order, inspiring the duo to craft nine compelling tracks.

Musically, the band remains faithful to its distinct and idiosyncratic style: dark and often obscure, with guitars and electronics perfectly balanced and reinforcing one another with remarkable intensity. All of this is crowned by a charismatic voice that is impossible to ignore. N.E.O. does not necessarily impose a message upon the listener, yet a powerful sense of urgency and energy radiates throughout both the music and the vocals. The result is an overwhelming experience in which Industrial influences and epic arrangements guide us into a seemingly endless universe of terror. Several tracks also incorporate subtle EBM elements, particularly within the bass lines, further enhancing the aggressive and unsettling atmosphere. At times, this evolves into a truly Cinematic experience, though the band consistently maintains a perfect equilibrium between all these influences.

As far as I am concerned, this stands among the band’s strongest and most polished albums to date: a complete concept work, accompanied once again by strikingly dark and artistic artwork. (Rating:8).

Listen to “The Purge”:

https://nearearthorbit.bandcamp.com/track/the-purge

The Portland, Oregon-based synth-punk duo Point Line Plane has released its self-titled debut album, “Point Line Plane,” on SKiN GRAFT Records. The release marks the first-ever vinyl pressing of the record, which was originally co-released on CD by Xeroid Records and Sincere Brutality in 2003 and has been out of print for more than twenty years. Formats include LP, CD, digital and an Ultimate Edition.

The vinyl edition is pressed on 8-Bit Blue Vinyl, limited to 1500 numbered copies worldwide. Packaging includes a double-sided “Footlong” OBI with artwork by Portland designer E*Rock. A CD edition includes one bonus track not available on the LP. The Ultimate Edition adds a large-format booklet containing a memoir titled “The Future Belongs to Analog Loyalists” by guitarist Mitsuru Tabata, a comic by Rob Syers, and a pull-out poster.

The lead single is “Death Dance 2000”, which has an official music video.

About Point Line Plane

Point Line Plane was formed in Portland, Oregon, around 2002 by vocalist and keyboardist Joshua Blanchard and drummer Nathan Carson as a synth-and-drums duo. Blanchard had previously performed as part of the Sensualists. Carson co-founded the Portland doom metal band Witch Mountain in 1997 and has run the booking agency Nanotear.

The band’s self-titled debut was recorded and released in 2003, co-issued on CD by Xeroid Records and Sincere Brutality. That year the duo also released the single “Curse Chorus Curse / Sh…Boom” on S-S Records, contributed a cover of “Give The Future A Break” to a Screamers tribute compilation, and completed a split release with The Planet.

In late 2003, Howard Gillam (also known as Supersprite) joined on second synth, expanding the lineup to a trio. As a trio, the band recorded “Smoke Signals,” released in 2004 on SKiN GRAFT Records. The band also produced the score for the feature documentary “Haunters.” Point Line Plane disbanded in 2005 after approximately 150 live performances.

Both founding members continued other work. Blanchard also performs as Major Hex. Carson remained active with Witch Mountain, which has toured internationally and released records on Profound Lore Records and Svart Records. He also hosts The Heavy Metal Sewïng Cïrcle on XRAY FM, runs Nanotear Booking, and has published fiction.

The original duo, Blanchard and Carson, announced their return in 2026 when SKiN GRAFT Records proposed the remastered vinyl reissue of the debut. “Point Line Plane” (SKiN GRAFT Records) is out now.

Russian punk collective Pussy Riot announced “CYKA,” their debut full-length album, scheduled for release on June 12, 2026, on digital streaming platforms. The fourteen-track record compresses fourteen years of the group’s activity – including protest actions, imprisonment and exile – into a single body of work. The album title translates from Russian as “bitch.” Lead single “Candy Dopamine,” featuring Avenged Sevenfold, is out now with an official music video on YouTube.

“Candy Dopamine” was co-written by Pussy Riot with Avenged Sevenfold vocalist M. Shadows and guitarist Zacky Vengeance. The track mixes pop with alternative rock and features guest vocals from M. Shadows alongside heavy guitar work. Pussy Riot founder Nadya Tolokonnikova described the song as a statement on prescription and designer drug culture: “It started with my dependence on antidepressants, but it’s also looking at everyone now, mentalhealthmaxxing and looksmaxxing via pills and injections. It’s not a judgment, it’s just an observation, and my personal experience with these things is that I have to be in a long-term relationship with them for my PTSD and depression.”

This is the second collaboration between Avenged Sevenfold and Pussy Riot. In 2023, Tolokonnikova appeared on a reworked version of the Avenged Sevenfold track “We Love You,” re-released as “We Love You Moar,” raising awareness of the situation of LGBTQ+ people in Russia.

The album’s earlier single “Disobey” was released in May 2026. Its music video consists of footage from Pussy Riot’s “Storm of Venice” protest action at the 61st Venice Biennale, in which more than fifty members of the collective stormed the Russian pavilion with clouds of pink smoke. Ukrainian activist group FEMEN joined the demonstration, which was staged in protest at Russia’s return to the international art event. The 90-second track features distorted guitars, shouted vocals and chants of “disobey,” with lyrics in English and Russian condemning fascism and political silence.

‘CYKA’: collaborators, tracklist, and Putin challenge

Other confirmed contributors on “CYKA” include B-Real of Cypress Hill (on the track “Gore”) and singer-songwriter Salem Ilese (on “Utopia”). Russian President Vladimir Putin is listed as a contributor on the self-titled track “Cyka.” Tolokonnikova adds: “I’m not gonna give him royalties though, they can add it to my list of crimes.”

Tolokonnikova also announced a public challenge to Putin to fight her at the UFC Freedom 250 event, scheduled for June 14 at the White House. In her statement, she says: “All these old men ruining the world right now act tough, but we see through their fragile egos, and I’m not afraid to call them out. I challenge President Putin to a cage match. He loses? He gets the fuck out of Ukraine.”

About Pussy Riot

Pussy Riot is a Russian punk and protest collective founded in Moscow in 2011. The group operates as a loose, rotating collective but is closely associated with founders Nadya Tolokonnikova (also known as Nadya Tolokno) and Maria Alyokhina (known as Masha). The group staged performances in public spaces across Moscow as acts of political protest, often wearing brightly colored balaclavas.

In February 2012, three members – Tolokonnikova, Alyokhina and Yekaterina Samutsevich – were arrested following a performance inside Moscow’s Cathedral of Christ the Saviour. They were convicted of “hooliganism motivated by religious hatred” and sentenced to two years in a penal colony. Samutsevich was released on appeal in October 2012; Tolokonnikova and Alyokhina served their full sentences, released in December 2013. The trial attracted international attention.

Following their release, Tolokonnikova and Alyokhina continued their political activism and released music under the Pussy Riot name. The group collaborated with Boys Noize on “Rage” in 2021, and with Boyfriend on the electropop single “Dance With the Devil” in 2023. In July 2025, a new Russian law criminalized searching for Pussy Riot content online. In April 2026, Tolokonnikova was formally indicted by Russia’s Investigative Committee for alleged violations of the country’s “foreign agent” law.

