Side-Line Reviews

02/06/2026

The Witch Said No – Call The Dead (Digital EP – Aliens production label)

The Witch Said No is a relatively obscure project from Russia that has been active for several years and has already released a number of recordings in its home country, including a debut album. Very little is known about the project itself, which only adds to its mysterious aura. Earlier this year, the band released a new EP through the Slovak label Aliens Production, featuring three new tracks alongside six remixes.
The Witch Said No delivers a powerful form of Dark-Electro driven by bombastic heavy beats and overwhelming repetitive sequences, topped with an almost completely unintelligible, hateful vocal style. The title track is certainly an interesting discovery, while the two remaining new songs follow a similar direction but prove slightly less convincing. The remixes of the title track were created by KIFOTH, Deadjump, Human Vault, Novakill, and TC75. The EP also includes an alternative version of an older track.
What stands out most here is undoubtedly the title track itself, which shows strong potential, alongside several successful remixes — especially Novakill’s contribution, which turns out to be my personal favorite. (Rating:7).

Listen to “Call The Dead”:
https://aliensproduction.bandcamp.com/track/call-the-dead

02/06/2026

Dawn of Ashes interview is also available at Side-Line Magazine:

Dawn Of Ashes has always remained a project with a striking visual identity, perfectly aligned with the disturbing themes it addresses. Time for an interview.

01/06/2026

Replicant – Critical Point (Digital/CD Album – Aliens production label)

Tomasz Lukowicz has already earned his stripes with his Fractal project, through which he has released a truckload of productions. With Replicant, he reveals another side of his skills, and on the debut album “Critical Point”, he delivers 11 compelling tracks.
Replicant sounds very different — more like an experiment in which the operator takes us deep into his sonic laboratory, completely unleashing his creativity in sound design. He supports these experiments with slow rhythms and broken beats. Lukowicz reveals himself here as a true sound architect, showcasing an impressive sonic landscape. I particularly enjoy the depth he creates in his bass lines, as well as some of the space-like electro arrangements. The whole album remains entirely instrumental. A touch of vocals or sampling here and there would not have felt out of place, but “Critical Point” already stands firmly on its own. The album even contains a few minimalist gems that are simply impossible to ignore. This is the kind of release that would have appealed to fans of the Tympanik Audio label back in the day, but which has now found the right home on Aliens Production.
Call it Experimental with a touch of IDM subtlety, or simply Electro freestyle — this debut album is certainly an intriguing discovery. (Rating:8).

Listen to “Depressing Fate Of Humanity”:
https://aliensproduction.bandcamp.com/track/depresing-fate-of-humanity

31/05/2026

‘CLICK INTERVIEW’ WITH Dawn of Ashes

Kristof Bathory brought DAWN OF ASHES to life in 2000. The first albums by this American artist were released through the now-defunct Noitekk label, immediately grabbing listeners by the throat with their raw, icy, and uncompromising blend of Dark-Electro and Aggrotech. More than twenty years later, this musical visionary can look back on a rich and successful career during which the project evolved through several distinct eras — from its original Dark-Electro-driven sound to Industrial-Metal, before ultimately returning to its Electronic roots on the previous opus, now infused with the Cinematic influences Bathory also explores in his solo work. With over two decades of dark visions, sonic aggression, and constant musical transformation, Kristof Bathory remains one of the most uncompromising figures within the scene. With “Anatomy Of Suffering,” released on Metropolis Records this spring, he not only confirms his return to a more Electronic approach, but also delivers a remarkably mature work in which he continues his meticulous exploration of mental anguish and psychological suffering. DAWN OF ASHES has always remained a project with a striking visual identity, perfectly aligned with the disturbing themes it addresses. As a listener, you can feel the suffering permeating every aspect of the project, balanced by a profound artistic vision and emotional depth. Time for a conversation with the artist himself.


‘SOMETIMES, SUFFERING IS A NECESSARY PART OF HEALING’


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

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


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

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


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

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


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

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


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

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


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

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

31/05/2026

Subverge – Sequenced Suffering (Digital/CD Album – Aliens production label)

Following the previous album “Select”, which mainly featured a curated selection of tracks taken from Subverge’s existing releases, this new opus brings together a collection of unreleased, previously unknown, remix, and collaborative tracks. Henrik Karlsson personally selected the thirteen songs included here.
There is perhaps slightly more diversity in terms of sound and influences on this record compared to Select, although the foundation of the compositions remains very much intact. Subverge continues to craft a highly distinctive form of Dark Ambient, occasionally enriched with slow rhythms and subtle percussion. Throughout the album, one can clearly hear Karlsson’s unmistakable fascination with Electro music and his irresistible urge for experimentation and sonic exploration.
The result is a deeply Cinematic work that, aside from a few vocal contributions, remains largely instrumental. Subverge excels at building dark atmospheres and allowing them to evolve gradually, much like the tension unfolding within a thriller film. Among the collaborations, the outstanding track with Access To Arasaka deserves special mention, serving as a true apotheosis of the album.
Above all, Henrik Karlsson once again confirms his extraordinary talent for composing visionary and dark Ambient music, distinguished by intelligent sound design and remarkably refined production work. (Rating:8).

