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contents 01 Cover Sarah Boom / The Ultimate Dreamers © Xavier MARQUIS 04 InterviewTHE ULTIMATE DREAMERS 08 Reviews 10 Interview JAHWOBBLE 14 Reviews 18 Interview SOPHIA LUCIA 20 InterviewMOVMENT 22 Interview HANTE 24 Interview EREASURE 26. Reviews 28 32 Reviews 35 Calendar In loving memory of our co-founder WARD DE PRINS 30.12.1969 - 12.02.2018 colophon ORGANISATION BODYBEATS PRODUCTIONS Marleen MASTBOOMS www.BodyBeats.be PORTA NIGRA Peter Verreycken www.portanigra.be LE FANTASTIQUE Frédéric COTTON www.LeFantastique.net YOUR ORGANISATION HERE? Join us & support (y)our scene! WE NEEDYOU! Peek-a-Boo is always looking for new partners, distributors, writers, editors and translators. [email protected] LAYOUT Fred GADGET Veerle DE BLOCK EDITORS / TRANSLATORS Leanne AITKEN Kevin BURKE Michael BOGHE Tine SWAENEPOEL F.X. REIMERINGER Gea STAPELVOORT PHOTOGRAPHERS Elke BREDENBRUCH Luc LUYTEN Benny SERNEELS Xavier MARQUIS WRITERS Jurgen BRAECKEVELT Dimi BRANDS Kevin BURKE Stef COLDHEART Peter DOLPHEN Fred GADGET Hamis HIREK Kurt INGELS János JANURIK Xavier KRUTH - 3 - WRITERS (continued) Gustavo A. ROSELINSKY Charles MOORHOUSE Tom PLOVIE Dan VOLOHOV Chris WHEATLEY William ZIMMERMAN PARTNERS & DISTRIBUTION BODYBEATS PROD. (Antwerp) www.BodyBeats.be DARK BALLOON (Retie) www.darkballoon.be BUNKERLEUTE (Leuven) Dries HAESELDONCKX www.bunkerleute.be DARK ENTRIESMAGAZINE (B) www.darkentries.be GOTHVILLE (Hasselt) www.gothville.com INFRAROT (Germany) www.infrarot.de PORTA NIGRA (Aarschot) WEBSITE Ward DE PRINS (RIP) Peek-A-Boo Magazine • Tabakvest 41 • BE-2000 • Antwerp • Contact: [email protected] / Promo: [email protected] www.peek-a-boo-magazine.be Interview WISPHERS INTHE SHADOW

THE ULTIMATE DREAMERS The 80s haven't released all their secrets yet. Take The Ultimate Dreamers. They played on the stages of Lessines and surroundings from 1986 to 1990, but they never released a record. Until now. After a dive into his archives, singer Frédéric Cotton - also known for the Fantastique.Nights concerts and the Club New Wave parties in Brussels - found enough songs to release a record, and it is published by Wool-E Discs and Dans Les Profondeurs. In addition, the group is being reformed and will play several concerts in the coming months, starting with the release concert at the CaliClub in Drogenbos on October 2nd. Hi Frédéric. The Ultimate Dreamers come from Lessines, the cityof surrealists René Magritte and Louis Scutenaire. Can you describe the atmosphere that reigned in Lessines in the mid-1980s, and in particular the access you had to music and especially newwave? Hi Xavier! Lessines was a small provincial town where there wasn't much going on. Musically, it was pretty deserted, and we were just a small group of friends interested in underground music. There was only one record store and although the owner did what he could, we preferred to go to Brussels or Ghent to buy records or see concerts. Inevitably, dressed in black and with a weird look, we were seen as unapproachable by some small local minds.A classic story, I guess. It is in this context that The Ultimate Dreamers was born. How did the group come together? We were still in high school when we created the No Position project, with Joël on drums, Laurent on bass and myself on synth and vocals. Two other guys were also playing synths. We only played two concerts and then Joël, Laurent and I, who had darker tastes, left to create The Ultimate Dreamers. If I understood correctly, the band started out as a more synth-focused trio and then evolved to include more guitars. Can you give us more details on this evolution? Indeed. At the beginning, we used a rhythm machine, synths but also a very present bass. It was a formula that offered a lot of possibilities. Then Laurent, who was a multi-instrumentalist, took over the drums and we entrusted the bass to a newcomer: Bertrand. A little later, I started playing guitar, which made us evolve towards a harder sound, a little more rock. I heard that you have organized your own underground festival in Lessines. How did it fare? www.peek-a-boo-magazine.be - 4 - That's right. As nothing was happening in Lessines, we decided to organize our little festival ourselves. We obviously made the mistakes of beginners and had the foreseeable problems with SABAM (with m as mafia), the police, the municipality, etc. There have been 3 editions of this Summer End Festival, with bands such as Designed To Die, Heaven’s Above, Courtisan Holy or Nijinsky, if I remember correctly. A few people still approach me about it sometimes. The Ultimate Dreamers ended in 1990. What led to the