“CYKA” is Pussy Riot’s debut full-length album. It is released June 12, 2026.

Following the previous album “Select”, which mainly featured a curated selection of tracks taken from Subverge’s existing releases, this new opus brings together a collection of unreleased, previously unknown, remix, and collaborative tracks. Henrik Karlsson personally selected the thirteen songs included here.

There is perhaps slightly more diversity in terms of sound and influences on this record compared to Select, although the foundation of the compositions remains very much intact. Subverge continues to craft a highly distinctive form of Dark Ambient, occasionally enriched with slow rhythms and subtle percussion. Throughout the album, one can clearly hear Karlsson’s unmistakable fascination with Electro music and his irresistible urge for experimentation and sonic exploration.

The result is a deeply cinematic work that, aside from a few vocal contributions, remains largely instrumental. Subverge excels at building dark atmospheres and allowing them to evolve gradually, much like the tension unfolding within a thriller film. Among the collaborations, the outstanding track with Access To Arasaka deserves special mention, serving as a true apotheosis of the album.

Above all, Henrik Karlsson once again confirms his extraordinary talent for composing visionary and dark Ambient music, distinguished by intelligent sound design and remarkably refined production work. (Rating:8).

Listen to “Purple Storm”:

https://aliensproduction.bandcamp.com/track/purple-storm

The Witch Said No is a relatively obscure project from Russia that has been active for several years and has already released a number of recordings in its home country, including a debut album. Very little is known about the project itself, which only adds to its mysterious aura. Earlier this year, the band released a new EP through the Slovak label Aliens Production, featuring three new tracks alongside six remixes.

The Witch Said No delivers a powerful form of Dark-Electro driven by bombastic heavy beats and overwhelming repetitive sequences, topped with an almost completely unintelligible, hateful vocal style. The title track is certainly an interesting discovery, while the two remaining new songs follow a similar direction but prove slightly less convincing. The remixes of the title track were created by KIFOTH, Deadjump, Human Vault, Novakill, and TC75. The EP also includes an alternative version of an older track.

What stands out most here is undoubtedly the title track itself, which shows strong potential, alongside several successful remixes — especially Novakill’s contribution, which turns out to be my personal favorite. (Rating:7).

Listen to “Call The Dead”:

https://aliensproduction.bandcamp.com/track/call-the-dead

Athens duo Incirrina have released the album “Trace” on the German label Cold Transmission Music. The Incirrina “Trace” album runs to 11 tracks and follows the duo’s two previous albums, “8.15” (2019) and “Lip Led Scream” (2022).

The band describe “Trace” as built around freedom, identity and resistance. The 11 tracks were written between 2023 and 2025 and recorded through a 24-channel console, using analogue electronic instruments and the duo’s vocals. The album follows “Lip Led Scream” (2022), the duo’s first record for Cold Transmission Music.

“Trace” is issued on vinyl (black and crystal-clear), CD, a limited cassette and digital. “Mutate” and “Always Here” were released as advance singles, and “Mutate” has an accompanying video on YouTube. The album is available through Cold Transmission Music (coldtransmission.com) and the band’s Bandcamp.

About Incirrina

Incirrina is a dark electronic and minimal synth duo based in Athens, Greece, formed in late 2017 by George Katsanos (synthesizers, drum machine, waterphone, vocals) and Irini Tiniakou (synthesizers, vocals). The duo describe their work as “dark, poetic, electronic,” pairing analogue synth lines and drum-machine rhythms with Tiniakou’s vocals. Tiniakou first appeared as a guest vocalist on a release by the Greek act Metal Disco before Incirrina became a project in its own right.

The duo debuted with the album “8.15” (2019, Geheimnis Records), a record drawing on the work of the 18th-century poet William Blake. They followed it with the digital maxi-single “Utter” (2020) and a 2021 split maxi-single with The Man & His Failures, “Devastations / R.Daneel,” on Smash Records. Their second album, “Lip Led Scream” (2022), was their first release for Germany’s Cold Transmission Music, which has handled their releases since. In 2024 they released the double single “Immersion” (“Presence” and “Alien Room”), also on Cold Transmission Music.

In an April 2023 Side-Line reviewer Inferno Sound Diaries described “Lip Led Scream” as “a pure Cold-Wave production which is sometimes reinforced with harder, EBM, elements” and as “a well-crafted and fully enjoyable work without any single cut to throw away,” rating it 8/10.

The duo have performed in Greece, Germany, Belgium, Hungary and Croatia, with festival appearances at Plíísken Festival, Morphic Festival, Cold Transmission Festival. Death Disco Festival – The Warm Up, Athens Music Week, Metavasis Festival and the Athens Digital Arts Festival.

“Trace,” their third album, is their latest release for Cold Transmission Music.

Steve Roach‘s “Quiet Music” series, originally recorded between 1983 and 1986 and released on Projekt Records, will be available on vinyl for the first time as a complete 3LP set. The Steve Roach “Quiet Music” 40th Anniversary edition is pressed on three ultra clear 140g LPs in a limited edition of 300 copies, and will be out August 7, 2026 so Audioglobe informs.

The set collects all three original “Quiet Music” albums in one outer sleeve with black paper inner sleeves and a two-sided credits insert. The pressing is 140g ultra clear vinyl, limited strictly to 300 copies.

The full tracklist across the three LPs is as follows.

• “Quiet Music 1”: A1 “The Green Place, Part I” (24:44); B1 “The Green Place, Part II” (24:52).
• “Quiet Music 2”: A1 “See Things” (5:45); A2 “Towards the Blue” (3:20); A3 “Something in Tears” (5:18); A4 “A Few More Moments” (13:05); B1 “Air and Light” (25:51).
• “Quiet Music 3”: A1 “Dreaming and Sleep” (18:16); A2 “Quiet Canon” (7:28); B1 “Sleep and Dreaming” (24:47).

Here’s what Steve Roach says on “Quiet Music” at 40 years: “In looking at the arc of my music, 40 years after creating Quiet Music,” Roach stated in the release materials, “I still feel an unbroken connection to this same inner breath and pulse I was discovering within myself and my creative life at that time. Even with everything that was going on in the early ’80s — musically, culturally, politically — this music came to exist in its own dimension, outside of that time, separate from the day-to-day climate in which I was surrounded. I was yearning to express a timeless and universal soul-tone, a safe haven within the music.”

Composer Harold Budd said this when the release first came out in 1986: “I think Steve Roach’s Quiet Music is his best album. It’s not that it’s simply pretty (which it is), but there’s an odd edge lurking in the background that moves it miles away from ‘New Age’ torpor. This is a lovely album from a composer working at the top of his skills.”

