Category: Neuigkeiten (Page 1 of 2)



„So cometh on and showeth me the blindeth!“

If even the protagonist harbored doubts regarding the fact if VOYNA was just a one-time vehicle to deliver the massive and spanning “The Cinvat Bridge” two years ago, all speculations can come to a close now with a pile of 6 new songs, packed up to an extended play named “And The Heresies”.

And upon listening, it feels that time took the right path…

Was the debut´s setting woven from a somewhat fragile curiosity and the amount of varieties a readjustment of the compass can offer (musically and mentally), this new output feels more solid, more navigated, like a vessel, carrying the listener on a voyage through uncharted emotional waters, guided by a current only, but with a trust in its direction.

Like with its predecessor the sonic landscapes are again built from a mosaic of stylistic pieces, bits and fragments, drawing inspiration from the topography of Post-Punk, Darkwave, Artrock and Electro, intertwined, blended, folded and set under an all-spanning, sky-like melancholy, whose evanescent shades and nuances reflect the profound intricacies intrinsic to the human condition, where sorrow and beauty entwine in delicate equilibrium…

Vito Schneider, June 2023

Review VOYNA -_And The Heresies

Huch, pretty pixelated the cover, oh that must be so!

Hello guys!

Today I listen to the promo of VOYNA -_And The Heresies and I have to say very well produced it is definitely already, the sound comes over super, the bass could be louder, but I often think so! 😉

The voice is crass, dark and clear, Nephilim Vibes, but it still sounds “cheerful” somehow, although of course it’s pretty “dark”!… yeah

The first song “All The Dawns” is already great, makes you want more.

“Death By 1000 Cuts,” man, I had read Cunts, I’m glad, although “glad” is also wrong with 1000 cuts, yes, it goes on dark, beautiful, again quite Nephilim like chorus, the worn voice in a robe of to quiet bass (I do it again) and nice clear drums That already has something!

Now there is the old problem, it is very similar again, Of course, your own style must be, but it sounds like, at first, very monotonous, you could “chain” the last songs together and make a very long song out of them, without noticing it big, although the choruses always stand out, with “Moulding Heart” the chorus is very catchy and makes the song, seen/heard individually, very nice!

… so far, so far, we go on with “So Far,” now it goes off beautifully subdued, synthi and drums in harmony and then voice, a ballad that can create emotions, amber sky and mercury mountains are something over me, in the text, but why not, nightmares are just strange!

Drums play and the guitar to it, then the electronic sounds, “When The Silence Comes” starts, something “poppier” seems to get here, the singer sings his dark lyrics to it, which always seems bland in the verse, but then comes over well again in chorus.

At the end let’s see what “Words” can still do, a nice beginning, the “Words” tell of hope, fear and anger, the doubts about everything and about the world can be heard clearly, a very melancholic song, I like!

Conclusion: A good little album, with few surprises, well produced and by no means bad, you just have to listen yourself. If you like Fields of the Nephilim, but can do without its “hard,” please very much, I think you are exactly right here.

Tip: Words, All The Dawns

Until the days! Karsten

written and performed by



special appearance



















Black Mountain Festival…alles was ihr braucht, ist alles was ihr lest…hier

Wir sind ofizieller Medienpartner! Megagenial!

Wir werden hier alle Infos posten, die wir kriegen können.

Wir werden euch auch bald noch einige Überraschungen präsentieren….

Aber jetzt kommt´s: es gibt noch Early Bird Karten. Ich sage das deswegen so, weil die auf 500 Stück limitiert sind.


Line Up 2024 … die ersten Infos…. wir sind noch lange nicht fertig !!!

The Jesus & Mary Chain share single ahead of double live album

The Jesus and Mary Chain are today sharing a live version of ‘Half Way To Crazy’ from their newly-announced ‘Sunset 666’ album, due out August 4th 2023 on Fuzz Club. Recorded live at the Hollywood Palladium in 2018, whilst the Mary Chain were touring North America in support of Nine Inch Nails, ‘Sunset 666’ is a discography-spanning set that includes tracks from ‘Psychocandy’, ‘Darklands’, ‘Automatic’, ‘Honey’s Dead’, ‘Stoned and Dethroned’, ‘Munki’ and ‘Damage and Joy’.

Originally taken from their 1989 album ‘Automatic’, you can listen to the ‘Sunset 666’ version of ‘Half Way To Crazy’ here:


On the single, the Mary Chain said: “Side D of the ‘Sunset 666’ vinyl is taken from the December 11 2018 show at The Hollywood Palladium with Nine Inch Nails and includes a few of our favourite songs from ‘Automatic’ to play live. This version of ‘Half Way To Crazy’ really gets the energy of that night.”

Set for release on double LP vinyl, CD and digital, ‘Sunset 666’ sees the Mary Chain deliver a set of classics with a composed intensity. The album will be released the same day the Mary Chain perform at London’s Crystal Palace Bowl alongside Primal Scream and The Black Angels as part of this year’s South Facing Festival.


1 Just Like Honey

2 Sometimes Always (feat. Isobel Campbell)

3 Black and Blues (feat. Isobel Campbell)

4 Amputation

5 All Things Pass

6 Some Candy Talking

7 Head On

8 The Living End

9 Cracking Up

10 Teenage Lust

11 I Hate Rock ‘N’ Roll

12 Reverence

13 Blues from a Gun

14 Far Gone and Out

15 Between Planets 

16 Halfway To Crazy

17 In A Hole

04/08 – London, UK @ South Facing Festival (With Primal Scream)
17-19/11 – Benidorm, ES @ Primavera Weekender (Festival Headliners)


In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain.

Almost thirty years later, an invitation was extended. Would the Reid brothers care to reverse the roles and open for Nine Inch Nails – by then international stars and cultural touchstones – on their North American tour? Trent Reznor had been a fan of the Mary Chain, and influenced by them, since hearing ‘Psychocandy’, so it felt a good fit.

The tour opened in Phoenix, Arizona, in September 2018 and ended with a run of six shows at the  Hollywood Palladium in Los Angeles, coming up on Christmas. The seventeen tracks on this album were recorded at two of those shows. Sides A, B and C (in the language of vinyl) are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-fucking-go drums of ‘Just Like Honey’ and ended with the ferocious euphoria of an eight-and-a-half minute ‘Reverence’.

Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the ‘Automatic’ album, featuring versions of ‘Blues From A Gun’, ‘Between Planets’ and ‘Half Way To Crazy’. The closing track, ‘In A Hole’, more of a snarl in its live version than  ‘Psychocandy’s white-noise whine, is an anthem of self-loathing that shares some DNA with the song Nine Inch Nails chose to close their set: ‘Hurt’.

The full Mary Chain show from December 15 was selected for Sunset 666 because Isobel Campbell performed on that evening. She already had a relationship with the band, having sung on ‘Damage and Joy’, and she was living in Pasadena – close to William’s place and just a cab ride from the venue. Her presence meant they could include in the set a duet they hadn’t performed for many years, ‘Sometimes Always’, as well as ‘Black and Blues’.

Isobel hadn’t played live for some time, having had some difficult experiences in the music industry, and had fallen into reclusive ways. How did she find being back on stage? “To be surrounded by that sound was completely electric,” she recalls. “I love singing with Jim. That time in my life was pretty bleak, and being around the band and their people reignited a spark in me that had been dormant. And I was blown away by William. He’s a guitar genius; one of a kind. It feels like we’re all kindred spirits. I can’t think of a band I would rather sing with.”

That there is an album at all is serendipity. No plans were made to record any shows but as Michael Brennan, the sound engineer, acquainted himself with the rented mixing console, he discovered it had a wee USB-out socket. He plugged in his laptop and saved.

There were several imperfections in the recordings. Michael had been properly focused on the live sound and hadn’t placed microphones to capture audience noise, so the crowd seems distant. There are a couple of wrong notes and errors in timing, but these defects were of no great concern because the overall aura was so alive and aggressive, the bass and drums deep and crisp and pounding. It was decided to keep all the mistakes and to cut only the extended pauses between songs during which William fidgets with his ancient Gibson.

For Jim, the experience of playing in front of an audience is very different from how it was when the  Mary Chain were establishing and building their reputation as a sometimes chaotic live band. “In the 1980s, after punk rock, I used to think that the frontman had to go out and explode on stage. I couldn’t do that because I’m basically a shy, quite timid person. I’m not Iggy Pop. I’m not going to cut my chest open with broken glass. The only way I could think to get through the experience was to get absolutely off my tits on whatever I could; alcohol and, later, drugs. When the band reformed, in 2007, I had been sober for five years at that point. So Coachella, believe it or not, was the first sober gig I did with the band.”

“There were big chunks of the Mary Chain’s career when I was faking it on stage because I was so terrified, whereas I enjoy the shows now. I know it seems like I’m not relaxed; my default setting is to look like I’m having a nervous breakdown. But I feel much more in control on stage. I prefer these sober shows to the fucked-up shows.”

Control is the key word. For those of us who admire the  Mary Chain, the pleasure of  Sunset 666 is the steady power with which they deliver a set of classics. There is a composed intensity in the performance that suggests this music is still alive for the men who wrote it. “Yeah,” says Jim. “People always say you must get sick to death of  Just Like Honey, but I swear to God I don’t. I still get into those songs. When the band reformed, everything felt new to us again. Reverence, I can get totally lost in that.”

As will anyone who hears it. Listening to this album, for anyone who has followed the  Mary Chain over the years, calls forth many personal memories and associations. Some would dismiss that as nostalgia, but it’s actually a remarkable and beautiful thing: the ability of music to sing our own stories back to us. “It’s gone beyond entertainment,”  Jim agrees. “These songs are part of people’s lives.” 

– Peter Ross







SEA OF SIN – New Wave Pop band to release new album „Tired of Chasing Ghosts“

…to be continued…

SEA OF SIN are a New Wave Pop band from Germany that has been founded in the 1990s and reached considerable success in international Synthpop scene through their debut album “Watch Out!” and the following “Illuminate EP” which
had been produced by Heiko Maile, founding member of German Synthpop pioneers CAMOUFLAGE.

After a long break the duo – consisting of Frank Zwicker und Klaus Schill – caused a stir in 2019 with their long awaited comeback album „UNBROKEN“. The album reached No.2 in Deutsche Alternative Charts (DAC). The same year the
band released a remix compilation featuring remixes of well known international acts such as MESH and THE NEW DIVISION („THE REMIXES“).

Due to the pandemic all plans to focus on playing live in 2020 had to be cancelled and the band spent time in the studio and worked on further remix collaborations. The best tracks and remixes of that period have been released on „THE REMIXES 2“ in March 2021. The album featuring remixes of great acts such as MESH, NITE, MAN WITHOUT COUNTRY andROB DUST even made it to top position No.1 in DAC.

A further highlight in 2021: SEA OF SIN had the honour to produce a remix for iconic artist ANNE CLARK: their remix of „SOMETIMES“ has been featured on the album “SYNAESTHESIA – CLASSICS REWORKED”, alongside remixes of well
known artists such as SOLOMUN, BLANK & JONES and MARC ROMBO.

In 2022 SEA OF SIN have kept the momentum high and they released several new singles and remixes on digital
platforms. First single “Synchronize” once more made it to No.1 in Deutsche Alternative Charts (DAC). Throughout the
year the band recorded and produced a total of five new songs. These songs will further shape the great development of
the band and maintain the core ingredients that shape their sound DNA: melancholic and atmospheric Indie pop songs
with catchy hook lines that are driven by synthesizer soundscapes and electric guitar lines – the best ingredients of
Synthpop and New Wave of the 80s and 90s – including modern influences of bands such as Editors or New Order.

Once more the band was able to hire very well known international acts to contribute and produce remixes of the new

All these singles and remixes will now be released as new album „Tired of Chasing Ghosts“ both on CD and digital –
including the non-released song “Empty Places” and ROTOSKOP’s remix of “Don’t Let Go”.

The CD will be released 21st April 2023 as limited edition 6-page digipac including a 16p booklet – exclusively
distributed via Digital release will follow on April 27th on all relevant platforms.

„Tired of Chasing Ghosts“
1 Synchronize (Single Edit) 03:47
2 High and Low (Single Edit) 03:48
3 Shine a Light (Single Edit) 03:34
4 Don’t Let Go (Single Edit) 03:48
5 Empty Places (Single Edit) 04:37
6 Synchronize (The KVB Remix) 04:36
7 Synchronize (Zoot Woman Remix) 03:35
8 High and Low (Ashbury Heights Remix) 04:00
9 Shine a Light (The New Division Remix) 04:11
10 Don’t Let Go (Zynic Remix) 03:30
11 Don’t Let Go (Rotoskop Remix) 04:14


Sea of Sin – „Tired of Chasing Ghosts“

Neues Album, neues Glück. Das gilt wohl auch für die Jungs von Sea of Sin.

Nach einigen Singleauskopplungen im letzten Jahr, gibt es nun das neue Werk „Tired of Chasing Ghosts“ auf die Ohren. Das Album besteht aus fünf neuen Songs und hat eine hervorragende Melange an allerlei Variationen zu bieten.

Dafür konnten Sea of Sin u.a. Ashbury Heights und The New Division gewinnen.

„Synchronize“ eröffnet den Reigen und bleibt mit seinem transparenten Sound direkt im Kopf. Es ist ein frischer Indie-Pop Song, der wunderbar auf die kommenden Stücke einstimmt. Als Remix von Zoot Woman ist er obendrein sehr gut gelungen.

Genauso leicht wie der Titel klingt, kommt „Shine a Light“ daher. Sie sanften Synthies und der bedachtsame Beat harmonieren gut mit Franks Intonation. Der Refrain hat Ohrwurm-Charakter und lädt direkt zum mitsummen ein. Dieser Song passt perfekt in den Sommer.

Wer den Song ein bisschen zackiger und bunter hören möchte, liegt mit dem Mix von The New Division genau richtig.

Ein Gefühl von Vergangenheit und Abschluss vermittelt „Empty Places“. Wie wenn man sich bei einem Umzug nochmal in der leeren Wohnung umschaut und vielleicht die eine oder andere Erinnerung auftaucht. Begleitet wird dieser Eindruck von fließenden, keineswegs traurigen Synthies.

