31/12/2025
REVIEWER & INTERVIEWER STEF COLDHEART UNDER FIRE: READERS QUESTION HIS WORK AND ALBUMS – TOP 25
I believe that as a critic, you should also be able to accept criticism. I have been working non-stop since 1991, writing reviews and conducting interviews for Side-Line & Inferno Sound Diaries. Every year, I examine hundreds of releases, subjecting them to a critical, subjective, yet honest analysis. Naturally, readers, artists, and labels have their own opinions about this work.
Over the past few days, I therefore came up with the idea of putting myself in the hot seat by answering critical questions from several people familiar with Side-Line. I would like to express my sincere gratitude to Jürgen, Cédric, Dimitrios, Sébastien, Peter, Tom, Anne, and Dom for their spontaneous participation and for not going easy on me. Enjoy the read, and see you in 2026. (Stéphane Froidcoeur)
Q: What is actually your modus operandi when writing reviews, and where do you listen to the music you receive?
Stéphane: For me, the best place to listen to music is in my car when I’m driving alone. Of course, I’m focused on the road, but that’s when the music really reaches me best. I take notes along the way, which I later use for my reviews.
Most of the time, I write a review based on a single listen, but that’s not a fixed rule. Some albums I’ve listened to several times, spread over different days, to be absolutely sure of my opinion.
Q: You write for two media outlets with a clearly defined identity. Where do the differences lie?
Stéphane: That’s the result of a historical development. About ten years ago, Bernard Vanisacker and I had a serious disagreement about the editorial direction of Side-Line, which led me to leave Side-Line Magazine and start the page Inferno Sound Diaries. It gave me complete freedom to do what I wanted and to place certain emphases that had previously been more difficult.
Of course we both knew, there are many similarities—far more than differences—between Inferno Sound Diaries and Side-Line. It would have been foolish to start something that was completely detached from Side-Line, and so we eventually found each other again in a different form. As Bernard once said, ‘we’re better as lovers than as a couple’:-) Since then (2016), I’ve continued to write all the reviews and almost all the interviews that are published on both platforms, which in turn offers greater visibility for artists, labels, and readers alike.
Q: Besides your ‘best of’ albums of the year, could you also give a TOP 5 of the flops of the year?
Stéphane: I will never, ever compile a selection of the worst albums of the year. I simply wouldn’t find that respectful, and moreover it remains a subjective matter. What I have been increasingly disappointed by, however, are bands that released fantastic records in the 1980s—albums and songs that are etched into my memory—but whose new work no longer appeals to me at all. The magic is gone. You can still recognize their sound and signature, yet they no longer match the level of their 80s output. I had that experience this year with the new releases by RED LORRY YELLOW LORRY and THE CHAMELEONS, for example. This does not change the fact that I consider them incredible bands that helped shape the history of New/Dark-Wave.
Q: Which five bands would you most like to review a new album from in 2026?
Stéphane: Now I’m going to allow myself to dream:-)
I would absolutely love to discover a new album by NOISUF-X. Jan Loamfield hasn’t released anything for quite some time, and I really miss his music. To me, he was one of the major artists in the Dark-Electro and Trance-Industrial genres of this century. With NOISUF-X, he delivered something genuinely new—something I truly miss today.
Icon of Coil Official is another band I deeply miss, as they created some exceptionally strong tracks and albums. Just imagine a new ICON OF COIL album.
Then there is the lesser-known, but in my eyes incredibly good Circumpolar, who released a fantastic album a few years ago—intelligent electro that reminded me of CLOCK DVA meeting THE KLINIK.
In addition, I would love to discover new work by Test Dept, but in the Industrial style they produced back in the 1980s. No one is making music like that anymore today. I know there’s a new album in the pipeline so I’m wondering how it will sound like.
And finally, something new from Mark Tansley, once involved with SUSPIRIA, INTRA-VENUS, RAZORFADE… everything he was involved in, I simply found brilliant.
Q: After consuming an extreme amount of music in 2025, just like the many years before, what did you find more disturbing: the lack of originality, the pressure to constantly release content, or the feeling that music is becoming disposable?
Stéphane: Good question. I think all of them affect and disturb me in one way or another. There is certainly still originality, but too few artists dare to truly take risks anymore. And even when something is original, it doesn’t necessarily mean it’s good. Music increasingly seems to follow the spirit of the times—almost as if it has become a disposable product. And as an artist, you’re also expected to release something regularly, otherwise you’re forgotten more quickly.