About Steve Roach

Steve Roach is an American composer and performer born in 1955, based in Tucson, Arizona. He began working with synthesizers in the early 1980s and established an international reputation through recordings released on Projekt Records, among other labels.

His 1984 album “Structures from Silence” – reissued on its third vinyl edition by Projekt in April 2025 – is considered a foundational work of ambient music. The “Quiet Music” series originated in commissions for healing-arts programmes and was released on cassette in 1986; the recordings draw on synthesizers, flute, electric piano and natural sounds.

Roach has continued releasing new studio and live work at high frequency; Our most recent coverage concerned the limited 2CD live release “La Rosa — Live in Tucson, 2025” in May 2026. The “Quiet Music” 3LP set, out August 7, 2026, marks the first time the complete series has been issued on vinyl in a single edition.

Norwegian solo artist Chris Wicked releases a gothic rock and dark synthpop cover of Depeche Mode‘s “Enjoy the Silence” on June 2, 2026, via Raven Black Productions. The Bergen-based artist here mixes gothic, cinematic and alternative rock. This is the third single from his forthcoming EP “Black Horns & Black Hooves.”

Chris Wicked explains his reasons for choosing the song: “Enjoy the Silence has always been a song that resonated with me. The atmosphere, the sense of longing and the timeless darkness within the melody have inspired me since I was young. We didn’t want to copy the original — we wanted to reinterpret it through our own musical universe.”

The cover arrives as the third single from the upcoming EP “Black Horns & Black Hooves” on Raven Black Productions. It follows “Utan Dina Andetag,” a cover of a Kent track released in December 2024 as the first single from the project, and “Wicked Game,” a cover of the Chris Isaak song released in September 2025 as the second single.

About Chris Wicked

Chris Wicked is a solo artist from Bergen, Norway. He came to wider attention as the founder and vocalist of Malice In Wonderland, a Norwegian rock band formed in the late 1990s before releasing a debut album and single “Lucifer’s Town” in 2005. Musically Malice In Wonderland’s sound combines glam, goth and hard rock elements. The band toured across Europe and Asia, sharing stages with acts including Def Leppard, and appeared in television productions.

Their final album, “The Royal Brigade,” was released in December 2013, mixed by John Fryer, known for his work with Depeche Mode and Nine Inch Nails. In August 2015, Malice In Wonderland announced their break-up and completed a series of farewell shows in Norway and abroad.

Chris Wicked subsequently announced a solo career, recording under his own name. His debut solo album, “Aleine,” was released in 2021 via Apollon Records and featured guest appearances from Gaahl (Gorgoroth), Hoest (Taake), Niklas Kvarforth (Shining) and V’gandr (Helheim). In 2024, he released the dark Nordic folk single “Northern Heart” on Raven Black Productions.

Malice In Wonderland returned in 2025 to mark the 20th anniversary of their 2005 debut, releasing new and reimagined material including “I’ve Chosen Darkness (Over You)” and a revisited edition of “Lucifer’s Town” in 2025, followed by the single “Dying Breed” in 2026.

Cold Spring Records has announced a vinyl repress of Trepaneringsritualen’s “Perfection & Permanence” death industrial LP, due June 12, 2026. The edition is pressed on moss green vinyl, limited to 500 copies. The original LP was released in 2014 and has been out of print for nearly a decade.

The repress replicates the original 2014 LP programme in full across two sides.

• Side A: “Venerated & Despised” (2:34), “A Black Egg” (3:54), “Castrate Christ” (4:37), “Liken Ingen Jord Vill Svälja” (2:34), “Alone/A/Cross/Abyss” (3:48).
• Side B: “Thirty-Nine Lashes” (2:37), “The Seventh Man” (3:24), “Konung Krönt I Blod” (3:30), “A Ceaseless Howling” (3:29), “He Who Is My Mirror” (5:17).

About Trepaneringsritualen

Trepaneringsritualen is a death industrial and ritual ambient project founded by Swedish artist Thomas Martin Ekelund in 2008, initially based in Göteborg, Sweden, and later relocating to Berlin, Germany.

The project released its first full-length, “Deathward, to the Womb”, in 2012 on Cold Spring Records. Side-Line reviewed the album at the time of release. “Perfection & Permanence” followed in 2014 on the same label, issued simultaneously on CD and LP; the white vinyl LP edition was limited to 500 copies.

In 2017, Trepaneringsritualen released the full-length “Kainskult” on Tesco Organisation, and the project also collaborated with MZ.412 on the live document “Post Industriale / Rituals” 2LP. The same year, the project compiled two earlier split LPs on the CD “Yours Is a Kingdom of Death”.

In 2018, Trepaneringsritualen and Nordvargr released “Alpha Ænigma”, a collaborative album. The project subsequently appeared on Cold Spring’s compilation “Arise – A Cold Spring Sampler” in 2023. In 2021, Thomas Martin Ekelund partnered with Henrik Nordvargr Björkk on “Lidaverken Del I: Att i Vådeld Förgås”. The project has released further albums including “ᛉᛦ – Algir; eller Algir i Merkstave” (2019) and “The Totality of Death (A)” and “The Totality of Death (Ω)” (both 2024).

The repress of Trepaneringsritualen “Perfection & Permanence” is available via Cold Spring Records.

Denver project Neo Dimes has released “Alone,” a ten-track debut full-length album spanning darkwave, neo-industrial, alternative rock and synthpop. The album arrived on vinyl and cassette on May 19, 2026, with the digital release scheduled later this month later. Neo Dimes is the solo project of Denver-based musician Stephen Edmunds.

“Alone” addresses digital-age isolation, algorithmic control, surveillance capitalism, online extremism and the experience of aging into a world shaped by technology. The record mixes neo-industrial, alternative rock, darkwave and synthpop.

The album’s artwork is built around a visual narrative: each of the ten single covers functions as a chapter, representing themes of paranoia, persuasion, control and acceptance, which combine to form the final album cover.

Edmunds commented as follows on the album’s intent: “I recently lost a career right as my daughter came into the world — a world where she has fewer rights than her mother did and where tyranny is creeping into every facet of life. We’re addicted to the technology in our pockets that opens us to the world by consuming us entirely. It’s omnipresent and inescapable, and I’m pissed off.”

Several tracks were released as singles ahead of the album. “Beasts” addresses what Edmunds describes as the radicalization of young men in the wake of the collapse of the American dream. “Angels” casts digital connectivity and surveillance as a modern substitute for guardianship. “Don’t Think” addresses manufactured consent and propaganda. “Trigger” connects personal experiences of addiction, anxiety and isolation. Note that a music video for “Trigger,” directed by Ty Borkowski, was also released.

About Neo Dimes

Neo Dimes is the solo project of Stephen Edmunds, a Denver, Colorado-based musician. Edmunds has spent most of his life as a musician, starting with guitar in hardcore and metal bands before moving into shoegaze and experimental music. The Neo Dimes project developed over approximately seven years, during which Edmunds worked through the production and compositional process largely through self-teaching.