Insgesamt haben Sea of Sin ihren nicht imitierten, nicht künstlichen Stil erfolgreich wachgehalten, ohne dabei auf der Stelle zu treten. Es ist ein makelloses Album, in das erneut neue Facetten eingebettet wurden. Hat mir gut gefallen.

geschrieben von Antje Heine

PS: Sympathisches und angenehmes, bis Weilen sogar, wie immer, in meinem Fall, zu abschweifenden Träumereien hinreißendes Album! (Cloudy)

– english version Review –

Sea of Sin – „Tired of Chasing Ghosts“

New album, new luck. That’s probably true for the guys from Sea of Sin.

After some single releases last year, there is now the new work “Tired of Chasing Ghosts” on the ears. The album consists of five new songs and has an excellent melange of all kinds of variations to offer.

Sea of Sin won Ashbury Heights and The New Division.

“Synchronize” opens the band and stays right in the head with its transparent sound. It’s a fresh indie pop song that tunes in wonderfully to the upcoming tracks. As a remix of Zoot Woman he succeeded very well.

Just as easy as the title sounds, so comes “Shine a Light.” They soft synthies and the thoughtful beat harmonize well with Frank’s intonation. The chorus has an earworm character and invites you to sum up directly. This song fits perfectly into the summer.

If you want to hear the song a bit more zaggy and colorful, the mix of The New Division is just right.

A feeling of past and conclusion conveys “Empty Places.” Like if you look around the empty apartment again during a move and maybe one or the other memory appears. This impression is accompanied by flowing, by no means sad synthies.

Overall, Sea of Sin have successfully maintained their unimitated, non-artificial style without stepping on the spot. It is a flawless album in which new facets have been embedded again. I liked it.

written by Antje Heine

PS: Sympathetic and pleasant, until time even, as always, in my case, to dazzling dreams! (Cloudy)


Frank Zwicker: vocals & lyrics
Klaus Schill: synths, guitars, production

Tel.: +49 – 176 – 800 55 962

European Ghost’s – Peace, No Sleep, No Shelter

The New European Ghost’s album caresses the sleep frailty, touching its own edges, its inviolable mistery, with darkand ethereal melodies. Eleven tracks sound to explore the stages of human sleep: from fall sleep to Chrematismos – the deep and premonitory dream, ‘til detector nightmare. Nocturnal music descends and takes us to the dephts of consciousness and arises with a bunch of diaphanous pearles, with a not yet clear meaning. No Peace, No Sleep, No Shelter talks about an inner refuge, the necessary to find it and the inability to escape from our own nightmares.

Title is taken from italian poet Emanuel Carnevali, singer of an american emigrant’s hallucinogen dream. Some of psychoanalytical suggestions about dream state were born from a Mircea Cartarescu’s romance: Solenoide. European Ghost left the Earth, with its tragedies, and conclude their timeless trilogy choosing an hypno-wave and exploring new intangible landscapes.

Photos courtesy by Matteo Bosi

Artwork by Mario d’Anelli

Order :

Review- European Ghost – No Peace, No Sleep, No Shelter

Anyone who likes music in the style of Post Punk and Darkwave à la She Past Away or Clan of Xymox should definitely risk an ear here. The third album “No Peace, No Sleep” was released in autumn of last year. No Shelter “by the Italian trio European Ghost.

With metallic synthesizers and echo-like singing, one is received to “Stars in Heaven.” Although here you get the feeling to stand in a large, dark hall full of old machines, where you can perhaps catch a glimpse of the stars through a hole in the roof. The song exudes a certain excitement, I think.

“Good Night” starts, matching the title, with a quiet, even beat. The song is accompanied by the synthies, which are so typical for this album, echoing and swelling up and down, but which bring a nice rest here. The vocals are also stored here with a hall, which unfortunately makes it quite difficult to understand the lyrics.

The theme song “No Peace, No Sleep, No Shelter” is quite a danceable piece. The rhythm makes the legs twitch all by themselves. The song well embodies the restlessness that someone feels, who is looking for someone all the time, without a chance to find him.

“Metropolix” says goodbye to us with a completely different and refreshing beat from the album. He goes through the whole song and forms a perfect mix with the synthesizers and the voice of Cristiano. Again, it is difficult to keep your feet still. The song completes the album really well.

“No Peace, No Sleep, No Shelter” is a successful album, which includes many influences of electronic or wavy music in the eleven songs. Personally, I would prefer the vocals to be stored with less Hall, so that you can better follow the lyrics. I’m curious to see what’s coming from the trio of music in the future.

written by Antje Heine

Biography European Ghost

Bright tracers in the dark, white phosphorous bombs, mutilated statues, ruined cities. A silent and faceless army which crosses the muddy trenches of Europe. An exterminating angel ripped from the sky, falls to avenge the new modern horror of loneliness and mute urban battles.

European Ghost is an out-of-control and multi-faceted project between electronics, echoes of kraut music, drones, dark waves and an autistic post-punk. The music is self-defeating, psychotic and melancholic. The band formed in Bologna in the Summer of 2015.

Their dangerous mix of electro / dark and martial punk convinces the French label Unknown Pleasures Records to hire them for two albums. The first, “Pale and Sick”, released in 2016, collects the favors of the critics and the both Italian and international radio stations. And some of their songs are inserted into different compilations.

After a live incendiary tour, the trio gets back to work and, in June 2018, publishes their second album “Collection of Shadows”. This is in line with the previous decadent experimentalism but with a more mature and direct sound. In December 2018, “Collection of Shadows” comes out in vinyl format for the French label Icy Cold Records.

In 2019, after playing in Italy and Europe, they dedicate themselves to remix and collaborations:

Antipole , Calvert Robert, Death in June, Delphine Coma, The Legendary Pink Dots, , Norma Loy, Sisters of Mercy, The Chamaleons, Red Mishima.

Burning Man Project , Darkitalia, Dark Room , Ghoticat Festival. Radio Trasmission, TheWaves of Thinghs, Die in the Disco Festival.

The “European Ghost” group consist of:

Cristiano Biondo (voice), Giuseppe Taibi (bass, drum machine and synth) and Mario d’Anelli (guitar and synth).



You tube Channel:





Unify Separate [aka US )

Today as a guest, one of my favorite bands. First of all, Andrew answered. Have fun reading.

Please take a seat to get to know us -with Andrew from Unify Separate

Where´s your god now? SAME PLACE THEY ALWAYS WERE.

Where are you and what are the vibes like? IN BED. TIRED BUT WIRED.

What was the last thing you ate? SOUR CANDY.

What was the last good book you read? A BIOGRAPHY OF STEVE MCQUEEN.

Favourite political figure? NONE OF THEM.

What TV Shows do you try not to miss? I DON’T WATCH TV.


Which public figures do you most despise? PUTIN, TRUMP, BORIS JOHNSON, THE FAR RIGHT.


Most embarrassing records in your collection? I HAVE NO SHAME.

Punchline to fave joke? “I KNOW, IT’S A CRACKER, ISN’T IT?!”



Worst lyric you´ve ever heard? “I WANNA LICK YOU UP AND DOWN UNTIL YOU SAY ‘STOP’!”




What scares you? LONELINESS AND LOSS.



Where would you like to retire to? SOMEWHERE SAFE, TEMPERATE AND LOVING.

Name a song that can make you cry? I BELIEVE IN YOU (TALK TALK).



Three records guanranteed to make you dance? ONE MORE TIME (DAFT PUNK); THE LOOK (METRONOMY); DANCING ON MY OWN (ROBYN).


Where do you go to chill out? MY BED WHEN I’M ALONE.

What was the last great record you heard? EVERYBODY’S SAFE UNTIL… (PARIS TEXAS).


Where´s your god now? SAME PLACE THEY ALWAYS WERE.

Thank you very much for your time and the interesting answers.

I didn’t think we were on the same wavelength in some points. I think it’s particularly cool that you like TALK TALK and ROBYN: -)

So it only confirms once again that my belly always shows me the right way.

written by


Concert in Wiesbaden

Heat, dust, sunburn, mud and rain – open airs in general – are not your thing? You prefer to watch bands in clubs? Then now comes the good news for you: DIARY OF DREAMS will play on September 3rd, 2023 at the Kesselhaus Wiesbaden. Unify Separate (formerly US) were invited as support. The band should already be known to many fans from previous concerts with DIARY OF DREAMS. All details about the concert at a glance:

Doors: 19:30
Start: 20:00


Unify SeparateUnify Separate [aka US ) are the Scottish-Swedish duo of ex-Geneva singer Andrew Montgomery and Lowe frontman Leo Josefsson, whose dark and beautiful electronic pop is a soundtrack for your dreams.

About Unify Separate

The pair started writing together in 2015, a few months after Montgomery had relocated to Sweden.

With a unique voice that’s equal parts choirboy and soul boy, Montgomery made waves in the Britpop era with Geneva, scoring four emotive Top 40 singles and two critically-feted albums (Further’ and Weather Underground’) on Nude Records between 1996 and 2000, touring with label mates Suede along the way. In 2014, after a long silence, he released his debut solo album Ruled by Dreams’, produced by Sean McGhee (Robyn, Alison Moyet, Imogen Heap). The album attracted rave reviews in Q (4 stars) and Uncut (7/10).

Josefsson is a luminary of the Stockholm synth scene with the bands Lowe and Statemachine, whose work has been recognised with several Scandinavian Alternative Music Awards, including Best Newcomer, Best Live Act, Best Song and Best Album. He’s also a respected video director who’s worked with the likes of Kent, Miriam Bryant, Tilly & Elephant, Eric Saade, The Mobile Homes and Smith & Thell, and has technical direction credits for Rihanna and Robyn. He has a growing collection of analogue synthesisers that are taking over his studio by stealth.

Review Music Since Tomorrow

Today I will listen to albums for you again, completely unaffected, I just flew over the press texts briefly but do not know if someone known or who is behind the project, so I am excited!!!

… I’ve never heard of the next band!

It is:
Unify Separate

And the album:
Music Since Tomorrow.

Beautiful sounds, spherical sounds race through my ears, so I start listening to the new album of Unify Separate, after the metallic-breathed voices comes a hard electric bass, now the whole thing has something from Moby, at least it reminds me easily.

It goes well in the ear, nothing for long driving, because the song “Closure” already greatly calms down, but in the follow-up certainly a nice accompaniment to write or read!

The second song “Dying on the Vine” is quite different, so you can put on the track, much more positively, through the bright synth sounds, the music comes well, the voice is a bit quarky, but you get used to it!

Solitude & I is more for the heart again, here the voice reminds of the singer of Placebo, I had already read this in the press releases, here you can say maybe, here is less quact and more after the role model. The song is good, so a song with Brian Molko would sound, if he would produce e.g. with Solar Fake!

With a lot of vocoder effect on the voice, “Embrace the Fear” starts directly, the voice this time very high and flows virtually into the carrying music with a long voice under a hail of e-drums and keys. You can do just that.

Now I suddenly have something like U2 in my ear, “Visitors,” but the voice quakt again something…, almost acoustically we drive on and look at who wants to visit us there.

Crap, so far I got in well, but now I arrived at ge/mixed emotions in the head, and that bothers me a little bit, okay “The Void” surely also finds his friends as well as “Radio Waves” which I somehow could not record, where Radio Waves goes a little better in the ear, the doubled voice in the chorus comes well,… but….. is tda the Molko Clon again?!

Skip and “The After” continue as before, a little more towards pop, this is also a well produced song, like the rest of the album, it gets a bit monotonous, it is certainly better to pull out songs and mix them between songs of other bands, the last songs “Way to Love,” “Waiting Game,” “In over My Head….,” all GOOD!


Well produced album with many great songs, which is a bit lacking in variety, but there is not a bad song, so listen quietly, who is looking for something between Placebo, U2 and VNV Nation, is right here, Suede is still in the press, I see just, but I could not hear it out, since I 😉 like Suede too much!

Tip: Solitude & I & Embrace the Fear (and then always exchange one or the other of the eleven songs for the playlist 😉)

Until the days!

Written by Karsten Zakrzewski


Thanks for your interest! Unify Separate are Leo Josefsson, who plays synths and produces, and Andrew Montgomery, who sings.

 KKM: The latest album includes only new material or have you had it in the drawer?

A: Only new material. It took us three years to complete this album and there were enough things happening in our lives to inspire these new songs.

KKM: For the cd- which comes first for recording- lyrics or the music line?

L: It’s very powerful when a song is born. We meet up in the studio and usually we both have something hanging over us (almost like halos) that entwine and manifest itself into a soundscape and a story that we feel we want to tell. After a couple of hours we take a break and step out of the bubble. Suddenly we have something that feels like it has always been there. Strange and beautiful at the same time. At times where inspiration is low it can be just as frustrating, but usually we always end up with something that is worth keeping working on. There are some songs that we didn’t finish for ’Music Since Tomorrow’ that I believe will be finalised at some point.

A: It’s usually the music that inspires the lyrics, along with whatever is on our minds at the time, although both of us sometimes have lyrics up our sleeves that we want to build a tune from. That can be fun as it influences the structure of the music rather than the other way around. In any case, lyrics are really important. It’s about communicating with others and sharing feelings that many of us out there have.

KKM: Have any of the new songs surprised you in terms of recording that took a direction and become different or better than you imagined? Would you be able to tell us more about it?

A: Good question! Yes, The Void was a song that had a soulful synth vibe to start with but it didn’t quite sit right and was a little bit lightweight. Leo had the vision to make it into more of a new wave-sounding track, and suggested to me that I should shout-sing a different melody in the second verse. Once that was in place, it all began to click into place – sonically and lyrically. That was a great surprise!L: Actually no. I’m not surprised anymore. I rest assured that almost every time we will overdeliver when we create music together. It may sound pretentious but I’m constantly proud when I listen to our songs. Especially after some time. Kind of an outer body experience.

KKM: Concerning influences… what would you say that the musical influence would be which might be the most surprising to listeners?