end of the band? Like many other bands, we didn't split up. We should rather speak of a long pause than of an end.Laurent first left us to devote himself to other projects he was leading in parallel, notably with a noisy pop group (it was the beginning of the 90's) called Mosaic Eyes,which had some success. In the process, Bertrand decided to quit for family reasons. After testing a few substitutes without success, I got a little discouraged and focused on my studies. Joël continued with many very varied projects: bands, a label and even a wrestling career! Now you are releasing a compilation of The Ultimate Dreamers: ‘Live Happily While Waiting For Death’. If I understand correctly, you took the time during the lockdown to browse your archives for the last remnants of the group. Is it correct? It's almost that. In 1990, I made a little “best of” cassette that had been lying around among my CD's, near my HiFi system. A few years ago, Dimitri (from Wool-E Discs) had learned that I was part of a band and asked me to listen, but I did not follow it up. During the corona crisis, so much happened that I finally decided to digitize the tape. I posted a few snippets on facebook, with amused and interested reactions as a result, and sent them to Dimitri. He quickly suggested that I should release an album, much to my surprise. I then searched to find the original recordings... Howmany songs did you find during your research and how did you select which songs were suitable for release on the disc? I found 25 tapes that I quickly digitized and listened to. It was like a trip down memory lane. I didn't count the number of songs but there must have been between 50 and 100. I did a first sorting and then Dimitri and I made a finer selection with the intervention of Bertrand and Joël. Finally, we had the cassettes digitized in a studio, then restored and mastered the selected pieces.

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THE ULTIMATE DREAMERS In addition, you resuscitated the group. Two of the former band members join you with a newcomer to promote the record live. How did you manage to bring these people together? Bertrand and I still saw each other regularly and I still had contact with Joël and Laurent. Initially, we discussed the record. Then the idea for a release concert came up. Finally, we quickly found the pleasure of playing together. After a few weeks, I contacted Sarah, whose keyboards I had really enjoyed in the Brussels post-punk band The Panties.She agreed to participate. We rehearsed together and the chemistry was there. The Ultimate Dreamers were back. The sound of the record is very 80's. Did you update some songs to give them a more modern sound live? Our current repertoire is made up of our old compositions. Some are present on the record, others not, because the sound was not good enough. By recreating these pieces, they naturally evolved with a more modern sound,without it being a real purpose.But it’s the reality and it’s pretty good. Today, you are mostly known as the organizer of Fantastique.Nights concerts and Club New Wave parties.Was it a natural evolution to go from musician to concert organizer? May be. Like I said before, I started organising concerts early on. I continued when I was a student in Mons and then in Brussels. After a few calmer years, I resumed around 2000 when I joined the team of the fanzine Khimaira and the webzine LeFantastique.net (hence the name Fantastique.Nights) as a columnist and then as music manager. Concerts have always fascinated me. The parties mainly have a financial interest, which makes it possible to continue to organize concerts. During the pandemic, you also became a public figure as a professor and director of the ULB's medical chemistry laboratory. How did you experience this? We have all lived through an incredible period that has www.peek-a-boo-magazine.be - 6 - Photo © Xavier Marquis rocked the entire planet in many ways. As a health professional in academia, it has been very stressful at times but also very intense.At one point, faced with the repeated mistakes of certain ministers, I felt the need to react. I wrote an opinion piece in the newspaper Le Soir which made a lot of noise, especially on the Frenchspeaking side, and I found myself projected onto the media scene. This is a situation that brings a lot of problems, ultimately. It’s not just Van Ranst who has attracted dangerous lunatics. Finding The Ultimate Dreamers allowed me to escape the stupidity of conspirators of all kinds (unfortunately quite numerous in the dark scene). If we combine your experience as an organizer and your medical expertise, you must have an opinion on the resumption of concerts and nightlife while the virus is still active. Tell us about it! As an organizer, I was very careful because the successive waves were predictable. Cancellations are demotivating and costly. Now, I am more confident because the general population has good protection thanks to the vaccination. But the crisis is not over. Too many people still refuse useful measures with often stupid arguments. We may still see small waves but nothing comparable to what we experienced in 2020. Temporarily, the Covid Safe Ticket or the COVID Certificate can still be very useful. Xavier KRUTH www.the-ultimate-dreamers.com https://www.facebook.com/theultimatedreamers