The project made its first public appearance in late 2024, when Edmunds contributed a remix of “Careful What You Wish For” by Highlands. The first original Neo Dimes material appeared in late 2025, with the single “Angels” released on October 30, 2025, followed by “Beasts” on December 9, 2025. Further singles, including “Don’t Think,” preceded the album’s release.

Edmunds cites Nine Inch Nails, Depeche Mode and Deftones as primary influences, with The Cure, Joy Division, Brian Jonestown Massacre, My Bloody Valentine and The Prodigy also cited as formative references. “Alone” is the first full-length release under the Neo Dimes name.

French duo Potochkine‘s 2025 album “Sang d’Encre” is back in a second limited vinyl pressing on the young & cold label Audioglobe informs us. The new edition is limited to 333 copies on grey splatters vinyl.

The first vinyl edition of “Sang d’Encre,” issued in late 2025, was pressed on red transparent with black marble vinyl. The current pressing uses grey splatters vinyl. Both pressings are limited to 333 copies. The album is also available on CD and digital.

“Sang d’Encre” holds seven tracks: “Bi,” “Endorphines,” “Partir,” “Tristesse Fantasmée,” “Bonnie,” “Pénurie de Larmes,” and the closing ambient piece “La Source.” Two tracks have accompanying videos: “Bi” and “Endorphines”.

About Potochkine

Potochkine is a French dark electronic duo formed in Paris in 2016, composed of vocalist Pauline Alcaïdé and producer Hugo Sempé. The pair built their sound around French-language vocals, electronic rhythms and a production approach drawing on EBM, electro and elements of darkwave and coldwave.

The duo’s debut was the EP “Libérez votre imagination” (2016), which introduced their combination of dark electronics and theatrical staging. They followed with the self-titled album “Potochkine” (2018) and “Mythes” (2019), before releasing “Sortilèges” in 2021 on young & cold – their first release for the German label. A remix companion, “Sortilèges dans le club,” also appeared in 2021. The single “Endorphines” was released in 2024 ahead of “Sang d’Encre.”

“Sang d’Encre” was released in autumn 2025 on young & cold as Potochkine’s fourth studio album and their second record for the label. The second vinyl pressing, on grey splatters vinyl, is available now through the young & cold webshop and its distribution network via Audioglobe.

Tomasz Lukowicz has already earned his stripes with his Fractal project, through which he has released a truckload of productions. With Replicant, he reveals another side of his skills, and on the debut album “Critical Point”, he delivers 11 compelling tracks.

Replicant sounds very different — more like an experiment in which the operator takes us deep into his sonic laboratory, completely unleashing his creativity in sound design. He supports these experiments with slow rhythms and broken beats. Lukowicz reveals himself here as a true sound architect, showcasing an impressive sonic landscape. I particularly enjoy the depth he creates in his bass lines, as well as some of the space-like electro arrangements. The whole album remains entirely instrumental. A touch of vocals or sampling here and there would not have felt out of place, but “Critical Point” already stands firmly on its own. The album even contains a few minimalist gems that are simply impossible to ignore. This is the kind of release that would have appealed to fans of the Tympanik Audio label back in the day, but which has now found the right home on Aliens Production.

Call it Experimental with a touch of IDM subtlety, or simply Electro freestyle — this debut album is certainly an intriguing discovery. (Rating:8).

Listen to “Depressing Fate Of Humanity”:

https://aliensproduction.bandcamp.com/track/depresing-fate-of-humanity

Industrial solo artist Staytus, the project of Sam Grundemann, has signed with the US label Cleopatra Records last month and now released the digital single and video “S + M” on May 29, 2026. The single is the first announced collaboration between Grundemann and Cleopatra Records.

Musically “S + M” mixes industrial, electronic and nu-metal elements. Thematically the track deals with separation, unresolved emotional connection and the idea of reunion within a “twin flame” relationship.

“This song lives in that space between losing someone and never fully letting them go,” Grundemann adds. “It’s about the kind of connection that doesn’t just end—it lingers, evolves and keeps calling you back. Signing with Cleopatra Records felt natural because they’ve always embraced music that carries that kind of emotional weight.”

“S + M” is accompanied by a video which was directed by Vicente Cordero of Industrialism Films known for his work for acts including Skold and Stabbing Westward.

About Staytus

Staytus is the solo project of Sam Grundemann, an Arizona-born musician, producer, songwriter and audio engineer now working from the Los Angeles area. Staytus began as “a personal project” and musically blends industrial, electronic and nu-metal elements.

We first covered the project in March 2022 when the project released three tracks from the debut album “Disease Of The Mind”. The debut album “Disease Of The Mind” was released digitally on September 9, 2022 and contains 13 tracks. Staytus followed it with “Wasteland Of Broken Hearts”, released on October 27, 2023 as an 11-track digital album.

In 2025, Staytus released several standalone singles and film-linked tracks. We covered “How To Be A Serial Killer“, the closing track in the “Twisted Frames” series, followed by “Headache“, “Heart Attack“, “Kiss N Tell” and “The God, The Artist, & The Creator“. Those releases involved collaborators including Matt McJunkins, Sean Beavan, Mikal Blue, Jeff Friedl, Anthony Laurie and Patrick “Embryo” Tapu.

The Slovak electro and minimal-wave project ImiAFan – aka 4mg Records founder Imrich Végh – has released a digital EP, “Elmúlt idő” (Passed Time), on Bandcamp, with a wider streaming release scheduled for early June. The EP pairs the original title track with a set of remixes.

Alongside the original title track – first issued at the end of 2025 – the EP features remixes by Bornia (Andy Dufter, ex-Staatseinde), Hadron Lundgren (Budapest) and Keen K (Berlin electro/italo), plus a MANASYt “Bigfoot Mix” of the older track “Stupaj.” The lyrics draw on a four-line fragment by Szenes Iván, taken from Kovács Kati’s landmark Hungarian electronic track “Kérdés önmagamhoz” from 1980.

About ImiAFan

ImiAFan is a Slovak electro, synth-pop and minimal-wave project led by Imrich Végh, active since around 1999–2000. The project describes itself as an “electro / synth-pop project producing probably the most microscopic hits based and forgotten in Slovakia.” Long-time collaborator Miki Bernáth (of Damolh33) handles mixing and mastering, while Végh also runs the 4mg Records label.

Side-Line has covered the band on several occasions, including a 2019 “Click Interview” with ImiAFan vs. 4mg Records, in which Végh described himself as “more like a music activist,” and a 2019 report on the project’s 12-inch release via Falco Invernale Records. The project also appeared in Side-Line’s coverage of the Synth Slovakia 2017 compilation.

The new digital EP, “Elmúlt idő” (Passed Time), was self-released via Bandcamp on May 29, 2026.