So yes, there is undoubtedly a certain pressure, partly self-imposed by artists, but also coming from some labels that expect this from them. When you see that many artists release an album every single year, I can’t help but question that—although some of them, admittedly rather exceptions, still manage to keep the quality bar high. Perhaps this is less pronounced in our scene, but it is certainly present.
What truly worries me is the way young people—and older people as well—consume music today. It’s no longer about artists and albums, but about playlists they create and share with their ‘friends’, and so on. I find that a regrettable evolution, yet it’s clear that the industry is adapting to it. Labels generally release far fewer albums than they used to, digital-only releases are becoming more common, and singles and EPs with multiple remixes have become the norm.
Q: In 2025, AI-generated and AI-assisted music became impossible to ignore. As someone with highly trained ears like you, can you genuinely hear the difference — or is the real issue no longer about sound, but about intent and honesty?
Stéphane: This is something I think about a lot, and despite the many advantages of AI, it also scares me. In a very recent interview with TOBIAS BERNSTRUP about AI, he said that playing an instrument is an art. I completely agree with him and would add that this art also leads to creativity and innovation. So far, AI can only build on what already exists, and if more and more so-called artists start relying on it, creativity will stagnate and decline. The art will no longer be about making music, but about using AI.
I don’t have the ears of a producer and therefore won’t immediately notice the difference, but I do sense when someone has invested time in essential—yet often neglected—aspects such as proper sound design, production, mixing, and mastering.
I’m not sure whether it is dishonest to make music with AI, because in the end, it is still music. You could compare it to reheating fast food: it might taste okay, but that doesn’t make you a cook—and certainly not a good one. I believe that real artists will retain their place for a long time, but ultimately, everyone decides for themselves what they choose to listen to.
To me, AI is above all a fantastic tool—but it should remain just that: a tool. I also use AI for my reviews, but only in the sense that I still write the content myself, word by word, and use AI solely to improve it linguistically. Don’t forget that I’m not a native English speaker, and in that respect, AI truly is a blessing.
Q: When you look back at 2025, which releases challenged your own taste or forced you to rethink what ‘good’ music means to you today — and which ones confirmed your worst fears about where the scene is heading? After listening to so much music, do you ever worry that being an expert dulls your ability to be surprised, or did 2025 still manage to catch you off guard?
Stéphane: This year, I discovered a number of very strong albums, including a few veterans who genuinely surprised me and confirmed that even after many years, it is still possible to deliver creativity and high quality. The most surprising album for me was “Appear Disappear” by The Young Gods. I was never a big fan, but what they delivered on this album truly had a shock effect on me — it was that good. A kind of back to the roots approach, yet with a contemporary layer on top that sounds powerful and well-crafted.
Another band that surprised me was Das Ich (DAS ICH BAND) with their album “Fanal.” Here too, this group was never really among my favorites, but to return after so many years of silence with such a refined production can only be the work of geniuses.
I consider myself fortunate to have a very eclectic taste, and as a result, I can still be surprised. However, nowadays that surprise tends to come more from the quality of a production than from artists who truly innovate. The feeling of being completely blown away — like what I experienced in the 1980s and also the 1990s — has largely disappeared.
Q: Is there an album in your top 25 that you'd like to defend for any reason?
Stéphane: I stand by my choices and defend them all, one by one. The one I feel more compelled than ever to defend is my number one of this year, which I awarded to Fïx8:Sëd8 and his album “OctAgram.” This artist has always reminded me of SKINNY PUPPY, and that comparison did provoke quite a few reactions. I would never want to diminish the immense talent and career of SKINNY PUPPY—personally, I consider them among the absolute masters of EBM/Dark Electro and later Industrial.
What I do find strange and questionable is that many people tend to respond rather condescendingly to anything released—mainly—after the 1980s. It is always seen as ‘inferior’ and never good enough, as if all those icons from the ’80s and even the ’90s released nothing but great material.
When I listen to “OctAgram,” and especially to the concept behind it—which forced Martin Sanne to rethink his way of composing and, above all, to move away from the classic, age-old, repetitive structures of ‘intro–verse–chorus–outro’—I can only take my hat off to such a masterpiece. “OctAgram” is an absolute masterpiece that, in retrospect, may even have deserved a higher rating. I even consider it one of the major albums in the history of Dark-Electro in the 21st century.