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DIRK DA DAVO - King Of Fools (Digital) (Self-Released)) With the release of this new single 'King Of Fools',Dirk Da Davo,you know, that other half of The Neon Judgment, is not giving up yet, after having put the aforementioned legendary act to sleep. This 'King Of Fools' is announced as the first of a series of singles that we may expect from him in 2022. And judging by what we hear on this single, it sounds very promising! Because this song could have been taken straight from the fantastic The Neon Judgment EP'AMan Ain't No Man When AMan Ain't Got No Horse, Man…' from 1987. Just like the other tracks on that EP this new single is also interspersed with the The Far West and Western movies atmosphere. An atmosphere in which the dark (grave) voice of Dirk Da Davo thrives well. The ominous Orwellian ideas and socially critical messages do not surprise us the least coming from this man, but seen this strange times, let us not ask too many questions about who’s exactly meant the 'King” and even more those docile (?) 'fools”… [FG] SYGO CRIES -Talking about walls (Dgital/Vinyl) (Self-Released) When passion drives you, when musical paths cross, when everything adds up … beautiful things can happen! This happend in 2020, when Wim Guillemyn (The Other Intern) read the message from Mika Goedrijk (This Morn' Omina, Nebula-H, Pow(d)er Pussy) that he was looking for a creative, motivated bass player for his Sygo Cries project. During the summer, Olivier Moulin (The Mars Model) also joined the band to perform live keyboards/synths.The attraction soon made the young and eager Brooklyn Machet request to take up the guitar parts. One year later this resulted in a 12" that listens to the title Talking about Walls.A limited edition of 100 copies on clear blue vinyl. There are mouth-watering passages that are reminiscent to early U2 and the Mission cues. Even a bit of Joy Division can be heard. Goth rock songs of the better kind, one on which the black dressed can relax on dance floor, shrouded in fog. The fun and musical chemistry from the band shines off this 12 inch. It all fits, It sounds great and it touches.We demand more! [JB] RHYS FULBER - Brutal Nature (CD/Digital) Brutal Nature is the new solo album of Front Line Assembly / Delerium / Noise unit & many more mastermind and producer Rhys Fulber.After more than three decades and an extensive output, this artist has proven his skills and satisfaction guaranteed status to us all. Nature can be brutal, just like the opening track 'Central State Institute 16'! Over six minutes pounding beats and cutting sweeping sequencers. Dance-floor madness! But it's not only pounding electro we encounter on this album, tracks like 'Chemical' and 'Fragility' reminds me a bit of the early Enya and Enigma tracks, probably due to the heavenly vocals of Jessica Bennett, softly sweeping through the song. The album is very varied, which invites you to listen to it in its entirety... Like a good old school concept album as it were... Blessed! Somehow reminding me of the somewhat less infamous and experimental Front 242 album Pulse (2003). Brutal Nature closes with perhaps the stunner of this album,'Stare At The Sun' featuring the punky industrial and distorted vocals of Sara Taylor,better known as the head and voice of the LA industrial band Youth Code. [FG] (FR Recordings) MOVMENT -Transformation (CD/Digital/Vinyl) Movment return with a new album,“Transformation”, following on from lead singles (Distort The Scene) “Propaganda” and “Leave Me Alone.” About this new album they state: "There is a divergence in society.We are bombarded with information,opinions, viewpoints, and words. We drown in ideas, in solutions, in propaganda. There needs to be a transformation from where we are now.” Musically, Movment naturally incline towards a dark, electronic/post-punk sound. Fans of classic 80s dark/electro acts such as Gary Numan will find much to enjoy here, though