About 4mg Records

4mg Records is a dedicated non-profit underground music label, founded in 2003 in St. Catharines, Canada, by electronic musician Imrich Végh (aka ImiAFan). The label underwent a major geographic shift when it relocated to Slovakia in 2006. Operating out of Central Europe ever since, the imprint focuses on cultivating a tight-knit international network of underground artists, prioritizing artistic expression and cultural connection over commercial success.

Sonically, the label explores the darker and more experimental corners of electronic music, with a catalog deeply rooted in minimal synth, darkwave, ambient, and industrial sounds. 4mg Records has become a trusted home for both emerging acts and seasoned veterans of the avant-garde scene, featuring releases and collaborations with iconic names like The Legendary Pink Dots, Edward Ka-Spel, Isobutane, and Click Click. Their curated compilation projects, such as the Wave Earplug series, are wellknown for showcasing diverse, global underground talent.

4mg Records bypasses mainstream distribution models to focus heavily on tangible, collectible formats. The label routinely presses music onto high-quality vinyl, cassettes, and limited-edition compact discs.

Some of the band’s best-known releases include:

Albums & cassettes

• Edward Ka-Spel – A Carrington Event (2024): A highly sought-after cassette album from the iconic frontman of The Legendary Pink Dots, delivering trademark psychedelic and avant-garde ambient textures.
• The Legendary Pink Dots – Live At The Rave Milwaukee 20 June 2000 (2025): A curated archival live concert release preserved on limited-edition cassette for collectors of industrial and experimental music.
• IMIAFAN – Clearly Defined (2024): A minimal-synth and hardware-driven electronic LP from the label’s founder, Imrich Végh.
• Isobutane – – to 0: A release from Slovak electronic producer Isobutane, exploring intricate IDM and ambient landscapes.
• Click Click – Gelsenkirchen 1997: A documentation of the historic UK EBM/industrial band’s raw electronic energy.

Compilations

• Wave Earplug Series (e.g., Wave Earplug No. 7): The flagship vinyl compilation series from the label, showcasing an international roster of artists spanning raw electro, synthwave, darkwave, and pumping acid sounds.
• Vinylized Series (e.g., Vinylized Vol. 1): Co-released with Stroboskop, this compilation series shines a spotlight on Slovak electronic innovators, weaving together experimental synth-pop, acid, and IDM.
• 2023 – 2003 = 20 Years of 4mg Records (2024): A comprehensive anniversary compilation celebrating two decades of the label, featuring tracks from Edward Ka-Spel, Sololust, Click Click, and Isobutane.

You can check out these and other releases directly on the 4mg Records Bandcamp.

Los Angeles deathrock band Ex-VoTo has released “Laodicea,” an eight-track EP on their own Poor Alice Music label in an ultra-limited pressing of 100 copies each on vinyl and CD. The release combines four new studio recordings with rare and previously compilation-only material, including covers of Bauhaus and Siouxsie and the Banshees.

Side A collects four new studio recordings: “Angel,” “Fear Me,” “I Want to Stop,” and “Say Goodbye.” Side B features “Emmanuelle,” “Resurrection Mary,” a cover of Bauhaus’s “Slice of Life,” and a cover of Siouxsie and the Banshees’s “Monitor.”

“Slice of Life” appeared on Bauhaus’s 1981 album Mask. “Monitor” appeared on Siouxsie and the Banshees’s 1978 debut album The Scream.

The new EP follows the release of the anthology “Don’t Look Back (1982–1990)” on Phantom Chord. The anthology compiled songs from Ex-VoTo’s original 1990 “Don’t Look Back” EP alongside rare recordings from the 1982–1990 period that had not previously seen official release.

The original “Don’t Look Back” 12″ EP was issued in 1990 on Poor Alice Music and New World Records, pressed on translucent blue, purple, and black vinyl, and recorded at Poor Alice Studios in Garden Grove, California.

Ex-VoTo ‘Laodicea’ California tour dates, June 2026

To mark the release, Ex-VoTo plays three California dates beginning June 5, 2026.

• June 5, 2026 – Queen Bee’s, San Diego, CA – Supporting Kommunity FK, with The Exile and Nervous Gender (Re-Loaded).
• June 6, 2026 – Klub Terminal at La Santa, Santa Ana, CA – Supporting Kommunity FK, with Gitane Demone + Paul Roessler and Ravens Moreland. The press release lists this show as Los Angeles; a confirmed ticket listing places the venue at 220 E. 3rd St. (Basement), Santa Ana, California — Orange County, not the city of Los Angeles.
• June 7, 2026 – Club Gallows, Los Angeles, CA – Ex-VoTo headlines, with Pilgrims, In A Darkened Room, Funeral Process, and Bizarron.

About Ex-VoTo

Ex-VoTo was formed in 1982 in Los Angeles by Larry Rainwater, David Rhine, and Linda Patti. Based initially in Orange County – where the prevailing scene was still dominated by punk rock – the band relocated to Los Angeles to build a following. Their early sound combined drum machines, synthesizers, and heavy guitars at a time when live drummers were the norm, drawing audience friction and, from fellow Deathrock bands, recognition.

In 1988, the track “Falling Apart” appeared on Bomp! Records’ “American Gothic: The Krypt Kompilation”, a compilation featuring bands from Los Angeles’s gothic club The Krypt. The placement brought the band to the attention of New World Records and XXX Records. The result was “Don’t Look Back” (1990), Ex-VoTo’s first official vinyl release, a four-track 12″ EP recorded at Poor Alice Studios in Garden Grove and co-released by Poor Alice Music – the band’s own label, which Rainwater has operated independently since then – and New World Records.

Throughout the 1990s, Ex-VoTo contributed tracks to several Cleopatra Records gothic compilations, including “The Goth Box”. “Anno Domini” (1995) collected studio versions of their earliest songs, including “Falling Apart” and “If I Never.” “The Light of Day” (2003) moved toward a darkwave electro direction. “Doloroso” (2006) returned to a guitar-driven deathrock approach, and “Antioch” (2009) was the first album Rainwater set out to write as a unified work rather than a collection of individual songs.

The band relocated from Los Angeles to New Orleans, and subsequently to Houston following Hurricane Katrina. The core of the lineup has remained Rainwater on bass and lead vocals, and Linda Patti on keyboards and backing vocals. The current lineup adds Heather “Spleen” Rainwater on keyboards and backing vocals and Patrick Midnite on guitar and backing vocals.

“Laodicea” is their first new recorded release since “Antioch” (2009), seventeen years on.

Australian musicians David Thrussell and Darrin Verhagen, working together as David Thrussell & Shinjuku Thief, release “The Call of Cthulhu” on June 19, 2026 via Metropolis Records. The spoken-word album is a retelling of H. P. Lovecraft’s 1928 short story, issued as a deluxe 2xLP, with a digital edition to follow.