A: Believe it or not we both think that Radiohead and Daft Punk are powerful influences on us, even those two bands are quite different. It comes out in a kind of uplifting, expansive melancholy, a happy-sad experience that is at the heart of this project. 

KKM: The Lyrics are extremely well written. Are you lyrically influenced by any authors or books/literature?

A: Thank you, how kind! Not directly in my case as I write from whatever is in my heart, but both Leo and I are intrigued by dystopian visions of the future, as well as emotionally reacting to the strangeness of today’s existence.

L: Andrew’s language and the way he expresses himself is very powerful and I must say somewhat elegant. It’s one of our greatest assets in the band. Andrew reads a lot and his knowledge when it comes to society and history constantly surprises me. Put him anywhere in the world and he will be a perfect guide. :-)

KKM: What do you think separates this album from the rest on the alternative genre?

A: We have our musical influences like anyone else but we would like to think we use them as a launching point to then rise above. There’s no point in sounding just like another band, you have to truly express yourselves. Maybe too the higher vocals and blend of indie guitars with synths mark us out as a but different. We just want to be ourselves. 

L: I might be taking this a bit off topic but… I have this idea that if you want to create music and express yourself as ’filterless’ as possible the best thing would be to build a studio on the dark side of the moon. Not reading news, not listening to music, not reading books. Just running the treadmill to clear your mind, eating some apples and try to keep a sound mind. This is of course not the case but I think my mindset to some degree can create a foundation that is not built on the same concrete as everyone else. I might be wrong but I have a feeling that the majority of alternative bands have a strong passion for being unique but struggles with a wish to be commercial (reach out to a large crowd) at the same time. A contradiction that even we’re fighting. My advice. Don’t think so much and don’t compare yourself too much.

KKM: How about remixes? Have you done many of those? If so, what would you say makes a good remix from the perspective of both the artist and the remixer?

A: We released a remix album calked ’To The End Of The World’ around the time of our debut album, First Contact. It seemed to work well, as have some remixes of our second album singles, because the remixers have not been afraid to try and reinvent the songs. That’s really important.

L: We have been blessed with many talented producers and bands that have put their time and energy into remixing our music and it’s always very fun, enriching and powerful to hear their vision of our songs. We’re opening up now to remixing other bands (and a couple are coming soon, tbc) in an ambition for opening up to collaborations with other artists.

KKM: Have you ever written anything that perhaps was outside the scope of Unify Separate, that might spawn a side project?

A: Interesting question! Leo is very prolific so that might work, and I sometimes have ideas that are not quite right for Unify Separate, but nothing fully formed as yet.

L: I constantly write and explore different soundscapes that perhaps will be released in some form in the future. I’m currently building a setup in the studio where I’m aiming to being able to perform music live (disconnected from the computer) with sequencers, hardware synthesizers and effects. Might result in something interesting. :-)

KKM: What’s a live Unify Separate show like? Where were your live performances so far? And what is planned?

A: Our live shows are intense, thrilling and always well presented, as fans of Diary of Dreams and Suede, both of whom we’ve opened for, can attest. We’re looking for more shows but that’s not always straightforward these days. Fingers crossed!

L: To date we’ve performed in Sweden, Norway, Scotland and Germany but we’re more than willing to play basically everywhere in the world.

KKM: As musicians- what do you prefer more? Studio and production or tours and festivals?

A: Leo is a studio boffin but also a great live performer. I personally live for the stage, even though the moments of creating new songs together is always special.

L: I enjoy studio work and playing live just as much. Being creative in the studio, trying out ideas and finalising the songs and then performing them live is a very worthwhile process… even though the amount of time and energy you put in to get to that point is somewhat insane.

KKM. At the end of a gig/tour when you get home, what is your next few days normally like? The mad rush to get unpacked or do you go straight to catching up with housework etc?

 A: It’s always a bit strange because family and other routines, including other work, soon bring us back down from cloud nine!

KKM: As a duo- are there more frustrations or would you say it’s better as a duo than say a band with 6 members?

A: We have both been in multi-member bands and being in a duo is much easier to arrange and work with!

L: Agreed. Our set-up is perfect. I only have to wrestle down one person and as you might suspect Swedes are better athletes than Scottish. 

KKM: Let’s say that sometime in the far future, someone locates a recording of Unify Separate. What do you want them to learn from your message?

A: Another great question! I would say compassion, melancholic dreams and the insanity of love. 

L: Perhaps not a special message. More get a feeling and understanding of what we were trying to portrait and help the listener escape to our world and perspective and the life we were living.

KKM: If everything goes as planned, what do you think we can expect from before the end of the year? 

A: We have released our second album so we hope that will continue to keep reaching people and cause interest to keep growing. 

KKM: What do you care about most currently and is there anything with troubles you?

A: Being creative despite the great cynicism and devaluing of creativity; the state of the world we are leaving for our children. 

KKM: Quickfire round:Favourite current book/movie?

A: Book: Tales of Soldiers and Civilians by Ambrose Bierce. Movie: I really want to see the new Bowie documentary!

L: Book: Patch and tweak with Moog. :-) Movie: The Peripheral (not a movie I know but I’ll say it anyway).  

KKM: If you could have 3 wishes, what would they be?

A: World peace; loads more gigs and festivals; that Leo gets the recognition he deserves for his amazing music production and film-making.

 L: Thank you Andrew! The good thing is that you will ride along on that wish since it takes two to tango and boy you can tango!

KKM: Do you have any strange habits? Such as the tv needs to be an even number, you need to check a handful of times the door is locked etc?

A: When I get home in the early evening I immediately change into my pyjama trousers and pour a huge glass of Scotch whisky, to celebrate or curse the day that’s been.

L: When I do the bed the pillows have to be placed in a very special order. It’s quite common that I have to put on a t-shirt to feel if it has the right energy for that given day. Usually the first one doesn’t feel right and I have to change a couple of times.

KKM: If you had the choice to be able to pick between talking with animals or knowing every language in the world, which would you pick?

A: Every language in the world. They don’t call me Doolittle for nothing!

L: Talking with animals. It’s worth a shot. Humans tend to misunderstand me. I’ve heard that sheep are good at irony.

KKM: If you could choose only one meal to have as dinner for the week- which meal would you choose?

A: Gourmet falafel, served by magic elves. Or a wonderful Italian risotto. Or ethical sushi from Tokyo Market.

L: Spagetti with pesto. Works all the time. In the weekend I would flip to pesto with spagetti.

Thanks for your time. Any last words can be yours

A & L: Thanks for YOUR time, Claudia! May you and your good readers continue to bathe in the blacklight of your dreams. Don’t forget us, we’ll be there with you. X

written by Claudia Tomaszewski

Listen here:

Looking here:


DECATHECT – Great music with no strings attached

Finally the time has come!

Today the latest and long awaited progressive black metal single “Fallen” by DecatheT is released, as I think, not only by me.

Who? What? I don’t know, I don’t know, there’s no more!!!

I became aware of Niclas some time ago. As me “Fragile” with Michelle Darkness,
a diamond still lying on my heart. Whenever I hear it, I can’t help but hear the two and your other works again.
I don’t know what it is, but it doesn’t let me go anymore and now, I’m doing “traps” just like that!

I‘m not quite through yet, so the review comes later, because that obviously takes more time to describe.


The inspiration for this musical journey was first and foremost our love for
each others music. The record developed its own vibe which is really dark and desperate. The lyrical basis refers to very precise descriptions of dreams which Niclas experienced.

Niclas wrote all the songs and arrangements for this album. He also did the mixing and mastering of this project.

Patrick wrote all the lyrics and performed all vocal tracks exclusively.

No unscripted leaves are the two main protagonists Niclas Gobolsek and Patrick Suchostawski.

About Niclas Grobolsek
My musical journey began very early on influenced by my fathers taste in music. Bands like Pink Floyd and Depeche Mode were the starting point for a lot of bands to come. Starting playing guitar at the age of six I could not stop practicing. At the
age of 14 I began to play the electric guitar performing songs like ‘Fire at the Funeral’ by Jeff Loomis. A game changing song for me, that paved the way for many more challenging songs and writing my own material.
In 2019 I released my first solo album “Elevate Your Mind”. Technical and progressive death metal combined with far reaching melodies and choruses. As a guest vocalist Timo Fielker can be heard on several tracks. This was followed by an instrumental single “The Antagonist” and a collaboration with Michelle Darkness “Fragile”, the distinctive singer from the dark rock band “End of Green” in 2021. For 2022 and early 2023 “Decathect” and another project with Timo Fielker
called “lightless” is planned. My main musical influences are Nevermore, Devin Townsend, Allan Holdsworth, Meshuggah, Periphery, and Pain of Salvation to name a few.

FIRST EP / 2019

Technical and Progressive Death Metal,
combined with far-ranging melodies and
choruses. Vocalist: Timo Fielker.


I N S T R U M E N T A L S I N G L E / 2 0 2 1

Driven by influences of Nick Johnston, Devin
Townsend, and Yngwie Malmsteen.


S I N G L E / 2 0 2 1

„A perfect confluence of strong songwriting and
a mixture of Progressive and Goth music.“


P R O J E C T / E P / 2 0 2 2

Strong confluence of Black Metal and emotions
with a powerful infusion of modern progressive

Out today:

Upcomming in 2023:


P R O J E C T / E P 1 / 2 0 2 3

New approaches to a more accessible
progressive but almost poppy 7string driven,
modern and groove oriented EP.
Vocalist: Timo Fielker



P R O J E C T / E P 2 / 2 0 2 3

New approaches to a more accessible
progressive but rather dark 7string driven,
modern and groove oriented EP.
Vocalist: Timo Fielker


About: Patrick Suchostawski

Patrick was born and raised in the deepest part of Bavaria, next to the alps. His musical career began in 2013 when he joined The Course is Black
as main vocalist. After gathering years of experience in playing live shows and writing new music, he decided to join another Death Metal project called Death Chamber in 2019. After releasing a debut record he decided to part ways
with Death Chamber. In 2021 Patrick also joined Experimental Death Metal band Ayahuasca, where they plan to release their next record in 2023. He
also performed guest vocals for Thrash Metal Band Dissorted and Deathcore band Abyss Above. Bands like Whitechapel, The Black Dahlia Murder and
Cattle Decapitation are his musical influences. Especially Christian Älvestam from bands like Solution .45, ex-Scar Symmetry and Miseration is his absolute main inspiration when it comes to vocals.



…to be continued…

Daniel Ouellette – ‘El Salon (A Happy Home Is A Haunted Home)’ (post punk/synthpop)

Post-Punk artist Daniel Ouellette has just unveiled his new full-length LP, El Salon (A Happy Home Is A Haunted Home).

El Salon is a post-punk, synth-pop, new wave concept album that sings of the pleasures and difficulties of life within a haunted house. The album is also multi-lingual. Daniel will sing to you in Spanish about a werewolf, in English about a Ouija board, in Portuguese about a haunted house and in French about bats at Christmas time.

The title of the album, El Salón has multiple meanings. In Spanish it can reference a classroom, an art studio, a living room and of course, a salon. Daniel Ouellette says, “The best place I have learned to speak is in living rooms with loved ones who speak Spanish and this the title is in honor of my mates, my loved ones to whom I speak Spanish.”

“Duérmete (una noche lupina)” – Daniel Ouellette

The album’s subtitle pulls the concept of the album together.  Should our protagonist buy a house that may be haunted? Each song tells a tale of joy or horror; what a home can be. Maybe some of us never want to leave our homes and others need to run. Or should we dance around our living room perhaps like a specter?

About the style and process of the album…
“The musical style that I wanted was a bit of a soft, warm synthpop approach. The first song comes in lyrically and musically right at you, but from there I was wanting to entice with softer tones and warmer singing than perhaps in some past recordings.

Almost of these songs were written by recording the percussion patterns and vocals and then adding the synth/keyboard parts after. This is a very back to haunted home for me because I had been working with musical instruments like strings, guitar, bass, accordion, etc. I wanted the beauty of simplicity.”
– Daniel Ouellette

Daniel Ouellette – originally from Massachusetts, now residing in Maryland) delivers an experiential tour de force that fuses the musical traditions that incorporate an eclectic mélange of music, projected visuals, and props. His high-energy shows blend playful performance art with true musical talent in an engaging “you had to be there” style.
Whether performing solo or with his musical acts the Shobijin and The Countess Zaleska (with Deirdre McClaren) across the U.S., Canada, and Spain, Daniel delights audiences as a chanteur in a multilingual enchantment of interactive energy that draws from such styles as new wave, techno-pop, world music, and art pop. He may sing to you in Spanish about a werewolf or in English about a Ouija board; perhaps in Portuguese about a haunted house or croon about bats at Christmastime in French!

He is an eleven-time winner of the Elephant Talk Indie Music magazine music awards, Atlantic City, NJ; named in top 10 best of the year several times from The Noise – Rock Around Boston, Boston, MA and honored with a halo for best in year from The Valley Advocate, Northampton, MA. He’s been featured in stories and on podcasts by Metronome magazine, Boston, MA, Voyage Baltimore magazine, Hello From Earth podcast, MA and Stagecraft ft. Don Zientara and Alex Vidales podcast, DC, to name a few places to have found him.

Daniel’s latest release El salón (A Happy Home is a Haunted Home) will be released on July 7, 2022 on Meanie Jeannie Records. It features a divine list of talented guests: Jenny Rae Mettee on synths and vocals from Baltimore’s Fun Never StartsJason Mendleson from Virginia on synths and Pam Ant from Burlington, VT with vocals.  Daniel again works with the multi-talented Elizabeth Lorrey and Peter Linnane (Patch Hill Audio) on engineering, mixing, and mastering. Grab a copy! Come to a show! Let’s dance and have a Halloween party anytime!”

Review – Daniel Ouellette – El Salon (A Happy Home Is A Haunted Home)

Musical art, or musical theatre, I would describe “El Salon” by Daniel Ouellette. The album is something completely different from what you usually hear. I had to listen first, but then I was really excited.

