In 1986, something changed. Experimental music crept into the mainstream via cable programming and opened up a new world to unsuspecting youth craving for more. The seed for INTERVAL was planted in the 13-year-old mind of Todd Sines. From early bands ranging from punk, industrial, noise and techno, it wasn’t until 1991, where he met his musical better half, Charles Noel in the formation of Body Release with Titonton Duvanté and Michael Szewczyk when they really got the ball rolling.
25 years on, with countless releases for Peacefrog, Ghostly, Planet E, 7th City, Ongaku, Raw Fusion and Circus Co., their burning desire to leave a dent in the realm of post-punk, industrial, EBM and noise has resulted in INTERVAL’s transmit, their debut on HELIC.AL, featuring their close friend Andries Boekelman on bass. Tracked and mixed using Sines’s collection of vintage analog consoles, tape machines and effects units, it’s a departure from the increasingly sterile digital environment most have come to cherish. Instead, they’ve dumped laptops and pitch-correction for analogue time modulators designed for Stevie Wonder, and delays & reverbs dreamt up by Factory Records’ Martin Hannett. Self-described as “post-punk experimental shoegaze goth beat-driven mechanical dirges of love and lust”, INTERVAL is what happens when you take experienced electronic music producers who wear their broken hearts on their sleeves and get them back to their formative roots.
HELIC.AL, the new label from Sines + Noel, functions as an constrained exercise to break from restrictions. Instead of the obvious new electronic dance music label that would be expected of these seasoned producers, HELIC.AL turns history on its ear, resulting in collaborations new and old. Future releases include works with Crash Course in Science’s Michael Zodorozny as
I/TMSZ, Alyssa Barrera as Artefactos de Delor, Möthersky, SSPS & Gramma, in addition to side-projects of side-projects of side-projects.