The album sets Lovecraft’s story to a soundtrack, narrated by Thrussell with music by Verhagen. It follows the structure of the original text in three parts: “The Horror in Clay,” “The Tale of Inspector Legrasse” and “The Madness from the Sea.” Thrussell has worked with Lovecraft source material before: in 2025 he released a Lovecraft-themed record with Flint Glass on Ant-Zen, as reported by Side-Line.

“The Call of Cthulhu” is released as a deluxe 2xLP on “crushed bone” colour vinyl, with original artwork by Richard Grant (I+T=R). A digital release will follow, with no date confirmed for it at the time of writing.

About H. P. Lovecraft’s ‘The Call of Cthulhu’

“The Call of Cthulhu” by H.P. Lovecraft is a 1928 horror story that pioneered “cosmic horror”. It follows an investigator piecing together clues about a terrifying, ancient, octopus-dragon-human hybrid entity and its global cult, exploring the psychological devastation of humanity when confronted with unimaginable, alien powers.

The story is told as a nested mystery through the notes of Francis Wayland Thurston, and is broken into three main parts:

1. The Horror in Clay
The story opens in 1926 with Thurston investigating the estate of his late great-uncle. He discovers a bas-relief sculpture created by a local artist named Henry Wilcox. The sculpture depicts a grotesque, tentacled monster that Wilcox made while experiencing feverish dreams of cyclopean cities and monstrous monoliths. Thurston connects this artifact to similar strange reports and ancient voodoo cults, discovering that people around the world are sharing nightmares about this being: Cthulhu.

2. The Swamp Cult
Thurston learns about a New Orleans police raid on an isolated, swamp-dwelling cult in 1907. The police uncovered horrifying rituals and human sacrifices. The cultists worshipped “The Great Old Ones,” ancient, alien beings who ruled the earth ages ago and are now sleeping beneath the sea. They chant the infamous phrase: “In his house at R’lyeh, dead Cthulhu waits dreaming.”

3. The Sunken City and the Sea
The narrative shifts to a manuscript written by a Norwegian sailor, Gustaf Johansen. Months earlier, his ship was chased and attacked by a mysterious vessel. Johansen and his surviving crew landed on a bizarre, uncharted volcanic island in the South Pacific. They unwittingly discovered the sunken, geometric nightmare-city of R’lyeh. After stepping on the island, they accidentally awakened Cthulhu. The entity slaughtered the crew before Johansen managed to ram Cthulhu with his ship, temporarily breaking apart the creature’s formless, regenerating body long enough to escape.

About David Thrussell & Shinjuku Thief

David Thrussell is an Australian musician and composer based in Melbourne. He co-founded the industrial and electronic project Snog in 1989 with Tim McGrath and Julia Bourke, and went on to run the related projects Black Lung, formed in 1994, and Soma.

Shinjuku Thief is the project of Australian musician and soundtrack composer Darrin Verhagen. It began in 1992 as a trio of Verhagen with Charles Tétaz and François Tétaz, taking its name from Nagisa Oshima’s film “Diary of a Shinjuku Thief,” and worked in a dark ambient and cinematic style, with several records conceived as soundtracks to imagined films. Verhagen released much of the project’s catalogue on his own Dorobo label and later through Projekt, alongside work for theatre, dance and film and a teaching post at RMIT University.

“The Call of Cthulhu” is the first release credited to David Thrussell & Shinjuku Thief.

hackedepicciotto – the duo of Alexander Hacke and Danielle de Picciotto – release the album “Lichtung” on July 10, 2026, via Mute Records, on CD and limited candy-colour vinyl. The hackedepicciotto “Lichtung” album is the duo’s first collection to be sung entirely in German, and follows “The Silver Threshold” (2021). A new track and video for “Zeitenwende,” the fifth track on the record, is now available.

“Lichtung” – German for “clearing” – takes its name from the home the duo established on the outskirts of Berlin after fourteen years of nomadic life. Hacke and de Picciotto have described the album as marking a departure from repetitive drone-based approaches in favour of more complex sound structures and electronic terrain. The album is the duo’s most extensive use of the German language to date.

The full tracklist is: 1. “Lichtung” 2. “Vogelfrei” 3. “Wiederbelebung” 4. “Erntedank” 5. “Zeitenwende” 6. “Draussen” 7. “Einig” 8. “Der Marschall.”

A video for “Wiederbelebung” was released in March 2026 ahead of the album announcement.

hackedepicciotto tour dates 2026-2027

hackedepicciotto have announced a number of live dates to accompany the release, including June 27, 2026, at silent green Kulturquartier in Berlin (with Sonic Morgue), and July 10 and 11 in Portugal – Porto at KISMIF Museum of Science and Lisbon at Galeria Zé dos Bois. Below are all of the dates.

• 6 June – Frankfurt (DE), Ono
• 10 June – Regensburg (DE), Ostentor Kino
• 13 June – Düsseldorf (DE), Art:Walk Festival, Weltkunstzimmer
• 27 June – Berlin (DE), Silent Green – a celebration of LICHTUNG
• 10 July – Porto (PT), KISMIF Museum Of Science Of Porto
• 27 Aug – Poznan (PL), Estrada w Centrum
• 1 Sep – Geneva (CH), Cave 12 Festival la Bâtie – NEW DATE
• 12 Sep – Den Bosch (NL), William Twee – NEW DATE
• 15 Sep – Prague (CZ), Archa – NEW DATE
• 16 Sep – Brno (CZ), Kabinet Mu – NEW DATE
• 20 Nov – Amsterdam (NL), OCCI – NEW DATE
• 27 Nov – Sofia (BG), Club Pave – NEW DATE
• 30 Jan 2027 – Lübeck (DE), Treibsand

About hackedepicciotto

hackedepicciotto is the project of Alexander Hacke and Danielle de Picciotto, partners in life and work. Hacke is a founding member of Berlin industrial act Einstürzende Neubauten and a contributor to numerous projects over four decades, including Crime and the City Solution.

De Picciotto co-founded Berlin’s Love Parade in 1989 and has released extensive solo work as a musician, visual artist and author; she also performed with Space Cowboys and the later incarnation of Crime and the City Solution.

The duo began presenting work as hackedepicciotto in the 2010s and released “Menetekel” as a 2LP in 2017. Side-Line covered the announcement of “The Silver Threshold” in August 2021 and the accompanying video for “Kirchhain” in November 2021; “The Silver Threshold” was released November 12, 2021, on Mute, and stands as the duo’s most orchestrally arranged record to date. Side-Line also covered the announcement of three reissues on Mute in 2023 and the release of their first live album in 2024.

“Lichtung,” out July 10, 2026, is their first studio album since “The Silver Threshold.”

Dessau old-school EBM project T.A.N.K., led by Reinhard Hüber, has released its third album “Broken Mirror” via Electro Aggression Records. The release is available as a digital order and CD order through the label’s Bandcamp page. We first reported the album in January 2025, when Electro Aggression Records announced a new batch of upcoming releases.