Catchy beats and light synthesizers initiate the album with “Velvet Divan.” The song is well heard and shows with the impressive voice of Daniel, which is surrounded by a peculiar Hall, in which direction the upcoming songs will go. One finds oneself unwillingly in the entrance hall of an old house. One that definitely offers potential for a decent spoof.

In French we go to the next chapter. “Les Chauves – Souris à Noel” seems to be a Christmas wish accompanied by light chimes, which sounds from the office of Frankenstein on Christmas Eve. Daniel’s voice comes out very well together with the horn-like synthies.

“A Planchchette” continues the Reigen. Minimal use of rhythm-giving music frames the sung dialogue between the haunting spirit and the inhabitant of the haunted house. Echoing voices underline the whole thing. It is like a chapter of an audiobook and makes you curious as to how to proceed.

Ping-pong sounds like accompanying an old computer game “The Kitchen Witch Who stayed in the Living Room to Fold the Laundry.” The song has a funny character. Actually, the landlord just wants an undisturbed quiet afternoon. He wants to fly away to get out of the living room. The piece is zaggy composed and it is fun to hear it.

“Duérmete” is almost happy with its bell play and the slightly faster drums. The text is loosely read and makes a carefree impression. Unfortunately, I can’t understand him because I don’t speak Spanish. Nevertheless, I like the song.

Sad and gloomy, “Blueheart Credenza” tells of loss and hope and ends the spoof. Drums and dull string sounds give the song a really dark mood and bring the story around the ghosts in Frankenstein’s house to a worthy end.

“El Salon” is an extremely unusual but very interesting album that consistently tells a touching story from beginning to end. Personally, I love such set stories in which a song is like a chapter. The pieces themselves are relatively short, but contain everything it takes to make you want to keep hearing.

written by Antje Heine



Death Metal Band – OVDETH

OVDETH’s origin story begins in mid-2016 with a group of men with a passion for Death Metal. The group felt compelled to play Death Metal, understand the intricacies of this sub-genre and then write their own music. OVDETH came together as relative strangers and essentially started as a cover band. They chose to play a challenging and fun Death Metal playlist for which they borrowed songs from bands like Carcass, Bloodbath and Amon Amarth. After a few gigs the band decided that this was what they wanted to do.

The Helsinki based group acknowledge that the Finnish Death Metal scene has impacted the direction that their band has taken. The rich environment of Death Metal that surrounded them in Finland further inspired them. OVDETH also found that early 90’s and 2000 Death Metal bands as well as more recent Death Metal bands resonated with them.

The band name OVDETH means “All from Death” or “All about Death” Choosing a unique name they wanted the band name to reflect the fact that their music tells stories about death. OVDETH also prefers their name to be capitalized further expressing the bands power. Death is more then an influence on OVDETH’s name. The band look at death as an end but with something more present. The band believes that the death of something brings immediacy, movement and a lot of emotion. The powerful concept of death provides a great resource for OVDETH to create “striking and engaging art in music.”

Check the lyric video to opening track “March of the Blind”:

Death Metal is a demanding genre for those who create and play it. OVDETH describe Death Metal as attempting to “put a supernova in a box.” Since its solid roots beginnings in the 90s Death Metal has evolved. As a non-mainstream genre Death Metal has been allowed to grow without the parameters of moneymaking and business that constrain mainstream music, allowing a certain creative autonomy. Due to this Death Metal bands have been able to explore nuances and trends encouraging new listeners as it evolves.

OVDETH believes that every Death Metal band “carries a piece of history” and that Death Metal musicians “should not forget the path they have walked”, however it shouldn’t blind them from progressing.

With a creative style that acknowledges the work of the individual band members as well as the group, the creative process for OVDETH usually begins with band member Matti and sometimes Kai making a composition and the band then arranges the songs. On occasion their song writing sessions take them to a rented cottage near a lake. This fosters an alchemic moment of creation in nature.

When asked what OVDETH would say to anyone new to or daunted by Death Metal they acknowledge that “anything new, uncomfortable or unknown can be scary.” The band also suggests that perhaps Death Metal isn’t something to listen to all day and all the time but it certainly suits particular days and events. OVDETH recommends people “give it a try; go and see a gig!” Death Metal is something to discover and explore at your own pace.

Review – OVDETH’s Mortal Burden

“Closest to what we musically are and what OVDETH is all about” is how the Death Metal band describes their latest album, Mortal Burden.

The first track on the album is “March of the Blind” which begins with enthralling guitar melodies before the song soars accompanied by intense drumming and snarling, ferocious vocals. The choppy groove and intense music finally builds to an unrelenting crescendo.

A hypnotic, somnific opening to “The Ancestor” erupts into manic rapid drumbeats and a tortured, menacing, grunting growl of vocals. This is on occasion alleviated with an unexpected dissonant harmonious voice. A serenade by a beautiful guitar riff that is overcome by the delirious and aggressive drumbeat, takes the listener to the end of the song.

“Perished” starts with a thrashing beat and combative, intrusive growls before falling into more melodic mesmerizing vocals. It’s a powerful song with at times an almost alluring and peaceful ambience.

With an atmospheric slow tempo build up “Saturn Devoured” devolves into a chaotic unstable music scape with a delicate surprise interlude. An acoustic guitar playing enchanting melodies accompanies slicing, slow growling vocals. Background purer vocals harmoniously escort the growing crescendo of music. The final surprise in this musical journey is an exquisite piano ending to the song that graciously lulls the listener.

This Death Metal album is full of surprising nuances and even if you are new to the genre well worth a listen.

written by Sylvana Ferguson


Atte (bass)

Esa (guitars)

Matti (guitars)

Kai (vocals)

Timo (drums)






Apple Music:



Underground Goth Metal Band -Inner Missing

Inner Missing, an Israeli based underground Goth Metal Band, chose their name as a reflection of the essence of their music, namely abstract, mysterious and with self admitted awkwardness.

The current metamorphosis of the band started in 2013 and is a duo comprising of Sigmund on vocals and guitars and Melaer on keyboard and bass with session musicians joining the pair when required. The band traces the origins of its music style back to their roots in St Petersburg which Inner Missing describes as having a “distinct atmosphere of hostility and despair with a slight hint of romantic decadence”.

Citing the actual writing of the lyrics for their songs as the most important part of the creative process for Sigmund, he is inspired mostly by personal experiences and incidences that he encounters in everyday life. Having a career as a forensic pathologist, Sigmund is no stranger to the grotesque and sick. Inner Missing fearlessly explores themes of insanity and mental disorders as well as suicide and death.

Sigmund attributes his inspiration for lyrical conception to the French poet Charles Baudelaire who fostered a belief in praising mad and disgusting things. Being more of a reader then a conversationalist Sigmund’s inspirations come from literature especially such classics as Nausea by JP Sartre and Kafka’s The Castle.

For their albums The Sentinel and the Murderer, Deluge and Ghostwriter, Sigmund was instrumental in the ambience and artwork for the album covers using his own photography. At times Inner Missing finds designers and gives them the freedom to create whatever the music inspires in them.

With no specific creative process Sigmund just allows the music to come into his head, something that can happen unexpectedly at any moment. When he is inspired he arranges the music and then writes the accompanying lyrics.

Although the band concentrates more on studio work they still believe that live concerts are an extremely powerful way to communicate with the audience. With just two musicians on stage Inner Missing have an unusual way of performing live. With minimal action on the stage the band uses video installations to create an immersive experience for the audience creating a wistful and contemplative air.

In 2020-2022 the global pandemic stifled the bands ability to perform abroad. Inner Missing were forced to concentrate on shows and festivals only in Russia. Following their repatriation to Israel they plan to start performing on local and European stages.

They are currently working on a new album. If you like or are interested in listening to contemplative, melancholic music Inner Missing is the band for you.


The band was formed in the spring of 2008. In that time it was called Odium and appeared to be a studio project, consisting of 2 members: Sigmund (vocals,guitars,bass) and Cosmic Drone (keyboards). They recorded demo “Decay”, that included 3 songs, the demo has got lots of positive opinions and after that musicians were looked for, and after successful search in autumn 2008, the band was given its actual name. The band’s debut concert was given on December 19th 2008 and not long after that the first Inner Missing EP “All the lifeless” was recorded. The EP was released by Russian independent label Satanarsa Records in March, 2009. After that the band participated in several local festivals in St. Petersburg and Moscow and shared the stage with such bands as Ordog and Throes Of Dawn. In summer of 2009 Inner Missing participated in Metal Crowd Festival (Rechsitsa, Belarus) – it was the first show abroad. In autumn 2009 the band participated in the most famous doom metal festival in Russia – Shadow Doom Fest for the first time. After that, Inner Missing recorded its first full-length album ‘’The Age Of Silence”. In spring 2010 Inner Missing performs as an opening act for Katatonia in St.Petersburg and right after that gives concerts in such cities as Kazan and Vologda. In 2011 “Escapism” is released by the Russian label Darknagar Records, also in 2011 the band shares the stage with Saturnus in Minsk, Belarus. In 2012 Inner Missing shares the stage with My Dying Bride in St.petersburg and takes part in some local festivals. The third album, “Perjury”, was recorded in 2013. Like all previous albums, it was released by Darknagar Records ang it has got high marks in many webzines. Then, during 2013 the band undergoes a lot of line-up troubles and finally records “Defeat” as a duo (Sigmund – voice and guitars and Melaer – bass and keyboards) – this album demonstrated that the band’s style has turned to atmospheric\depressive rock and since 2013 the band exists as a duo (although session musicians are recruited for studio work and live shows). In 2014 Inner Missing supports Saturnus during their Russian shows and then takes a short break during which both band members play in a progressive rock\metal band Karma Rassa. After the hiatus “The Sentinel And The Murderer” was recorded in cooperation with well-known Ukrainian sound producer Max Morton (he also recorded bass for this album). Supporting this album, Inner Missing performs live shows in Ukraine (at Kiev Kills Festival), Egypt (at Metal Blast Festival), Mongolia (at Noise Metal Fest) and Romania (at Rock’n’Iasi festival) in 2016. In the years 2017-2018 the band does not give many shows (with the exception for an exclusive gig in Istanbul) and concentrates on the studio work mostly which results in “The Ineffable” and “Ghostwriter” – the 6th and the 7th studio albums. In 2019 Inner Missing participates in The Room Of Doom Festival (Athens, Greece), Mullae Metal City (Seoul, South Korea), Shadow Doom Festival (Moscow, Russia) and gives a lot of local shows in Russia and Belarus. 2020 turned out to be a productive year for the band as well – 8th album Deluge was recorded and released and after its release the band gives a lot of shows in Russia and Belarus.

Review – InnerMissing’s Ninth Album Dead Language

Dead Language is the new album by Israeli based band Inner Missing. From the title track “Dead Language” the listener is transported into a dark gothic soundscape. With an ominous hypnotic sound, and a disturbing rhythmic chime reminiscent of some sort of ancient carnival, the song Dead Language tantalizingly takes the listener on a haunting journey. The bleak vocals of Sigmund are tangled beautifully with the operatic vocals of Melaer to create an almost ethereal experience. “The Quest” is inspired by the musings of British Occultist Aleister Crowley and has an enigmatic bassline and low tempo that results in an undulating music experience. Luring the listener with a dark rhythmic sound the lyrics and music of “Empty Rooms” create a disorientating and fearful landscape. A haunting guitar carries the listener on a wavelike journey. A chaotic musical introduction to “Long Odds” with ominous and bleak lyrics suddenly shifts with the song taking the listener into its confidence with menacing, conspiratorial whispered vocals. Slower to build “Mute” has dreary sounding vocals that are perfect as the song ascends, dizzying the listener with changing tempo and dissonant harmonies. The final song on the album “At Sea” makes the listener feel as though they are sailing on waves depressive and gloomy waves that ebb and flow with the music.

The album artwork was created by Belarus artist Olga Kann. The image is a haunting simulacrum of death, representing something once valuable which is not anymore.

Dead Language is a fabulous album if you enjoy being immersed in a gloomy, depressive, Gothic environment with some exciting twists and turns.

Inner Missing – Dead Language
Release: 25.02.2022

Label:Inverse Records

Duration: 35:46

Genre: Gothic Metal / Doom Metal

written by Sylvana Ferguson


Facebook: Facebook Inner Missing



Finnish melancholic death metal band Marraskuun Lapset released their debut single!

– Reviews –

Marraskuun Lapset’s Laatupoikkeama (Quality Deviation) and Pahuuden Siemen (Seeds of Evil)

The first of two singles Laatupoikkeama (Quality Deviation) is a song about love by Finnish Melancholic Death Metal Band Marraskuun Lapset (Children of November) This is however not a love song in the traditional sense but more about someone that does not think that they deserve love. The song builds atmosphere with rhythmic and abrupt tempo changes leaving the listener delightfully disorientated. Partanen’s serrated, snarling, primal vocals perfectly compliment the haunting melancholic female vocals of Hanna Ingo, that in direct contrast to Partanen’s tortured and powerful sound, lull and soothe the listener.

Pahuuden Siemen (Seeds of Evil) is the second single from Marraskuun Lapset and is about cancer and the ways in which disease confronts and tortures us. The song considers the battle with a disease like cancer and even when its finally defeated the toll of such a confrontation. The choir within the song screams about wanting to live, shouting it so loud in the hope that death will pass by. A choppy groove leads the listener into the song as the intensity builds. Partanen’s grisly, anguished vocals slow before picking up pace joined by a choir of singers with melodic echoing vocals. This gives the listener the feel of a chase and the undulating, unpredictable ebb and flow of circumstance in a battle with illness.

Artwork photo by Tero Hautamäki

Recorded at Rock Werstas by Sami Pulkkinen

Tero Hautamäki – Guitars, Bass

Janne Partanen – Vocals

Drums are played by

Teemu Koski (Vaasa Palaa).

Choir: Jussi-Pekka Litmanen, Jani Latva-Salo, Sofia Ingo, Hanna Ingo, Satu Kuru.

written by Sylvana Ferguson

With the quality of these two songs the anticipated Marraskuun Lapset’s debut EP Lauluja Elämässä Eksynielle (Songs For People Lost In Their Lives), set to be released by Inverse Records in late 2022, is something to look forward to.