Movment succeed in defining a sound of their own.There's something subtly hypnotic about the music of Movment. Their insistent, druggish beats, looping synths and swirling guitars summoning up a particular feel. It may take time for their druggish, monochrome soundscapes to grab a hold, but chances are that they will. [CW] www.peek-a-boo-magazine.be - 8 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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JAHWOBBLE Being mostly known as a bass player of Public Image Ltd, JahWobble remained a mythical character for most of his fans. He left the band after the release of one of the biggest musical masterpieces of the XX century… Metal Box. We sat down with Jah Wobble discussing overthinking of “Metal Box” and artistic expression, about painting and post-punk, various meanings of what dub is culture, drum and bass and music of the East. Cleopatra Records just released “Metal Box–Rebuilt In Dub”, which is the reason why we’re talking today, John. A fewyears ago you and Keith Levene ( Hi, Keith!) did a series of performances titled “Metal Box In Dub”–what made you get back to this record now? Em…Well. It’s not a sudden decision! I’ve been playing some of the old Public Image [Ltd] songs with my group. With Invaders Of The Heart.And we do different versions. A bit different to quite a lot of new versions of Rebuilt in Dub. But it got strings! We use strings and we have a lot more dynamic tension with the bass and drum patterns…It’s quite [like] Messian in a way. The liveversion we do. So that’s a very highlighted harmonic. I think, [it’s like] being able to go back in time to re-live your youth. Not to criticize the original versions! But to work with them again and bring a little bit of a mature attitude. An old man's variation of this.We already did a version of “Public Image” for Cherry Red Records a few years ago.We made it more minor-key.And [with] backing vocals on the stuff.So,we had a fewdifferent runs on this. Cleopatra approached this. I think they were surprised! I think they thought it would be a hard thing to do. [But] I was like: “Let’s do this! It’s time for me!”. I’m doing a thing in London called “Tuned In” which is a community-based project. I do that with the guy called Jon Klein, the guitarist. John and I are friends.We were working because the pandemic happened. We had to work on Zoom like this.With the classes,with the people.Some people could deal with these issues.And some couldn’t. So, it was kind of difficult.But it was good!We did a lot of recordings! Jon was themost fantastic person for me to say: “Listen,I’d redo Metal Box!”. We already talked a lot about post-punk styles. John was in Siouxsie and The Banshees. We had these conversations all the time. So, it was like a perfect time. And I had a very clear idea of what I wanted to do with a few of the tracks. I sat down with a keyboard.Made backing tracks. Sat down with a keyboard. And just worked very simple,thematic atmospheric things over.Put some changes. Some modulations. “Albatross” and “Poptones” were particularly the first two tracks. I think, Jon was a little bit: “Em…That’s too easy!” and I said: “No! This gonna work! Believe me! And this is how it was!” www.peek-a-boo-magazine.be - 10 - © Ali Catterall One of the things that certainly attracts attention is the fact that you not only took the majority of the songs from Metal Box but also added Public Image and Fodderstompf… I was thinking…I wanna make an album. Obviously as a kind of homage to Metal Box.But I really like some of the tracks of the first album. Very much. The theme is fantastic.And Annalisa.Those two could have easilymade the cut. But when I was thinking about them, the feeling I had with the original tracks was: “I don’t know. I don’t want to mess with this!” – somehow, with Theme. It was just the feeling! What was in Theme that didn’t make it work? It has a great harmonic in there…But would you put strings there? Hmmm…It won’t necessarily work. You could do something good. But I just felt [like] you start getting into a pointless cover-versions. [Which is] what I wanted to avoid. I’d rather annoy people! And they’d say: “Fuck off! What you’ve done is fucking ridiculous!” – rather people say that. So, I did was something…A little bit challenging,maybe. Why didn’t you choose songs like “Bad Baby”, for example, and took these instead? The way the album was flowing in my head was: “I don’t necessarily need that!”. “Annalisa” – that was even a harder decision. ‘Cause, it’s just the great track! “Metal Box” – I think “No Birds” was difficult. That would have been a great track to add on there. Somehow, with the way it all developed, it felt like those ten tracks I chose seemed correct. Seemed right. And it flowed. And of course, a lot of those tracks were instrumentals. So they