The Bandcamp pre-order already unlocked three tracks: “Fight or Suffer”, “Reject” and “Bloodsucker”. Electro Aggression Records has also posted the YouTube previews “Broken Mirror album snippets”, “Fight or Suffer | EAR 019 preview” and “Reject | EAR 019 preview”.

About T.A.N.K.

Reinhard Hüber, who has a 1990s German punk background, launched T.A.N.K. in Dessau in 2001. The name stands short for “Taktischer Angriff (auf’s) Nervenkostüm”. The first live appearance took place at the first Electric Tremor Festival in Dessau on March 22, 2002.

The self-released “T.A.N.K.” EP landed in 2002. It was followed by the debut album “Musica Denaturale” on Ars Electrique in 2003. In 2011, the project contributed “Game of Men” to the 4CD set “Old School Electrology Volume One”. The second full-length, “Return”, came out in 2017 on Electric Tremor Dessau.

In the Electro Aggression Records orbit, Hüber also turned up through remix work connected to R010R and Synaptic Defect before “Broken Mirror” moved into the foreground as the next full album. “Broken Mirror” is be the project’s third album holding 19 tracks.

Kristof Bathory brought Dawn Of Ashes to life in 2000. The first albums by this American artist were released through the now-defunct Noitekk label, immediately grabbing listeners by the throat with their raw, icy, and uncompromising blend of Dark-Electro and Aggrotech. More than twenty years later, this musical visionary can look back on a rich and successful career during which the project evolved through several distinct eras — from its original Dark-Electro-driven sound to Industrial-Metal, before ultimately returning to its Electronic roots on the previous opus, now infused with the Cinematic influences Bathory also explores in his solo work.

With over two decades of dark visions, sonic aggression, and constant musical transformation, Kristof Bathory remains one of the most uncompromising figures within the scene. With “Anatomy Of Suffering,” released on Metropolis this spring, he not only confirms his return to a more Electronic approach, but also delivers a remarkably mature work in which he continues his meticulous exploration of mental anguish and psychological suffering. Dawn Of Ashes has always remained a project with a striking visual identity, perfectly aligned with the disturbing themes it addresses. As a listener, you can feel the suffering permeating every aspect of the project, balanced by a profound artistic vision and emotional depth. Time for a conversation with the artist himself. (Courtesy by Inferno Sound Diaries)

Dawn Of Ashes interview

Q: What does Dawn Of Ashes mean to you after more than a quarter of a century of existence, and what comes to mind spontaneously when you look back, even just for a moment? And, with the knowledge and experience you have today, what would you like to say to the young Kristof Bathory of the year 2000?

Kristof: Dawn Of Ashes is an ongoing, evolving reflection of myself, revealing the different phases of my maturity and growth through both the music and the lyrics. There are things I can unearth from the past and give new purpose to in the present, and there are other things better left buried deep within the tomb. If I could speak to my younger self, early Kristof, I would tell him to make wiser decisions and to have patience before making impulsive choices.

Q: Your new album “Anatomy Of Suffering” seems to leave little room for interpretation, but could you still tell us a bit more about it? What is the backstory of this opus, how personal is it, and how did you translate it into music?

Kristof: “Anatomy Of Suffering” is a descent into the mind of suicide, pain, and the grotesque rot that festers within as a result of severe mental corrosion. It is both a deeply personal expression and a means of connecting with those who endure this same inner decay.

Q: Psychological suffering has long been a recurring theme in your work, and I sometimes wonder how introspective and therapeutic music can be. Could it not also lead to even more suffering? What fascinates me is how obscure, dark, and even destructive themes can culminate in an artistic peak. How do you perceive that process?

Kristof: I suppose it all depends on how you interpret it and how you absorb it. Art is subjective—it can either reflect destruction or illuminate a path toward blissfulness. Sometimes, suffering is a necessary part of healing.

Q: Your music and influences have clearly evolved over the years, and your latest albums seem to represent a kind of synthesis: a return to the Dark-Electro of your early years combined with the Metal and Industrial influences that followed. How did this evolution come about, and what different stages did you go through to arrive at the final result of “Anatomy Of Suffering”?

Kristof: My return to Dark-Electro is not only a response to the demand from the fans, but also a result of all the work I’ve done in the Dark-Ambient world. My love for synthesizers and Eurorack modular systems reignited my passion for Electronic music. While I haven’t completely drifted away from Metal, I’ve become far more selective with it, finding myself increasingly drawn to Electronic and Ambient music instead.

Q: Now that Dawn Of Ashes is leaning more towards its Electronic side again, I assume this also impacts your live performances. How is that going these days, and do you notice a different audience or fanbase attending your shows?

Kristof: Dawn Of Ashes is now more focused on performing both the older Dark-Electro material and the newer Dark-Electro work. We’re putting live Metal performances on pause for now, as this approach makes touring easier and allows us to focus more fully on the Industrial side of the live experience.

Q: A final question that I consider quite important concerns the visual aspect that Dawn Of Ashes has always invested in. I’m thinking, for instance, of the music video for “Viral Decay” from the new album. What are your thoughts and experiences regarding a current zeitgeist in which ‘wokeism’ on the one hand and algorithm-driven censorship culture on the other stand in stark contrast to what you create?

Kristof: To be honest, I’ve been much more careful with the visual side of things, as I feel some of the early Dawn Of Ashes themes leaned too heavily into edgelord aesthetics and shock for the sake of shock. Now, everything needs to carry substance and meaning. If the content is controversial, it has to symbolize something deeper—something metaphorical rather than merely provocative.

Post-punk icon Peter Murphy has released “Swoon (Magic Wands Remix)” as a single via Metropolis Records. The track is a reworking of “Swoon,” the lead single from Murphy’s 2025 album “Silver Shade”.

The original “Swoon” was issued in February 2025, featuring Trent Reznor of Nine Inch Nails on backing vocals and album producer Youth on bass. The new remix comes from the U.S. dream-pop duo Magic Wands (Dexy and Chris Valentine).

“Our take on the song was about chasing a very specific feeling, like a kind of natural high,” the duo explain. “The goal was to build on the emotion in Peter’s vocal and surround it with a fast-moving, euphoric wash of guitars and synths, capturing the rush of a true swoon.”

About Peter Murphy

Peter Murphy is an English singer born in Northampton in 1957. He co-founded Bauhaus in 1978, and the band’s debut single, the nine-minute “Bela Lugosi’s Dead,” was released in 1979. Bauhaus recorded four studio albums before splitting in 1983, and the band has reformed several times since. Side-Line has reported on the group’s activity, including a 2018 world tour announcement alongside David J and the cancellation of a 2022 North American run.