Marraskuun Lapset is founded in the summer of 2021 by Tero Hautamäki (Hellyysagrrressio, Burning Mindfields, Wasteland) & Janne Partanen (Hautajaisyö, Uhriristi). The band is set to release their debut EP later in 2022. 


Melancholic Death Metal Band Marraskuun Lapset (November Child)

Finnish Melancholic Death Metal band Marraskuun Lapset (November Child) comprises of musicians Tero Hautamäki and Janne Partanen. The duo took inspiration for their band name from the start of the long winter months and the Polar nights that begin in Finland in November. Hautamäki’s birthday is also in November. Marras is an old Finnish word for death.

Having both been involved in the music industry and making music for a long time Partanen and Hautamäki bring different things to Marraskuun Lapset. Prior to their collaborationHautamäki was primarily involved in the Punk and Rock music scene while Partanen had already delved into Death Metal and Black Metal.

The duos formation of Marraskuun Lapset was a result of similar attitudes towards music and a eagerness to use their different experiences in the music scene to foster a more melancholic, depressive and heavy type of music. Marraskuun Lapset has found inspiration from a “darkness of mind” that they say has been motivated by the gloomy winters and what they believe is a Finnish cultural tendency towards sensitivity, depression and a hesitance to have open discussions. The rich history of Death Metal in Finland had a particular influence on Partanen as a vocalist but for Hautamäki Marraskuun Lapset is his first foray into Death Metal.

“When you get older you contemplate death” according to Marraskuun Lapset and this has influenced the themes that they explore in their music. With songs written from the heart, Hautamäki and Partanen explore such evocative topics as sickness, divorce, suicide and the mistakes we make in life.

The talents and ideas of Hautamäki and Partanen permeate all aspects of the group. Having a clear idea of the image they want to foster for Marraskuun Lapset the duo cultivate the aesthetic with care. Hautamäki is a skilled photographer whose beautiful, dark photographs further enhance the groups concepts of melancholy and forlorness, serving as the artwork for their albums.

With a debut EP almost ready and an upcoming new music video about to be released Marraskuun Lapset are currently writing news songs. They have a live crew in rehearsals ready for when they start performing for audiences.

written by Sylvana Ferguson

Apple Music: 

http://Check the lyric video to opening track “March of the Blind”:

E. P. New Musick by Flingern Attic

FLINGERN ATTIC ist eine Symbiose aus unseren Vorlieben sowohl für diverse Arten von elektronischer Musik als auch die große Liebe zu schrammeligen Power-Chords. Der musikalische Stil ein Mix aus “old school” und “modernen” Elementen, der auch uns persönlich gut widerspiegelt.
Die Düsseldorfer Band besteht aus Michael Leier aka M.D.Ramone und Tanja Reinhardt aka T.R.Lily. Der über ein Jahrzehnt andauernde Wunsch, ihren gemeinsamen musikalischen Nenner in einem musikalischen Bandprojekt umzusetzen, nahm Anfang 2019 Gestalt an und wurde mit der Gründung von FLINGERN ATTIC endlich in die Tat umgesetzt.
M.D.Ramone übernimmt wie schon bei seinen vorherigen Bandprojekten die Vocals, Gitarre, Bass, Synths, Songwriting/Lyrics sowie das graphische Design & Konzept. Im Gegensatz zu früher spielt T.R. Lily nicht nur die E-Drums, sondern steuert nun auch Vocals und E-Bass bei vielen Songs bei. Desweitern ist sie auch aktiv am Songwriting beteiligt und kümmert sich um die mediale Präsenz.
Alle Songs wurden in deren Düsseldorfer ORANGE RED CORNER Studio komponiert, aufgenommen und abgemischt. Für das Mastering konnte der erfolgreiche Produzent & Musiker Thomas Detert von Airbase Media gewonnen werden. Musikalisch inspiriert fühlen sich FLINGERN ATTIC nicht nur von Düsseldorfer Bands wie Kraftwerk, Rheingold und Fehlfarben oder internationalen Klassikern wie den Beatles, David Bowie, Joy Division/New Order, Anne Clark, Fad Gadget/Frank Tovey, The Ramones, Depeche Mode und Duran Duran sondern auch von Künstlern wie John Frusciante und The Editors oder jüngeren deutschen Acts wie Console und Drangsal.





Gothic Rock Band Black Angel Unveil Highly-Anticipated New Album, ‘The Black Rose’!

 Gothic rockers, Black Angel have just unveiled their fourth studio album, The Black Rose. Following up the previous and well-received release, Prince Of DarknessBlack Angel further solidifies their mark in the goth rock community with this new nine-track, soon-to-be classic album.

Sticking with their hybrid Gothic Rock sound, Black Angel takes flavors from the likes of 80’s predecessors, The Cult and The Mission while and adding new tones of their own. There is definitely a slightly more sinister, edgy feel to the tracks on The Black Rose.

From the Mission-esque style of “Breathe” to the slick, guitar sounds and soaring vocals of “All Or Nothing” and “Look Me In The Eye” to the musically playful but thematically sinister “Carnival Man”, Black Angel‘s diversity and trademark sound pulse throughout the entire release.  

“Battle Cry” brings The Black Rose to an end. Inspired by one of the band‘s greatest influences The Cult, this song is a romantic story of forever love.

The Black Rose is available on vinyl LP, CD and digital formats via Bandcamp.

Black Angel:
Matt Vowles – All Music
Cory Landis – Vocals

“It grabs you and pushes you through different periods of “dark” music history while still keeping you in the here and now. No superfluous appendages, no superfluous cliché or wild experimentation. A highly focused, pure piece of goth rock. A textbook of how to make goth rock.” – Dark Life Experience




Ordo Rosarius Equilibrio “La Fleur du Mal” (Limited Edition) – CD EP

– “La Fleur du Mal” Limited DigiCD – 
Erscheint am 25. März 2022 / Release Date: March 25, 2022

“La Fleur du Mal” is a four songs EP with Ordo Rosarius Equilibrio at their very finest. It serves as an introduction to the more comprehensive full-length album “Nihilist Notes (And the Perpetual Quest 4 Meaning in Nothing)” coming in May and will be released on CD – with ONLY 444 copies available worldwide.

“La Fleur du Mal” features four highly competent tracks that reveals a more sinister and oppressive approach to melody making and orchestrations than we have heard from the band in years. The texts that support the music is best described as nihilistic poetry. Pitch black, abysmal anthems. Metaphors and symbols reflecting the world past present and future, revealing the cycles in which we coexist. A great album indeed, a delicious taste of the album that is to come.

Alpdruck trifft Nihilismus! Was Tomas Pettersson uns seit mittlerweile mehr als zwei Dekaden in scheinbar harmlos instrumentierten Versen kredenzt, ist beklemmender Apocalyptic Pop, der einem die Nichtigkeit des eigenen Daseins bittersüß vor Augen führt.

Als Einstimmung auf das im Mai erscheinende neue Album “Nihilist Notes (And the Perpetual Quest 4 Meaning in Nothing)”, gräbt sich seine neue Ordo Rosarius Equilibrio-EP “La Fleur du Mal” mit sinisteren Melodien und klassischen Neofolk-Elementen tief in die Nervenbahnen und hinterlässt die totale Bedrückung.

Die vier Tracks des Mini-Albums sind gespickt mit düsteren Versen und dystopischen Metaphern, die permanent am Rande am des psychischen Abgrunds tänzeln. Die EP erscheint als CD und ist auf 444 Stück weltweit limitiert. La Fleur du Mal – wer diese Blume pflückt, kommt nicht mehr davon los.

01. In the name of the Sun, my Father and the Spirit
02. No time like the Present – La Fleur du Mal
03. Receive the Flame, all you Children of the Sun
04. I am the Son of Daggers, in a Future you forgot




FLORIAN GREY „A Cold Days Night“ EP -VÖ: 08.04.2022

Mit der Veröffentlichung der „A Cold Days Night“ EP melden sich FLORIAN GREY mit einer wunderbar verträumt-düsteren Mid Tempo Ballade zurück!
„A Cold Days Night“ kommt als brandneue Version, ist die fünfte und letzte Single-
Auskopplung aus dem aktuellen Album RITUS und erscheint auf allen bekannten
Download- und Streaming-Plattformen.
Damit möchten die Dark Rocker von FLORIAN GREY den Hörer*innen die Wartezeit auf das langersehnte neue Album verkürzen.

Video-Premiere auf Zeitgleich zum dazugehörigen,
atmosphärischen Videoclip, kommt die digitale Vier-Track-EP; Inklusive Single Version, der Album Version, sowie der Acoustic Session Version. Premiere feiert der Clip am 08.04.22 exklusiv auf , inklusive Gewinnspiel.

Streng limitierte Version: Eine streng limitierte Auflage der „A Cold Days Night“ EP als CD ist ab dem 30.3.2022 auf vorbestellbar!
Neben den einzelnen Versionen der digitalen EP, enthält der physikalische Tonträger die bisher unveröffentlichte BONUS-Acoustic-Version von „Catharsis“, sowie einen signierten Lyrics-Kunstdruck und eine Autogrammkarte.

Livestream am 6. April: Zwei Tage vor Veröffentlichung, am 06.04.22 ab 19 Uhr, wird die Band in einem Online-Shop-Takeover bei Hamburg Records die Acoustic Version von „A Cold Days Night“ live performen, sowie eingehende Bestellungen selbst verpacken,auf Wunsch signieren und auf sämtliche Fragen und Kommentare, eingehen.


  1. A Cold Days Night (SIngle Version)
  2. A Cold Days Night (Album Version)
  3. A Cold Days Night (Acoustic Session Version
  1. Catharsis (Acoustic Version) > NUR AUF CD ENTHALTEN


AUTUMN TEARS & ZERESH Address Loss & Obsession With Widowing/Possessing Split

Neo-classical act, AUTUMN TEARS is proud to partner with ZERESH‘s Tamar Singer to present a split album,  Widowing/Possessing featuring seven new AUTUMN TEARS tracks and six new ZERESH tracks. This split release is a meeting of AUTUMN TEARS‘ unique neoclassical arrangement and ZERESH‘s own brand of dark folk mixed with mesmerizing vocals.

Widowing‘s themes center on the loss of a loved one. the loss of oneself, and a journey to try and find either inner peace or to completely give up. 

Possessing‘s themes deal with obsession towards people, the thin line between love/possession and the lingering of dead or non-existent relationships. The lyrics for Possessing are taken from Shakespeare’s sonnets and the poetry of John Clare. 

Widowing/Possessing is available as a digital download and in CD edition limited to 500 copies worldwide. Included in the CD edition are two separate mini fold out lyric posters – one for each band!

“Since I was doing this split with Tamar and ZERESH, I wanted to tap in to some darker old-school AUTUMN TEARS themes to keep in with a similar mood.” – Ted Tringo (AUTUMN TEARS)

“The songs for Possessing were written to fit in with AUTUMN TEARS‘s, Widowing. Therefore they are more romantic and a bit “cleaner” than my previous works. Yet it is dark and gets even darker towards the end.”
– Tamar Singer (ZERESH)




Luc Stargazer – The Comet Tail – Out Now.

New luc stargazer EP “The Comet Tail” incl re-recording of early classic “Jupiter”, remixes and fresh tracks!

What’s the sound of infinite space? LUC STARGAZER invite the audience into their spaceship and on a musical trip to the stars. With a mixture of post-punk and shoegaze the four musicians from Dresden dash through the cosmos. Fasten your seat belt! Or rather: let go and touch the vastness of space.
LUC STARGAZER were formed in 2010 by frontman Lazy Schulz (Whispers In The Shadow). With the current line-up Rico Meerheim, Falk Brederlow and Michael Bader, the band – which name reflects an affinity for space right from the beginning – soars to new heights. In 2011 they recorded their first EP “Evolution” with the help of producer Rico Schwibs (Fastlane Production).
In 2018 LUC STARGAZER have found a new home with the Cologne-based Indie-Label Reptile Music where they will release their debut album „Lunascape“ on August 31. The single “Dramaboy And Traumaqueen” offers a first glimpse of the longplayer. The song is characterized by an energetic, fast-paced sound framework that also runs through the entire album.

On the 14 tracks melodic guitar walls meet a bass clear as the night sky, driving drums and a charismatic voice. The songs are combined by instrumental parts and together they create a dark, melodic soundscape – the band calls this “Lunascape”. Therefore the album is a mix of up-tempo songs like “Dramaboy And Traumaqueen”, “Sternenmeer”, “Intronauts” and powerful, atmospheric tracks like “Brightness” and “Mr Freeze”. The LUC STARGAZER songs tell stories that originate from their inner thoughts and lead to an emotional journey through the universe.
Performing intense and touching live shows is another integral part of the band. LUC STARGAZER played over 70 concerts in recent years, including support gigs for Die Art (GER), The Chameleons Vox (UK) and Late Night Ventures (DK). They also thrilled their audience at numerous festivals and the next one, NCN Festival (Deutzen, GER), is already soon to come.

Luc Stargazer – The Comet Tail Credits:

  1. Jupiter – 2021 Version
  2. Jupiter – James Knights Remix
  3. Intersphere
  4. Tulips In Rain
  5. Jupiter – Seasurfer Remix
  6. Retipuj
  7. Your World Is Mine
  8. Unperfect
  9. Jupiter – Martin Acid Remix
  10. Cosmicsphere
  11. Lucy’s Eyes – MASH Remix
  12. Jupiter – Golden Apes Remix
  13. Jupiter – 2011 Version

All Songs Written By Luc Stargazer

Except 3, 6 & 10 written by Lazy Schulz.

All Words By Lazy Schulz

Luc Stargazer:

Lazy Schulz: Voice, Guitars, Bass VI, Keyboards, Programming

Rico Meerheim: Guitars

Falk Brederlow: Bass

Michael Richter: Drums

Track 2: Additional Instruments & Parts By James Knights

Track 5: Additional Instruments & Parts By Dirk Knight

Track 9: Additional Instruments & Parts By Martin Acid

Track 11: Additional Instruments & Parts By Ashely Dayour & Martin Acid

Track 12: Additional Instruments, Vocals & Parts By Peer Lebrecht

Track 13: Lazy Schulz: Voice, Guitars, Keyboards & Programming, JuRi: Bass, Uwe Oppelt: Guitars, Stefan Pötzsch: Drums

Track 1, 3, 4, 6, 7, 8 & 10 recorded and mixed by Rico Meerheim & Lazy Schulz @ Galaxy Studios Dresden.