But as I’ve said before, this all remains a personal and subjective opinion. These days, however, people tend to react far too quickly and impulsively, without first taking the time to delve into the content and the details of the production.
Q: Which album from 2025 unsettled you the most because it didn’t fit within your usual frame of reference, yet continued to resonate?
Stéphane: Without a doubt, the album by the Belgian artist NEVEL. Bart Van Meulebroeck is a personal friend. With “Subconscious Dubs,” he truly released a masterpiece, both in terms of composition and production. Even so, I did not review this album because, genre-wise, it does not fit the target audience of Side-Line.
In recent years, I have returned to the essence of where Side-Line comes from: EBM, Dark-Electro, Electro-Pop, Dark/Cold Wave, Industrial, Ritual, Tribal, Ethereal, Dark Ambient, IDM, and related genres. “Subconscious Dubs” is a floating blend of Electronic music with its main influences being Dub, Ambient, Lounge, and Dance. In the past, this would have been covered by Side-Line and might even have earned a place in my annual TOP 25.
Now, however, it really has to fit the overall framework, or it won’t be reviewed. My reviews are aimed at a very specific target audience, and in that context I don’t see the added value of covering something that doesn’t fit—even if it’s by someone I personally know.
Q: If someone reads your TOP 25 and says, ‘this says more about you than about the music year’, do you see that as a reproach, or as the highest compliment?
Stéphane: Neither. As a critic, you have to accept that criticism can also be directed at yourself—but it has to be well argued. That is precisely what is difficult, yet so challenging, about being a critic: substantiating your opinion.
Once again, it remains subjective, and that TOP 25 only contains releases for which we have received promotional material. Many records therefore fall by the wayside, and I continue to make a warm appeal to labels and artists: please send your promos. Today it is much easier to send promo material via download, and it also saves time and money. Still, there are labels and artists who refuse to do so, and that is something I genuinely cannot understand.
I would also like to add that every year my list includes artists from music genres that I personally care less about. As a critic, you have to put your personal preferences aside and simply acknowledge quality where it is due.
Q: Some readers claim that you are too loyal to certain labels, artists, or music genres. How independent can a critic really be within a relatively small alternative music scene?
Stéphane: Those are two different matters which, in my opinion, should be kept separate when you are a ‘journalist’. I am loyal to all labels and artists, even to some who have disliked me in the past. Look, I have immense respect for labels and artists who work hard and, above all, remain fair and correct. I know all too well how much time and energy can go into an album, as I have been involved in several bands myself (NEBULA-H, FUZEBOXMACHINE, among others). For me, loyalty means continuing to support music. Just because I find a particular album less good—or downright bad—doesn’t mean I have anything against that band or label. That remains subjective, and honestly, I always hope that the next release from that band will appeal to me.
As for independence, it is more a matter of attitude. I try to treat everyone in the same way. For years, a connection has been made between Side-Line and Alfa Matrix because of the editor-in-chief, Bernard Vanisacker, who is also a member of Alfa Matrix. Years ago, that connection was even closer due to Séba Dolimont and Benoît Blanchard, who are now exclusively focused on the label. But take a look: in all those years, I have never placed a single Alfa Matrix album at number one in my TOP 25 lists. In a way, I find that regrettable because they are friends, but my work ethic forbids me from showing favoritism. And what actually makes us friends is that they have never held this against me.
Q: In a time when algorithms, playlists, and hype cycles dominate, what is the real function of a music critic in 2025 — a guide, an archivist, an opinion maker, or simply a passionate fan with a platform?
Stéphane: It’s a question I ask myself quite often, and unfortunately I have to admit that the role and impact of a music critic have significantly diminished today. I fear that a platform like Side-Line—and other online or print magazines—mainly attracts an ‘older’ audience, namely those who grew up with these forums and media. Younger people, but also older listeners, increasingly rely on—or even exclusively use—streaming services, playlists, and related tools.