Peter Murphy’s solo career began in 1986 with “Should The World Fail To Fall Apart” (Beggars Banquet) and continued through “Love Hysteria” (1988), “Deep” (1989) — which included the U.S. single “Cuts You Up” — “Holy Smoke” (1992) and “Cascade” (1995). His later records reflected his interest in Sufism and his adopted home of Turkey, and the catalogue extends to “Lion” (2014), produced by Killing Joke bassist Youth. After a heart attack in 2019, which Side-Line reported as he announced his first live date back with Bauhaus, Murphy returned to recording.

His studio album “Silver Shade,” billed as his tenth solo full-length and reuniting him with producer Youth, was released by Metropolis Records on May 9, 2025, as Side-Line reported at the time. The record features contributions from Trent Reznor, Tool’s Danny Carey and Justin Chancellor, and Boy George, who duets on the closing track “Let The Flowers Grow.” That song was later issued in remixes by Juno Reactor and Delerium. The album was preceded by the singles “Swoon” and “The Artroom Wonder.”

Metropolis Records now issues “Swoon (Magic Wands Remix),” a reworking of the “Silver Shade” track, released on May 29, 2026.

Choke Chain (aka Mark Trueman) releases the EP “Decomposition” on July 10, 2026, via Negative Gain Productions, on CD, vinyl LP and digital. The “Decomposition” EP combines 1990s-style dark electro with hardcore punk.

Choke Chain describe the EP as raw, with no moment of relief. The release draws on the dark electro of Leæther Strip, :wumpscut: and Mentallo & The Fixer, set against hardcore punk aggression.

“The EP was mostly written during a time where I was very close to giving up,” said founder Mark Trueman. “Everything felt completely hopeless, and still does to some degree. I really tried to put all of that feeling into these songs.”

“Decomposition” can be previewed and ordered on Bandcamp ahead of the July 10, 2026 release on Negative Gain Productions.

About Choke Chain

Choke Chain is the dark electronic project of Milwaukee, Wisconsin musician Mark Trueman, founded around 2018. The act combines the dark electro of the early-1990s European scene – the Zoth Ommog and Wax Trax! lineage of EBM and industrial – with the energy of Trueman’s hardcore punk background. The sound is built on pounding rhythms, harsh textures and frantic vocals.

Side-Line covered the project with a review of its debut EP “Chain Tactics” in October 2020. Our reviewer Inferno Sound Diaries described it as “old-school EBM made in America and reminding me the golden years of Wax Trax! and more specifically Revolting Cocks; the mix of European EBM and American Industrial music,” adding that “even if this is old-style Electro, it has something refreshing.” Choke Chain followed with “Endless Death” and “Invoking Shadows” (both 2021) before collecting its material into the first full-length, “Mortality” (2023).

The project has performed at Chicago’s Cold Waves festival (Cold Waves X, 2022) and at Roadburn in 2025, plus the Substance and InFest festivals. The new EP, “Decomposition,” arrives on July 10, 2026, on Negative Gain Productions.

The Norwegian electro-industrial project TAZER has released a new single, “Raise The Voltage,” via Hellektrokution Records. The track is taken from the album “Taze Is The Rule,” released April 30, 2026.

“Raise The Voltage” is the fifth track on the full-length “Taze Is The Rule,” a ten-track album combining electronic rhythms with distorted guitars.

“Raise The Voltage” is available via Spotify, YouTube and Bandcamp.

About TAZER

This Norwegian electro-industrial project has been active since 2024 and is signed to Hellektrokution Records. The line-up consists of Calico InHell, Drumnibal and Oni X01.

The project’s debut single, “A Razor Can Slit, A Tazer Can Kill,” was followed by the self-published EP “9001 Volts.” The band first appeared on Side-Line in November 2024 with the single “A Razor Can Slit, A Tazer Can Kill”, and returned in October 2025 with a Halloween video for “I Put a Spell on You”.

The ten-track album “Taze Is The Rule” was released through Hellektrokution Records on April 30, 2026, and “Raise The Voltage” is taken from it. The standalone release date and format for the single were not specified in the press materials.

About Hellektrokution Records (HKR)

Hellektrokution Records (HKR) is an independent record label founded in 2026, focused exclusively on emerging artists working in industrial, dark electronic, and electronic metal. The label operates under the symbolic designation “Hell, Norway” – a reference to the actual village of Hell in Trondheim municipality, used as a conceptual anchor for the label’s aesthetic and geographic identity.

Besides TAZER, the label signed Toxxic Project (a dark synthwave project by Sebastián Cortez) and the US-based female EBM artist Cylia Vex.

Henrik Karlsson might ring a bell for fans of Seven Trees. However, it has been several years since this Swedish project released any new material. In the meantime, one of its members, Henrik Karlsson, began releasing his own music under the sonic alter ego Subverge. Four albums have since been released on his own label, Arcane Dirge. A selection of nine tracks from those albums has been brought together on this compilation, “Select”, and supplemented with three previously unreleased tracks, which also conclude the album.

Seven Trees and Subverge are not really comparable, except for their shared Electronic foundations. That said, Subverge appears to draw inspiration from the legacy of Cold Meat Industry. A pronounced Dark-Ambient influence runs throughout the album, although it rapidly evolves into a more Cinematic sound. The result is an overwhelming production built upon an extremely dark undertone, frequently supported by slow rhythms and powerful orchestral percussion. At times, I even detected subtle Tribal elements. Dark strings color the atmosphere, while more delicate piano arrangements provide contrast and depth. Repetitive sequences create a sense of foreboding and further reinforce the album’s gloomy mood. To be fair, I must admit that the three previously unreleased tracks—seemingly older compositions that simply never found their way onto an album—do not add much to the overall experience and therefore offer little real bonus value.

Nevertheless, “Select” presents an excellent overview of Subverge’s work and serves as the perfect introduction for newcomers, as well as an ideal opportunity for existing listeners to (re)discover the project. As far as I’m concerned, this is an absolute masterpiece. (Rating:8½).

Listen to “Silver Circles”:

https://aliensproduction.bandcamp.com/track/silver-circles

Starsign emerged in the 1990s and was driven by the German duo Oliver Teßmer and Matthias Blechschmidt. At the time, they released several EPs, along with an album that appeared in 2003. After that, things went quiet for more than two decades, but the duo revived the project a few years ago. Following several high-profile singles, they released “Silver Linings” earlier this year, featuring 10 tracks.

The influences running through “Silver Linings” are quite diverse, yet they fit perfectly within the Electro-Pop genre. The songs move between quiet, floating pieces on the one hand and more danceable tracks on the other. Depeche Mode can occasionally be felt lurking around the corner, while other tracks seem inspired by Mesh. However, Starsign is by no means a copycat; rather, they have managed to blend these diverse elements into a smooth and enjoyable whole. Some songs are beautifully crafted and reveal subtle details in the production. Personally, I prefer their ‘heavier’ tracks, and although I do miss an undeniable standout hit on the album, “Silver Linings” still has a great deal to offer. (Rating:8).

Listen to “Shiver”:

https://infactedrecordings.bandcamp.com/track/shiver