Track 13 recorded and mixed by Rico Schwibs & Lazy Schulz @ Fastlane Studios Dresden.

All tracks mastered by Rico Meerheim.

℗ Reptile Music 2022

Calyra Verlag GmbH

Rezension – Luc Stargazer – Comet Tail

Comet Tail“ heißt die neue EP, welche die Dresdner Herren um Luc Stargazer Anfang Februar veröffentlicht haben.

Die Platte beinhaltet einige neue Stücke und satte fünf Remixe des bereits 2011 erschienen Songs „Jupiter“. Wer gerne Post Punk hört, sollte hier auf jeden Fall ein offenes Ohr haben.

Jupiter“ ist auch gleich der erste Titel. Er startet ein bisschen wie eine alte leiernde Kassette, was mich kurz verwirrt hat. Ich dachte schon meine Kopfhörer wären hinüber. Der Song entwickelt sich zu einem kraftvollen und dynamischen Track mit schönen Synthesizern und zügigem Beat. Ich muss gestehen, diese Version des Songs gefällt mir von allen angebotenen tatsächlich am besten.

Langsam und ruhig beginnt „Tulips in Rain“. Der Song strahlt eine wunderbare Leichtigkeit aus, zu der die angenehme Stimme sehr beiträgt. Die sanften Klänge der Synthies und die unaufdringlichen Drums runden das Stück perfekt ab.

Um sich ein bisschen davon tragen zu lassen eignet sich „Your World Is Mine“ ganz hervorragend. Er lädt zum sanften Schweben über die Tanzfläche ein und ist einer von den Songs, bei dem sich die Füße von ganz alleine bewegen, ohne dass man groß darüber nachdenken müsste. Hier lässt sich ein Vergleich zu „The Cure“ jedoch wirklich nicht vermeiden, was mir aber gut gefällt.

Zu „Unperfect“ müsste man seine Beine dann etwas schneller bewegen. Das Lied geht mit vorwärtstragender Gitarre und zügigem Sound ordentlich voran und macht live bestimmt richtig viel Spaß.

Comet Tail“ ist alles in allem eine tolle Platte geworden. Luc Stargazer haben mit einigen sphärischen Zwischensequenzen wunderbare Überleitungen für die einzelnen Songs eingebaut. Gerade diese Stücke tragen zur Atmosphäre der EP wesentlich bei und sind heute nur noch selten auf Tonträgern zu finden.

geschrieben von Antje Heine






“In The Dead Of Night” von -La Magra-

Bei “In The Dead Of Night” von -La Magra- werdet Ihr in die Welt der
Finsternis gelockt. Düstere Melodien und brachiale Gitarrenriffs der
miteinander verflochtenen Lieder entführen Euch immer tiefer in die
haarsträubenden Horrorerzählungen. Dabei wird Euch der Sound massiver
und heftiger als jemals zuvor begegnen.
“In The Dead Of Night” erscheint als Doppel-CD und ist in ein
aufwändiges DigiPAC mit schaurig-schönem 8-seitigem Booklet
gekleidet. Die 2. CD beinhaltet unveröffentlichte und rare Lieder der
letzten 20 Jahre.

Album Trailer:

CD 1:

prelude – nightfall 1
forest of the damned
nightfall 2
dark shadows
nightfall 3
der wanderer
armee der schatten
the hunter
nightfall 4
the ritual
nightfall 5
haus am see
nightfall 6
der vampyr
non morte

CD 2:
kein gott (ro issue mix)
atheist (infidelis version)
flieh mit mir (male version)
mistress of the night (may-fly rmx)
guardian angel feat. martha of distorted reality
broken inside (broken again mix)
reanimation (remx for kreuzversuch)
ich will zu dir (tombstone version)
sweet jesus (church mix)
infect me (club mix)
vampyre romance (eternity rmx)
alone in darkness (forever in loneliness mix)
candlemas eve (rare track)
angels descending (nephilim rmx)
auf ewig
flieh mit mir (a memorial to conny)

Review – La Magra „In the Dead of Night“

Wer mal wieder Lust auf richtig gute Gruft-Mucke hat, der ist mit dem Dresdner Projekt „La Magra“ gut beraten. „In the Dead of Night“ ist eine herrlich düstere Platte und kommt gleich im Doppelpack daher. So kann man, ganz nach Belieben, auch gleich noch in die Remixe rein hören.

In die Düsternis lockt einen zunächst einmal das Intro. Mit seinen Unwetter- und Orgelklängen stimmt es gut ein auf das, was da kommen möge.

Mit kraftvollen Gitarrenriffs und melodiösen Synthies geht es dann in den „Forest of the damned“. Der verzerrte Gesang ist in Englisch gehalten und gerade der Refrain ist wirklich eingängig. Im Hintergrund erzählen unheilvolle Stimmen auf Deutsch von den Unmöglichkeiten, die sich in diesem Wald abspielen müssen. Ja sogar von Hexen ist die Rede. Diese Kombination passt erstaunlich gut zusammen, auch wenn ich normalerweise kein Fan davon bin, zwei Sprachen in einem Song zu mischen.

Ein stampfender und vorwärtstreibender Rhythmus führt einen dann zu „Dark Shadows“. Die hypnotische Wirkung des Songs, zusammen mit den laut und hektisch geflüsterten Passagen, in denen die Geschehnisse diskutiert werden, lassen einen förmlich spüren, wie die Schatten näherkommen. Die Schreie aus den Schatten machen das ganze noch nachdrücklicher. Ein wahrlich düsteres Stück.

„Der Wanderer“ ist sehr eindrucksvoll vorgetragen. Man kann den abgekämpften Wanderer, der von den Erlebnissen seiner Reise erzählt, praktisch vor sich sehen. Er scheint so erschöpft zu sein, dass man ihn kaum noch versteht. Zumindest mir ging es so.

Ein Hauch von Industrial schwebt bei „The Hunter“ durch den Raum. Eine Frauenstimme beschreibt wie die Leiber aussehen, die der Jäger auf seinem Beutezug zurückgelassen hat. Gänsehaut ist da vorprogrammiert. Der schnelle Beat jagt einen durch den Titel. Brachiale Riffs und melodiöse Synthies zeigen den Pfad, den man nehmen sollte. Wirklich ein geiler Song

Der stampfende Rhythmus von „The Ritual“ und der von einer weiblichen Stimme vorgetragene Text lassen nur wenig Zweifel daran, was hier stattfindet. Man muss sich einfach passend dazu bewegen, so einnehmend ist der Song. Und auch wenn man es gar nicht so genau wissen will, kann man einfach nicht weghören.

Vermeintlich beschaulicher wird es, wenn man der Einladung zum „Haus am See“ folgt. Angelockt von einer schönen Ortsbeschreibung, schnellen Gitarren und ordentlichen Bässen, wird man es letztendlich doch bereuen dorthin gekommen zu sein. Ein absolut mitreißendes Stück.

Nach all der Aufregung findet „In the Dead of Night“ mit dem Lied „Non Morte“ ein ruhiges Ende. Ein französisch sprechender Vampir zieht seine leisen Bahnen durch das Land. Sanfte Synthies begleiten ihn dabei. Ein würdiger Ausklang.

La Magra haben hier Musik geschaffen, die ein perfektes Kopfkino hervorruft. Sozusagen der Soundtrack zum ganz persönlichen Horrorstreifen. Die Passagen von „Nightfall 1-6“ erzeugen noch einmal mehr eine großartige Atmosphäre zwischen den einzelnen Songs. Ich bin wirklich begeistert und kann das Album nur empfehlen.

geschrieben von Antje Heine

Interview -La Magra-

Das Warten für die Fans von -La Magra- hat ein Ende!!! Bei „In The Dead Of Night“ von -La Magra- werdet Ihr in die Welt der Finsternis gelockt. Dabei wird Euch der Sound massiver und heftiger als jemals zuvor begegnen.

Ich freue mich ganz besonders, dass die Band sich Zeit genommen hat mir ein paar Fragen zu beantworten.

KKM: Hallo Ihr! Euer neues Album In The Dead Of Night“ ist gerade erschienen. Erzählt uns doch kurz, wovon das Album handelt?

„In The Dead Of Night“ umschreibt die facettenreiche Schönheit der Nacht mit ihren schrecklichen Geheimnissen wie Wesen, die mit gewetzten Krallen im Dunklen den Sonnenuntergang erwarten. Oder dunkle, schemenhafte Gestalten im Nebel, die ihren Opfern auflauern. Es ist sozusagen eine Gruselgeschichte zur Geisterstunde.

KKM: 2016 erschien Euer letztes Studioalbum „Fairytales From The Graves“. Eine lange Zeit. Was habt Ihr in dieser Zeit getan?

Es war eine aufregende Zeit! Gemeinsam mit DOOMCAT productions drehten wir das Video zu „Hörst du mich rufen“, das wir im Juni 2017 veröffentlichten. Im selben Jahr erschien zu Halloween unsere digitale EP „Riding Corpses“ auf Bandcamp. Danach stürzten sich FeeLidae und Louis Cyphre auf ihr Nebenprojekt „Deadly Injection“ und veröffentlichten 2018 das Debütalbum „Taste Me“, dem einige Konzerte u.a. beim WGT 2019 folgten.

Parallel dazu setzten wir uns alle zusammen, sammelten Ideen für –La Magra– und beschlossen unter anderem, ein weiteres Video zu drehen. Das war ein sehr aufwendiges Projekt mit vielen Beteiligten zum Song „Mein Liebling“, das wir im Juni 2020 veröffentlichten. Als Vorbote zum aktuellen Album erschien passend zu Halloween im selben Jahr die Single „Haus Am See“.

KKM: Das verrückte Jahr 2021 ist endlich vorbei. Wie habtihr das Jahr verbracht?

2021 nutzen wir jede freie Minute, um kreativ und produktiv zu bleiben. So wurde im Januar mit „Zombified“ das 2. Album von „Deadly Injection“ fertig. Danach arbeiteten alle Band- und Produktionsmitglieder bis spät in den Herbst an „In The Dead Of Night“. Zwischendurch hatten wir auch viel Spaß bei unserem Live-Gig im „Ghost Train“ Chemnitz.

KKM: Wie viel Arbeit hattet ihr an dem Album und hat euch jemand unterstützt?

Auf einer Skala lässt sich die „Arbeit“ nur schwer bemessen, aber man kann schon sagen, dass wir dieses mal einen ungleich größeren Aufwand betrieben haben, auch um das Album zu einer zusammenhängenden Geschichte zu verbinden.

Grundlegend ist die Herangehensweise an ein Album gut strukturiert. Am Anfang werden von Louis Cyphre in aller Ruhe die ersten Noten eingespielt, Texte und Ideen entstehen. Sobald das Grundgerüst klar ist, werden dann die anderen Bandmitglieder einbezogen: Instrumente werden eingespielt, Stimmen aufgenommen, Änderungsvorschläge probiert oder verworfen. Die Lieder haben so Zeit zu reifen und das finale Albumkonzept nimmt Form an.

Dieses mal haben wir mit Zwischenstücken/Intermezzos gearbeitet, um die Atmosphäre zu verdichten. In der letzten Phase kamen dann noch aufwändige Arrangements dazu, oder beispielsweise ein Chor als i-Tüpfelchen. Das passierte parallel zum Mixen, hier arbeiten wir eng mit Mr. Tom Kat von DOOMCAT productions zusammen, der auch das Mastering überwacht. Und dann ist da die Deadline zur Produktion, die uns antreibt!

KKM: Das ist ja nun bei weitem nicht euer erstes Album. Ist die Aufregung trotzdem immer noch groß?

Ja! Wir erwarten immer mit Spannung, wie unsere Fans auf das nächste Album reagieren werden. Jedes Album ist anders, wir möchten nicht stehen bleiben, uns weiterentwickeln.

KKM: In The Dead Of Night“ erscheint als Doppel-CD und ist in ein aufwändiges Digipak mit schaurig-schönem 8-seitigem Booklet gekleidet. Die 2. CD beinhaltet unveröffentlichte und rare Lieder der letzten 20 Jahre. Wie kam es zu dieser Idee und ihrer Umsetzung?

Wir überlegten, wie wir gemeinsam mit unseren langjährigen und treuen Fans unser 20-jähriges Jubiläum trotz der Pandemie feiern könnten. Warum also nicht das neue Album als Doppel-CD und erstmalig im Digipak-Format herausbringen, mit einem Rückblick auf der letzten 20 Jahre auf der 2. CD? Doch nicht als klassische „Best of“, sondern mit vielen raren Songs und unveröffentlichten Remixen. Das Mastering dafür übernahm dann echoRausch digital services. Ein geheimnisvolles düsteres Booklet war natürlich unabdingbar, das wieder in Zusammenarbeit mit Rainer F. Engel entstand.

KKM: Welche Erwartungen habt ihr an In The Dead Of Night“? Ist eine Platzierung in den Charts für euch wichtig oder seid ihr da eher entspannt?

Die Leidenschaft für die Musik macht uns einfach Spaß…Eine Platzierung in den Charts ist immer eine feine Sache. Es ist natürlich eine Freude für uns, dass wir mit dem aktuellen Album auf Platz 5 der Deutschen Alternativ Charts eingestiegen sind. Doch das Schönste ist stets das Feedback unserer Fans!

KKM: Welche Musik habt ihr im Schaffensprozess privat gehört und hat diese Musik das Album vielleicht auch ein Stück weit beeinflusst?

Das ist eine sehr schwierige Frage. Vielleicht war es eher Metal oder Industrial? Zumindest liegt die Vermutung nahe, da die Gitarren eine größere Rolle als früher spielen. Aber genau wissen wir das nicht mehr. Der ganze Entstehungsprozess des Albums zog sich aber auch über eine lange Zeit, in der wir privat sicher sehr unterschiedliche Musik gehört haben.