Journalism as we once knew it is dying out, and along with it, the critical perspective on the scene and on everything that happens within it. Everything is driven by algorithms and pre-digested by AI. It’s an unfortunate evolution that almost no one can escape. Whereas in the past people discovered new bands through friends, a knowledgeable record store owner, or compilations, today everything is served up based on what algorithms decide you might like. As a result, you miss out on many interesting new discoveries—discoveries that can still be found on a platform like Side-Line.
Q: In a world where everything is possible: who would you like to interview face to face, and why? And what would you like to know about him or her?
Stéphane: Arghhh, a difficult question. But this year, after the final Front 242 concert, I wrote a column about the event. Somewhere in it, I said that I would one day love to sit on a terrace with Jean-Luc De Meyer and talk. I wouldn’t interview him; I would simply want to philosophize together. That guy has written such unique, cryptic lyrics that hardly anyone has truly understood them. Yet after some research, I came to interpret them largely as a critical reflection on society, technology, the world we live in, and the impact all of this has on people. These are themes that have been occupying my mind for a long time as well. De Meyer also strikes me as a fascinating person because he never really sought the spotlight, yet always came across to me as somewhat mysterious and introverted—and those are usually the most interesting people to simply have a conversation with. Who knows, maybe one day I’ll still be sitting at a table with him ;-)
Q: Is there a deceased artist you never interviewed but would have liked to ask a few questions?
Stéphane: Without the slightest doubt, Bryn Jones of MUSLIMGAUZE. He passed away in 1999 and left behind an impressive, seemingly endless body of work. Many albums were even released after his death, but I was deeply fascinated by his music and the commitment behind it. It is difficult to imagine how albums with titles such as “Abu Nidal”, “Hamas Arc” or “Rape Of Palestine” would be received today. And then there were the album covers, which were always highly engaged and provocative. That man fascinated me and above all, I remember him as a highly visionary artist with a very distinctive and unique sound.
Q: Who is the most unpleasant person you have ever interviewed?
Stéphane: Neither face to face nor by email have I ever interviewed truly horrible or unbearable people—and I genuinely mean that. What I cannot tolerate, however, are artists whom you contact—either directly or through an intermediary such as a manager or label owner—who agree to an interview. I then prepare it, sometimes investing quite a bit of time, send the questions, and then never hear from them again. You send several reminders, but receive no response whatsoever.
I consider that a lack of respect, even though you never know what may have happened. This happened to me this year with THE BIRTHDAY MASSACRE. Please note that this does not diminish my appreciation of their latest album, which I actually included in my Top 25. It had been a while since something like this happened, but I suppose it’s part of the job.
Years ago, we also had quite a bit of trouble at Side-Line with an artist and his manager. I refuse to name him, as he simply deserves to be ignored. ‘Negative publicity is still publicity’, as a well-known band once said—but I have no intention of giving him any. The man is well known within the scene and liked by very few. He is simply blacklisted and has never contacted us again.
I’m not afraid to name names, but those people simply do not deserve attention. For me, they are buried in oblivion, and I have long since refused to listen to their music. Thankfully, these are only exceptions.
Q: Which interview has stayed with you the most throughout your entire career?
Stéphane: For me, it remains the interviews with Ben Watkins (Juno Reactor). I continue to be an absolute fan of his music and his body of work, but he is also a truly wonderful human being. Look, someone like Watkins does not need Side-Line, yet the time he takes to answer the questions so thoroughly, as well as the gratitude he shows, speaks volumes about his character. Behind the talented artist, there is also a great human being.
This year, I would also like to express my thanks to Graeme Revell (SPK) and Chris Corner (IAMX). Their music is worlds apart, but they are major, highly respected artists with very busy schedules. I sent them quite a number of questions, all of which were answered with care and attention to detail. Respect to such exceptional artists, who can serve as an example to smaller names who mistakenly believe themselves to be great.
Q: During the time when you still conducted face-to-face interviews, did you ever receive improper proposals from certain artists, and did you ever give in to them?
Stéphane: Haha, no—never ;-) That kind of thing is more likely to happen to artists than to journalists. And believe me, such proposals did exist back when I was involved with FUZEBOXMACHINE and NEBULA-H, but no, I didn’t give in to them then either.
What did happen was that some bands once asked me whether they had to pay to get a review and/or an interview published. I always refused that, because it is simply unethical. You can no longer write freely and honestly if money is involved.