Listen to “Purple Storm”:
https://aliensproduction.bandcamp.com/track/purple-storm

30/05/2026

Subverge – Select (Digital Album – Aliens production label)

Henrik Karlsson might ring a bell for fans of Seven Trees. However, it has been several years since this Swedish project released any new material. In the meantime, one of its members, Henrik Karlsson, began releasing his own music under the sonic alter ego Subverge. Four albums have since been released on his own label, Arcane Dirge. A selection of nine tracks from those albums has been brought together on this compilation, “Select”, and supplemented with three previously unreleased tracks, which also conclude the album.
Seven Trees and Subverge are not really comparable, except for their shared Electronic foundations. That said, Subverge appears to draw inspiration from the legacy of Cold Meat Industry. A pronounced Dark-Ambient influence runs throughout the album, although it rapidly evolves into a more Cinematic sound. The result is an overwhelming production built upon an extremely dark undertone, frequently supported by slow rhythms and powerful orchestral percussion. At times, I even detected subtle Tribal elements. Dark strings color the atmosphere, while more delicate piano arrangements provide contrast and depth. Repetitive sequences create a sense of foreboding and further reinforce the album's gloomy mood. To be fair, I must admit that the three previously unreleased tracks—seemingly older compositions that simply never found their way onto an album—do not add much to the overall experience and therefore offer little real bonus value.
Nevertheless, “Select” presents an excellent overview of Subverge's work and serves as the perfect introduction for newcomers, as well as an ideal opportunity for existing listeners to (re)discover the project. As far as I'm concerned, this is an absolute masterpiece. (Rating:8½).

Listen to “Silver Circles”:
https://aliensproduction.bandcamp.com/track/silver-circles

29/05/2026

Starsign – Silver Linings (Digital/CD Album – Infacted Recordings )

Starsign emerged in the 1990s and was driven by the German duo Oliver Teßmer and Matthias Blechschmidt. At the time, they released several EPs, along with an album that appeared in 2003. After that, things went quiet for more than two decades, but the duo revived the project a few years ago. Following several high-profile singles, they released “Silver Linings” earlier this year, featuring 10 tracks.
The influences running through “Silver Linings” are quite diverse, yet they fit perfectly within the Electro-Pop genre. The songs move between quiet, floating pieces on the one hand and more danceable tracks on the other. Depeche Mode can occasionally be felt lurking around the corner, while other tracks seem inspired by Mesh. However, Starsign is by no means a copycat; rather, they have managed to blend these diverse elements into a smooth and enjoyable whole. Some songs are beautifully crafted and reveal subtle details in the production. Personally, I prefer their ‘heavier’ tracks, and although I do miss an undeniable standout hit on the album, “Silver Linings” still has a great deal to offer. (Rating:8).

Listen to “Shiver”:
https://infactedrecordings.bandcamp.com/track/shiver

28/05/2026

Neon Electronics – Liberation (Digital/Vinyl EP - Θʀ⊿cu⌊⊕ ʀ⋵cøʀɖs)

When The Neon Judgement called it quits in the late ’90s — although they would return regularly, mainly for live performances — Dirk Da Davo decided to continue solo with Neon Electronics. Over the years, he received support from Glenn Keteleer and Pieter-Jan Theunis. The first self-titled album was released in 1999, ushering in a career that now concludes in 2026 with this final record.
Neon Electronics has gone through several stylistic periods in terms of influences and genre, but on “Liberation” — which feels more like a mini-album — the project returns to ’80s influences. The music and atmosphere radiate Cold-Wave, driven by danceable beats. There is a fine balance between guitar and electronics, resulting in a dark atmosphere enriched by eerie vocals, while additional influences from Techno and EBM also emerge. More than ever before, I hear clear references to The Neon Judgement, though I doubt anyone will mind.
This release contains six tracks (only five on the vinyl edition) as well as two remixes by Ancient Methods and Patrick Codenys of Front 242. The album bids farewell to us with Neon Electronics at its very best, and somehow that genuinely hurts the listener. This is a highly accomplished and technically refined production filled with hidden gems waiting to be discovered. I would also like to highlight the excellent remix by Patrick Codenys, which, in my opinion, even slightly surpasses the original track. The bonus track included on the digital edition is likewise a brilliant piece of work in which melody and sonic chaos blend beautifully together.
“Liberation” is a brilliant release that immediately feels like the epitaph of Neon Electronics and, as far as I am concerned, a project that will be deeply missed. What’s next, Dirk? (Rating:8½).

Listen to “Liberation”:
https://oraculorecords.bandcamp.com/track/liberation

27/05/2026

Les Longs Adieux (Les Longs Adieux / Il Lungo Addio) – Arousal (Digital/CD Album – Les Longs Adieux)

“Arousal” is already the third album by Italian duo Les Longs Adieux. With this new release, Federica Garenna and Frank Marrelli continue to build on their established sound while simultaneously allowing new influences and subtle evolutions to emerge.
The album still breathes the spirit of the 1980s, yet this opus perhaps leans even more toward Electro-Wave territory, enriched with wonderfully vintage synthesizer textures that create a certain sense of magic. Throughout the record, a melancholic atmosphere dominates, beautifully reinforced by melodic choruses that give many of the songs an emotional depth. One particular standout is “Le Soldat De Plomb,” which incorporates a few French lyrics and is, in my opinion, by far the strongest track the duo has written so far. The song feels like a genuine gem and showcases exactly what Les Longs Adieux is capable of achieving when everything falls perfectly into place. After this high point, the album loses a bit of momentum, though it remains an enjoyable and atmospheric listen throughout, even if no additional tracks quite reach the same level.
Les Longs Adieux undeniably possesses potential. They may not have fully realized it yet, but “Arousal” contains at least one truly remarkable song that is bound to resonate deeply with listeners. (Rating:7½).

Listen to “Le Soldat De Plomb”:
https://leslongsadieux.bandcamp.com/track/le-soldat-de-plomb

27/05/2026

Dronny Darko Interview is also available at Side-Line Magazine:

Over the past few years, Ukrainian artist Dronny Darko has become a familiar name within the Drone, Cinematic, and Dark-Ambient landscape.