KKM: Ist es euch schwerer gefallen, am neuen Album zu arbeiten? Hat es euch in eurer Kreativität beeinträchtigt?

Wir sehen die Musik weniger als „Arbeit“, sondern als freiwilligen kreativen Schaffensprozess. Wir waren auch gänzlich unbelastet von Druck, etwas „toppen“ zu müssen oder eine Erwartung zu erfüllen. Natürlich gibt es immer wieder mal anstrengendere Momente bei den kleinen, feinen Details – vor allem in der „heißen Phase“, wenn bis spät in die Nacht noch am letzten Schliff gefeilt wird. Doch das Ergebnis macht uns immer stolz und lässt die Mühe vergessen!

KKM: Was macht euch persönlich mehr Spaß, die Produktion oder die Live-Auftritte?

Das ist ganz unterschiedlich, aber sind ja auch unterschiedliche Prozesse. Die Live-Auftritte sind natürlich etwas ganz besonderes. Bei der Produktion ist ja immer nur eine Handvoll Leute involviert, die wissen wie die Musik klingen wird.

Wenn das Geheimnis dann aber gelüftet ist, kommt der Nervenkitzel, die Lust, die Songs „in echt“ zu präsentieren, das Publikum mitzureißen. Und jedes Konzert ist anders! Einige kennen unsere Musik und feiern mit uns, andere noch nicht – doch im Laufe des Gigs kann man sie vielleicht überzeugen.

Diese 1 zu 1 Reaktion hat man im Studio nicht.
Da ist es eher der laufende Prozess, wie auf magische Weise aus einer kleinen Idee am Ende ein ganzes Werk entsteht. Manchmal kommen auch Überraschungen und glückliche Zufälle dazu, so dass es eine faszinierende Reise ins Unbekannte ist.

KKM: Habt ihr für 2022 insgesamt eine Tour geplant?

Eine Tour haben wir nicht geplant, doch vereinzelte Konzerte wird es mit Sicherheit geben, wenn die aktuelle Lage es zulässt. Wir informieren stets auf Facebook über kommende Konzerte.

KKM: Vielen Dank für eure Zeit!

geschrieben von C.T.



🎶 Welcome to “The world of (((S)))”

While working on new material for the next years full-length album, (((S))) came across some old playlists containing songs from the first two albums “Ghost” and “Phantom” and realized that with modern technology some of these songs could be revised and brought back to life. The freshness and vitality they maintained after all these years coupled with his upgraded equipment led to a richer and more fulfilling sound. The result is a 10-song-compilation named “The World Of (((S)))” to be released on 28 December 2021.

Touching on The Jesus & Mary Chain, Joy Division and The Cure, (((S))) is refreshingly relaxed, surprisingly easy, danceable, and so reminiscent of NEW ORDER in the ‘00s or the late works by Adam Ant. The Scandinavian singer’s songs “Mesmerized” and “Lonely Is The Lighthouse” are irresistible wave-jewels, “In A Shadow Of A Shadow” and “A Crying Shame” enrapture with their dark atmosphere and the unexpected Beatles-Cover “Help” is more than a surprise: it gives the impression the original was recorded by Pink Floyd.

Back in 2009, when (((S))) found himself alone in Austin, Texas, little did he know that the debut album would be awarded one of the world’s best releases of the year by music journalist Mick Mercer on top of all the attention it had been receiving from music magazines and radios around the globe. Now, 12 years later, you can listen to an even better version of (((S)))‘s most prominent songs.

Dieses Bild hat ein leeres Alt-Attribut. Der Dateiname ist Front-Digital-700x700.jpg

Track Listing
1. Mesmerized
2. Lonely Is The Lighthouse
3. Deathtrip
4. In A Shadow Of A Shadow
5. Hungover
6. A Crying Shame
7. Who Loves The Lover?
8. Over And Out
9. Sons Of The Defeated
10. Help

Interview with (((S)))

KKM: Hello. We appreciate your time with Kainklangmusik today. We are based in Germany. Obviously Germany is well known for its electronic music scene. Is that where your greatest response has been from perhaps?

Yes I think so more or less. It’s where my record company is – Aenaos Records and it’s also where I get my stuff mastered – in Leipzig at TS- Musix. Also German radios and webmags has been very kind to the (((S))) project so far.

But a funny thing is that Spotify sends you all this data of where your listeners live and there’s a lot of americans on the line which makes sense in a way, because there has been a lot of airplay in the states. But it looks like the most listeners to the (((S))) project lives in Buffalo of all places – why I don’t know, but it’s great fun – I want to go there asap

KKM: Can you talk about the latest release, “The World of S”?
KKM: The latest album includes only new material or also older ones which where hidden in a drawer?

The reason ‘The world of (((S)))’ was released is that I accidently listened to the old stuff and it sounded so weak soundwise, but at the same time I was very proud of the songs – like in overwhelmed, so I decided to remix the best songs from the first two albums ‘Ghost’ and Phantom’. And while looking for the old files I stumbled upon so much unreleased material, that I have now started to record a whole new album!! And what a joy that is. I expect an album to be released later this year and hopefully a single in April.

KKM: Has the creative process changed at all during your time with (((S)))?

No I don’t think so. It’s stll a oneman band project with a big help from my drumming friend Tomas Ortved. Sometimes I’m so tired of all the work and trouble of working alone, that I forget all about it, but right now I’m on a high about it all and so very proud of all the things this project has achieved ever since being the album of the year in 2009…

KKM: Are you involved with any other projects? Are you involved as a remixer or in another related service?

Aenaos records has also released two albums the dreampop project BlackieBlueBird to great critical acclaim. I write the songs and Heidi Lindahl sings them so beautifully.

We’re taking a break right now, so instead I’m producing a Danish act called Neu Sierra, which also has a dark touch to it. We have been touring a bit and right now we’re trying to finish recording an album. There’s an ep out there already btw…

KKM: Has there been any change in your use of digital analog instruments over the years?

I’m a restless person, so I have switched genres on the (((S))) releases which is not good career wise, but so it goes. From classical postpunk stuff on the first couple of records through a more synthoriented sound. Then two utopian narrative soundscape albums about the early surf expiriences and even about old school country venues in the Virginians woods.( It sounds a bit weird I know and nobody listened to it) and then back again to the old sound of electric guitars and high strung lyrics.

KKM: Concerning influences… what would you say that the musical influence would be which might be the most surprising to listeners?

I mostly listen to old country and gospel records these days. Fifties and sixties stuff. It’s so comforting for your soul.

KKM: What’s next for you in 2022 and 2023? What do you hope to accomplish?

As stated earlier there’s an album release later this year, that I’m very excited about. New songs and new and better production. I want the (((S))) project to grow with even more airplay and maybe even doing concerts….

KKM: Thanks for your time. The last words are yours.

Thanks for asking and I hope we’ll talk again soon !

written by C.T.


THE BRUTE : veröffentlicht die 4. Single + Musikfilm + Debut Album – VÖ: 19.11.2021







The Brute : ist ein Electronica Musikprojekt und verschmelzt progressiven Elektrosound, eingängigen Melodien mit fesselndem Gesang und einen Mix aus Electro-Pop-, Blues-, Industrial- und Rock-Einflüssen. Driving To You“ ist bereits die vierte Single des Musikprojektes nach seiner Gründung 2018 und wird auch als EP auf CD im Handel erscheinen. Die Single EP wird einige Remixe sowie dem Soundtrack des kurzen Musikfilms „Momentum To Die“ beinhalten. Pünktlich zur digitalen Release der Single am 08.10.2021 wird es auch ein Video geben. 









Kurz nach der Single wird das Debut Album „Brute: One“ am 19.11.2021 digital sowie auf CD im Handel erscheinen. Auf dem Album werden einerseits bereits veröffentlichten Singles in überarbeiteter Form zu hören sein sowie komplett neue Stücke. Dabei handelt es sich bei den insgesamt neun Titeln um eine abwechslungsreiche Reise durch die Klänge elektronischer Musik, von Songs mit rockigeren Rhythmen wie „Driving To You“ zu poppigen und ruhigeren Songs wie „Lonesome Hero“ oder „Rain“ mit eingängigen Melodien bis hin zu experimentellen Stücken mit Industrial anmutenden Klängen wie „Lost“, die durch Sphäre aber vor Allem durch die abwechslungsreiche Stimme des Sängers getragen werden. 





Ebenfalls am 19.11.2021 wird das leidenschaftliche Wunsch- und Filmprojekt „Momentum To Die“ von Daniel Gierke, dem Mastermind hinter The Brute:, veröffentlicht. Ein Musikfilm von etwa 18min länge der mit Sounds und Melodien des Albums neu arrangiert als Filmmusik untermalt wird. Der Film wurde bereits im Herbst 2018 an originalen Schauplätzen des James Bond Klassikers Goldfinger in den Schweizer Bergen mit Unterstützung der Schweizer Armee gedreht, die für die Schlussaufnahmen die ehemalige Bergfestung Sasso Grand Gottardo am berühmten Gotthard Pass zur Verfügung stellte. Bezeichnender Weise ist der Musikfilm The Brute:’s Hommage an alte Agentenfilme der 60iger und 70iger Jahre ergänzt durch einen modernen elektronischen Sound.










The Brute: wurde 2018 durch Daniel Gierke ins Leben gerufen.

Die Songs von The Brute: wecken Erinnerungen an klassische Electronic Bands und warten mit einem moderneren Touch auf, der treibende Basslinien, eine fesselnden Stimme mit Songtexten verbindet, die bei jedem anhören eine neue Bedeutung zu haben scheinen. Von Anfang an arbeitet The Brute: mit dem berühmten Abbey Road Studios in London, UK zusammen, die nicht nur durch die Beatles bekannt geworden sind. Dabei hatte Daniel die Gelegenheit für die finalen Bearbeitungen bei allen Singles und den Album mit Simon Gibson zusammen zu arbeiten, der unter anderem für Musikgrößen wie Depeche Mode als Mastering Engineer tätig ist.








Neben den eigenen Kompositionen steuerte The Brute : 2020 für ein Tribute Album des Online Magazins Electrozombies eine Eigeninterpretation des Erasure-Hits „Ship Of Fools“ bei und nahme Anfang 2021 zusammen mit der amerikanischen Pop % Soul Sängerin Rachel Delgado eine Duett-Version seines Songs „Rain“ auf. 

Wegen der Pandemie nahm The Brute : 2020 und 2021 Abstand von Konzerten und fokussierte sich stattdessen auf die 

Studioarbeit. Für 2022 soll es dann aber auf die Bühne gehen. 


Review- The Brute : -One-


Ladys and Gentleman, welcome to the great adventure of listening, searching, going back to the roots! And in the end to stay at home and arriving by yourself.

Ich persönlich verfolge Daniels musikalische Aktivitäten schon sehr lange und freue mich riesig, das er dran geblieben ist und alles gegeben hat. Das Ergebnis ist der Hammer! Natürlich kann man nicht verleugnen, das man sich in die gute alte Zeit zurück versetzt fühlt. Aber genau das ist auch ein Grund dafür, warum die Scheibe sofort liebt oder hasst.

Gewisse stilistische Ähnlichkeiten zu einer sehr bekannten und von mir geliebten Band sind nicht von der Hand zu weisen. Um so schwerer ist es für mich, das hier zu schreiben. Die thematische Bandbreite der Songs und Texte ist sehr abwechslungsreich. Es hat nicht nur den Anschein das hier sehr viel aus einem bewegten Leben aufgegriffen und musikalisch verarbeitet wurde. Man fühlt sich als würde man sich selbst wieder finden. Es ist als säße man im Kino und würde einen Film über das eigene Leben schauen. Mit allen Höhen und Tiefen.

Mehr als einmal hat es mir ungefragt die Gänsehaut verschafft, die in meinem Fall nur dann auftritt, auch bei 30 Grad im Schatten, wenn es ein Volltreffer ist. Ich liebe dieses Gefühl und es hat sich schon immer bestätigt, das ich damit richtig lag und liege, denn diese Art von Musik brennt sich ein.

Wenn man selbst kein Instrument beherrscht fragt man sich immer, wie kann am Ende so etwas  heraus kommen? Wenn man sich auch darüber streiten kann ob es gesanglich perfekt ist oder eben genau das “dreckige”, das absichtlich nicht weichgespülte und anspruchsvolle hier den entscheidenden Punkt setzt.

Es ist kein einfaches Album! Es brauch seine Zeit. Aber es ist eines von denen, welches sofort mindestens 2 bis 3 Songs hervorbringt, die einen nicht mehr los lassen.

Ich will diesmal nicht jeden Song einzeln beschreiben. Einfach deswegen, weil ich es schlichtweg nicht alles zu Papier bringen kann, hier, sonst müsste ich ein Buch schreiben. Ich kann und muss sagen, das diese Scheibe eine echte Droge ist und ich gerne süchtig bleibe.

Hut ab vor dieser Meisterleistung und auch vor dem Mut, es um zu setzten!

Hört es euch unbedingt an und entscheidet selbst.

Ich für meinen Teil bin wieder ein riesen Stück glücklicher, zufriedener und entspannter, wenn ich das Album höre….eben zu Hause!

geschrieben von Claudia Tomaszewski


 „Seduce Me“ / „Rain“, den  31. Juli 2020.

Auch wird es eine überarbeitete Version zu “Lonesome Hero” Ende August 2020 geben, zusammen mit einem Video zu “Lonesome Hero” und einer Remix EP.  

The Brute : ist ein Electronica/SynthPop Musikprojekt aus Deutschland und der Schweiz. Hier verschmelzen progressiver Elektrosound und melodischer Gesang und ein Mix aus SynthPop, Blues und BritPop Einflüssen. Die Double Single „Lonesome Hero / And I Want You…“ ist das Debut der Gruppe. Die Songs sind schon bei Soundcloud zu hören. Die beiden Songs wecken Erinnerungen an klassische Electronic Bands und warten mit einem moderneren Touch auf, der treibende Basslinien, eine fesselnde Stimme mit Songtexten verbindet, die bei jedem anhören eine neue Bedeutung zu haben scheinen.