Now, back when Side-Line was still a printed magazine, advertising was paid for. Labels spent quite a lot of money to get a band on the cover, and an interview came with that. Personally, I can’t recall ever interviewing a band I didn’t like, but in those circumstances we were, in one way or another, influenced to write a more ‘positive’ review. Well, we also needed those advertisements to finance the magazine. Since Side-Line stopped being printed—already since the end of 2007—and we’ve been working exclusively online, I’ve experienced nothing but total freedom in my writing.
Q: Do you still buy vinyl and CDs like in the past? How large is your collection, and what is the most intriguing item in it? You will be presenting your TOP 25 of the year, so how many of those do you own in physical form?
Stéphane: A difficult question, because I am still attached to physical formats, with a personal preference for CDs, yet I find myself listening more and more via streaming. On the one hand, most artists and labels now only send out digital promotion—which I completely understand for economic reasons—and on the other hand, it is simply faster and easier to handle promotion that way. As a result, I don’t buy physical copies of what I review. I already invest a great deal of time into it, and then I would still have to pay for it. It’s a bit of a contradiction, but we can’t deny that physical copies are disappearing. I do still buy CDs, but mostly from bands outside of this scene. My most recent purchases were albums by INDOCHINE.
A practical problem for me is space. I have around 9,000 CDs at home, plus many cassettes and vinyl records. I simply no longer have the room to store everything. Three years ago, my wife and I moved, and I have to admit that moving all those CDs and the rest was a true nightmare.
The most intriguing production in my collection? I listen to many different genres of music, including far beyond this scene. ‘Intriguing’ might not be the right word, but I have all the albums ever released by JACQUES BREL,
I haven't counted how many physical vs. digital promos I received and have on my TOP 25, but definitely more digital, which is fine with me.
Q: What good advice would you give to starting bands or emerging projects?
Stéphane: I can speak from my experience both as a band member and as a journalist. First of all, I would say: don’t rush things. Take the time to create something properly and, above all, to finish it. Put your ego aside and don’t hesitate to ask others for help and advice.
Especially in the Electro scene, many people work alone. I never really understood that, because your input then only comes from yourself, whereas someone else might bring in additional ideas—better sound design, a stronger chorus, improved mixing, and so on. Then there is the aspect of mixing, production, and mastering.
Very few people still work with a producer today, mainly because it costs money, and because you’re handing over your work—or at least part of it—to someone external, which many artists are reluctant to do. I find that unfortunate, because it would often lead to a better end result.
There is also the matter of promotion and how you bring your music to the audience. Do some kind of market research beforehand. Try to reach the right people and media—or at least those who can have more impact than others. Believe in yourself, and don’t curse the people who don’t appreciate your work today because they didn’t review your album or play it on the radio or in clubs. Maybe they will do when you have a new album out.
Look at yourself, be critical, and draw lessons from that for your next work. Never give up—that’s the message—but above all, do what you truly want to do and keep your feet on the ground.
Q: Is there an artistic project you dream of and would still like to realize before you die?
Stéphane: First of all, I do hope I still have a few years left to live ;-) But I don’t really have to think long about this. I have always dreamed of a ‘total concept’ built around a specific, central theme, bringing together artists from different disciplines who would ultimately take part in a collective exhibition or presentation. Take a theme like ‘nihilism’, for example, and then gather musicians, painters, photographers, sculptors, dancers, collage artists, poets, architects, fashion designers, and so on around it. That would be fantastic—especially if it took place in a unique location, such as an abandoned mining complex.
Q: Suppose you could create a link between music and your artworks and an exhibition were to happen. Which music would you choose as a kind of soundtrack, or who would you like to collaborate with?
Stéphane: If you read my answer to the previous question, this would be an absolute dream. Who knows what else may still come my way. I create these mixed-media collages (NW-ART BRUT) purely for pleasure, but my wife encouraged me to take them public. In the meantime, three album covers featuring my work have already been released. There are several other contacts ongoing… we’ll see what the future brings, but above all I continue to enjoy doing this for myself. The combination with music would be fantastic. On my Instagram profile (stefcoldheart) you can discover many of my creations, and I always pair them with music there. For an exhibition, I would play the ultimate album “Paradised Disowned” by Lustmord, and if I were to bring my work together with an artist and their music, the list would be very long—but Raison d'être (official) would certainly be among the first. I mainly associate my work with Dark Ambient, Dark Electro, and Industrial music.