Interview mit The Brute:- 2020

In den Startlöchern steht hier ein Projekt, das mir persönlich sehr am Herzen lag. Ich war von Anfang an davon begeistert, nicht nur musikalisch, sondern auch menschlich. Nun haben wir uns die Zeit genommen, um ein bisschen Licht ins Dunkel zu bringen und wünschen euch viel Spaß beim lesen.

Als Erstes vielen Dank für deine Zeit und die Einblicke in dein Schaffen  Wie geht es dir? Du bist bestimmt total aufgeregt, oder?                                

Erst einmal danke für Deine Einladung zu dem Interview. Im Moment ist da so ein positives Kribbeln. Eine gewisse Aufregung lässt sich nicht leugnen. Das ganze Projekt bekommt eine Richtung, die am Anfang nicht absehbar war.








KKM: Stimmt es, dass Ende Juli 2020 die neue Single samt Remix EP rauskommen soll?

Ja, „Seduce Me / Rain“ wird die zweite Release von The Brute : und wird erneut eine Doppel-Single plus Remix EP sein. Zu hören gibt es dann verschiedene Versionen der beiden Titelsongs sowie einen neuen Bonustrack „Stay“. Offizielles Veröffentlichungsdatum ist der 31. Juli 2020. Zu „Seduce Me“ gibt es bereits ein Video, das man seit März auf YouTube anschauen kann.

KKM: Wie gemunkelt wird, hast du jetzt ein Label? Wie kam es dazu und was ist geplant?

Das ist toll, oder? Seit diesem Monat bin ich bei Timezone Records. Dinge passieren manchmal ganz schnell. Erst vor einigen Wochen hatte ich Holger von TZ einfach angeschrieben, da er tolle Künstler aus sehr verschiedenen Genres unter Vertrag hat. Einen Tag später haben wir uns schon extrem lange ausgetauscht und spontan eine Zusammenarbeit beschlossen. Es hat einfach gepasst. Das erste gemeinsame Projekt ist eben die neue Single. Im August ist eine Neuveröffentlichung der Single „Lonesome Hero / And I Want You…“ mit „Lonesome Hero“ in einer überarbeiteten Version geplant, quasi 2.0, Haha. Im Oktober soll es dann schon eine dritte Single geben gefolgt von einem kompletten Album in Dezember 20 oder Januar 21. Das gibt noch viele Nächte im Studio mit Energy-Drinks.

KKM: Wie sind die bisherigen Veröffentlichungen bei deinen Fans angekommen? Welche Reaktionen gab es von Seiten der (Szene – Fach)Presse?

Die erste veröffentlichte Single im letzten Jahr war eine Herzenssache von mir. Ich hatte absolut keine Erwartungen und war völlig überrascht, wie positiv die Reaktionen waren. In Frankreich und in Kanada kam „Lonsome Hero“ sogar bei einem Radiosender in die Rotation. Ein Freund aus Kolumbien rief eines Nachts an, dass er das Video gerade im kolumbianischen Fernsehen sieht. Und auf Facebook bekam das Video unglaubliche 100k Views und fast 600 Shares weltweit. PR in dem Sinne hatte ich gar nicht lanciert, aber dieses unglaubliche Feedback machte dann doch Mut, das ganze ernsthafter weiter zu verfolgen. Interessanterweise kam aus der Szene oder Szenefachpresse gar kein Feedback. (ausgenommen von Dir.) Eine offizielle Pressemitteilung hatte ich natürlich an alle Pressestellen oder Radiosender samt Musik geschickt. Aber ich hatte ja nichts erwartet und mir war klar, dass man sich den Weg erarbeiten muss.

KKM: Wie lange hast du an der Fertigstellung für die neue CD gearbeitet?

Das erste Demo zu „Seduce Me“ hatte ich schon im September 2019 veröffentlicht. Als dann der Deal mit Timezone Records kam, ging alles sehr schnell. Innerhalb von vier Wochen wurden alle Songs und Remixe überarbeitet bzw. „Stay“ gab es vor vier Wochen noch gar nicht. Du siehst ja meine Augenringe Smilie: ;-)








KKM: Wo wurde sie aufgenommen und produziert?

Alle Songs nehme ich komplett in meinem eigenen Studio auf und produziere sie in diesem Sinne auch dort selbst. Das Mastern der Songs machen aber professionelle Hände. Und mit Simon Gibson von den Abbey Road Studios in London habe ich da das Glück, mit einem echten Meister seines Fachs zusammenarbeiten zu dürfen. Seine Arbeiten an den letzten Alben von Depeche Mode werden wohl viele kennen. Er hat einfach das Händchen, die Seele der Songs einzufangen.

KKM: Wurdest du bei der Produktion von jemandem hinter den Reglern unterstützt, oder lag alles allein in deiner Hand?

In der Tat mache ich alles komplett alleine. Texten, Arrangements, Harmonien, jede Note und jeder einzelne Sound ist dann auch tatsächlich von mir. Über die Jahre haben sich bis unter die Decke eine Menge analoge Synthesizer angesammelt und fast jeden Abend wird daran geschraubt. Darin kann ich mich ganze Nächte verlieren.

KKM: Welche Anforderungen stellst du persönlich an einen guten Song?

Er muss überraschen können. Eine unerwartete Wendung oder Harmonie mitbringen oder ein interessantes sich aufbauendes Sounddesign. Auf keinen Fall berechenbar.

KKM: Wenn du neue Songs komponierst, benötigst du da eine bestimmte innerliche Stimmung oder eine besondere Atmosphäre?

Oh ja! Das geht sehr schnell. Musik ist für mich wie eine Droge und ich kann bestimmte Moment im Leben speichern und in den Noten wieder herauslassen. Augen schließen, den Moment vorüberziehen lassen und die Finger machen auf der Gitarre oder dem Key den Rest von ganz alleine. „And I Want You…“ ist auf diese Weise entstanden. Es hat etwas von Melancholie und der Sehnsucht nach dem Schönen, das in jedem und allem steckt, sogar wenn man vor einer Front von dunklen Wolken steht.








KKM: An welchen Orten kannst du dich am besten auf das Schreiben neuer Songs und Texte konzentrieren?

Es gibt da zwei Orte in Spanien und in den Schweizer Alpen, die mich fesseln. Dort sammle ich in Gedanken die Struktur neuer Songs. Die Fahrt dort hin ist schon sehr produktiv. Was ich da so alles in mein Mobile gebrüllt habe. Hahaha. Der Rest ist Fleißarbeit im Studio.

KKM: Welche Themen greifst Du auf und durch was lässt du dich beim Texten inspirieren?

In den Texten geht es ausschließlich um Themen, die mich persönlich berühren. Das können politische Tagesereignisse sein oder ganz persönliche Lebenserfahrungen. Das war nicht immer so. Aber man bringt so einfach mehr Seele in Gesang und Sound. „Seduce Me“ ist solch ein Bespiel. Der Song ist bereits 25 Jahre alt und erst jetzt mit dem neuen Text fühlt er sich vollständig an.

KKM: Wer verbirgt sich alles hinter The Brute: ?

Im Moment bin das nur ich. In der Vergangenheit waren es unter einem anderen Namen vier Mann. Ich hoffe, das wird sich in Zukunft wieder ändern. Gerade, wenn es um Liveauftritte geht. Bei dieser Gelegenheit; ich suche für das Projekt noch einen Gitarristen und einen oder zwei Keyboarder 

KKM: Gibt es so etwas, wie eine grundsätzliche Idee, die sich hinter The Brute: verbirgt?

Oh, das ist schon fast eine philosophische Frage. Musik hat mich schon seit der Kindheit sehr bewegt und letztlich ist Kunst ja oft genug ein Ventil des Erschaffers, um sein innerstes Ich auszudrücken. Da nehme ich mich nicht aus. Letztlich erzählen die Songs kleine Fünfminuten-Geschichten aus meinem Leben. In diesem Sinne, ja, es gibt eine grundsätzliche Idee.

KKM: Wie und wann kam es zur Gründung von The Brute: ?

Wenn Du es wirklich ganz genau wissen möchtest, das war der 03. Januar 2018 in der Oper von Madrid. Ich hatte ein Blind Date das von einer Exfreundin lanciert wurde. Eigentlich witzig. Ihre Lebensfreude hatte mich einfach wie eine Muse fasziniert. Nach über 15 Jahren Abstinenz brachte sie mich ungewollt dazu, wieder ernsthafter Musik zu machen. Zurück zu hause fing ich an „And I Want You…“ zu schreiben. In dem Song geht es eben genau um diesen Moment des Findens des inneren Wesens.

KKM: Wieso hast du dich für den Bandnamen The Brute: entschieden? Steckt für dich dahinter eine tiefere Bedeutung?

Es gibt da einen alten Film mit Clint Eastwood und Lee van Cleef, der heißt im originalen „The Good, The Bad and the Ugly“. Auf Französisch wurde er etwas anders übersetzt „Le Bon, la Brute et le Truand“. Von da ist es entlehnt. Der Doppelpunkt am Ende war ein Versehen beim erstellen des Logos und habe es spontan im Namen belassen.








KKM: Wie zufrieden bist du mit dem bisher Erreichten und was würdest du ändern, wenn du die Zeit zurückdrehen könntest?

Dafür, dass ich am Anfang eigentlich nur einen Song aufnehmen wollte und ansonsten keine Erwartungen hatte, freue ich mich über die Entwicklung. Die Zeit wollten wir schon alle zurückdrehen und natürlich hätte ich mich gefreut, wenn bereits Mitte der 90iger sich etwas ergeben hätte. Seit dem gab es viele gute und schlechte Entscheidungen. Aus heutiger Sicht würde ich nur eines ändern; eher in die Welt hinaus gehen.

KKM: Was war für dich das Schlüsselerlebnis selbst Musik machen zu wollen?

Meine Eltern und Großeltern waren Musik begeistert und nahmen mich immer mit in die Oper. Ich werde bis heute nicht vergessen, wie ich zum ersten mal als Junge den Gefangenenchor aus „Nabucco“ hörte. Und als meine Musiklehrerin mir erklärte, dass Musik nichts als Mathematik ist war es klar, das wollte ich auch machen.

KKM: Wen siehst du als das typischen The Brute : Publikum an?

Uhh, dazu habe ich ganz ehrlich gar keine Meinung. Wahrscheinlich sind alle Liebhaber von elektronische Musik jeder Couleur, potentielle Zuhörer, sei es New Wave oder Alternative Rock aus den 80igern und allem, was sich daraus in den letzten 40 Jahren an Musikstilen entwickelt hat. Aber wie schon erwähnt, interessanterweise kommt gerade aus dieser Szene nur ein sehr überschaubares Feedback. Und ich schreibe die Songs nicht für eine Szene, sondern für mich. Jeder ist herzlich eingeladen, sich diese anzuhören.

KKM: Wie wichtig ist für The Brute : (musikalischer) Erfolg?

Jetzt dann doch sehr! Hahaha. Ganz ehrlich; I want it all!








KKM: Wurdest du dich vielleicht auch (musikalisch) verbiegen lassen, um dadurch eventuell erfolgreicher zu werden, einen fetten Label Deal zu bekommen?

Nein! Klingt plakativ idealistisch, aber hatte ich in der Vergangenheit bereits abgelehnt. In den 90igern gab es mit der damaligen Band Annäherungen mit einem Label aus Köln, das unbedingt wollte, dass wir Deutsch singen und keine Synthesizer mehr benutzen. Das kam nicht in Frage. Ein Label in Hamburg blies in das selbe Horn; tolle Melodien, wir machen jetzt noch einen Tekknobeat à la Scooter drunter und dann läuft’s. Das war es dann auch nicht. Ein Szene Label aus München hatte damals sogar eine Agentin zu einem unserer Konzerte geschickt. Sie wollte wiederum reine elektronische Popmusik ohne Rock- oder Blueskomponenten. Also nein.

KKM: Was möchtest du in naher Zukunft (musikalisch) mit The Brute : erreichen?

Im Moment stehen zwei Dinge im Fokus. Zum einen die Veröffentlichung des Debutalbums und zuvor die dritte Single „Driving To You“. Dafür hatte ich bereits vor zwei Jahren mit einer großen Crew eine Art Agenten Musikvideo an originalen Schauplätzen von „Goldfinger“ in den Schweizer Bergen gedreht, mit freundlicher Unterstützung der Schweizer Armee. Die hatten uns sogar den Showdown in einer der Bergfestungen als Art Bösewicht-Headquarter drehen lassen. Das liegt seit dem in der Schublade. Mal sehen, was dann danach kommt.

KKM: Was war das Peinlichste das dir je passiert ist?

Mein aller erste Auftritt als Frontman meiner damaligen Band. Vorher stand ich nur am Keyboard. Der war so schlecht, dass man sogar Biergläser nach uns warf. Naja, danach konnte es eigentlich nur noch bessere werden. Hahaha.

KKM: Wie wurdest du dich selbst beschreiben?

Ein Genussmensch der viel arbeitet. Auf jeden Fall etwas stur und perfektionistisch. Manchmal zu melancholisch.

KKM: Welche Vorbilder oder Helden hast du?

Meine Großeltern, denen habe ich alles zu verdanken. Ansonsten war ich immer fasziniert von Menschen, die das Unbekannte entdecken und etwas wagen. So jemand wie Columbus oder, auf Musik bezogen, Musiker wie Wagner und David Bowie.

KKM: Wenn du einen Wusch frei hättest, was würdest du dir wünschen?

Ein Tag im Studio mit Alan Wilder. Darf man das sagen?

Fazit: Das anhaltende, musikalische Niveau und die überraschende Umsetzung der Songs machen es zu einem Muss, die anstehende Scheibe an zu hören. Die Tiefe und die starke Anziehungskraft, welche die bisher veröffentlichen Kostproben bieten, zeichnen sie ebenfalls aus.

geschrieben von Claudia Tomaszewski


Bandname: The Brute :

Gründungsjahr: 2018



Youtube :





« Older posts