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JahWobble So they were like instrumentals with spoken-word in there. Some of the tracks –“Bad Baby” is a great track as well! And I could have really done something with it! I remember thinking with that: “I can’t imagine adding a lot of stuffwith“Bad Baby”…”.With Fodderstompf you can take lots of different ways. You could add stuff…With “Bad Baby”…Yeah.What we would end up doing? I think you have to make it even more minimal.And would it be special? That was it. Some of the tracks were just too difficult.“The Suit” I found to be very difficult. It is what it is. It is very paired down. It was one trackwhere I was just using some dub techniques. And paying particular attention to the lyrics. Whereas stuff like “Albatross” – yeah,great! You can put it across.These are guitar chords that I think work. It’s not a minor change in there. I think the change goes to A-minor or maybe B-minor. I don’t remember! I made a change; I made a modulation. And thought: “We can make a modulation.We can make even bigger drum-beat.We can make it really thematic!”. Stuff like “The Suit”, as I said was the very difficult one.“Public Image”–funny enough. I was thinking: “I’ve already done [numerous] versions of it! Let’s have fun!”. For some reason, I was thinking Spanish. I don’t know why! I was just thinking it would be great!” – make it a really…It’s respectful. But it’s a completely crazy take on it! Quite a lot of your work is based on sound production. Even within the newest version of 'Death Disco' it sounds completely different to its version that came out on 'Metal Box'. When you listen to it now, it's not just a song but it's like an advanced composition. I was wondering, did you have this definition at that moment? In a sense that you stop being a songwriter and start being a composer. Because it's not that easy to wear these two hats. That’s correct! And that’s very much saying about it. These songs are already composed. But you’re gonna have them in a compositional way. So very much. It was very much a case of sitting there. Looking at a screen with sections written down, bass and drums down. With some changes in there. And then writing some simple things over the top of that.Writing some bass parts.And making them simpler versions of the bass lines with chords. Just simpler kind of stuff. Reversions of the basschords in stuff like “Albatross” where you’re using some compositional skills. When you’re using something like that, it’s fantastic! There was a drama series in this country a few years ago called Life On Mars.When a guy wanted to go back to the 70s and I was like: “Well, I’d love to go back to the 70s! Just for a couple of days and walk around! I’d love to do that!” – it felt like I was able to go back to the 70s with it. It was like a dream. Wow! This is fantastic! With the new technologies, it was a www.peek-a-boo-magazine.be - 12 - perfect time with the pandemic. Cause you couldn’t go anywhere! I’d worked closely with that guy who’s probably the best guy to understand all these things (laughs). When I heard'Death Disco' for the first time, it blewmy mind.And within your solo-creativity, you tend to unite different polarities. Just like Keith and you did on this song. But there's always a point of distraction that's difficult to get to - how not to make fell everything apart when you're something that different and that experimental? Yeah. I think it’s quite polytonic, I suppose, at times. It got quite a polytonic feel. You’re mixing just funk disco-style with classical music. So, it’s a bit of a collision of stuff on that particular track. I think, what helped – we were writing from a chordal basis. It’s trickier if you start writing compositions with a G7 chord or an F-chord. I think, if you’re just writing with pure bass lines it makes everything kind of easier. You get into a fixed sound. You get into a fixed mode. It’s not like trying to mix various chords and scales.You can make…I guess,what I’m trying to say is that you can kind of make the discernible scale. And I guess, because of that scale it might be why Keith did the original version [of “Death Disco”] in that way. Maybe the scale of the bass as much as anything…Maybe the tempo…Maybe it was the first thing that came to mind to him to play.Was an old idea.Classical music-idea. It was the only track on the record that uses an oldoriginal idea. Simply take “Theme” or “Poptones”. The guitar is quite unique-sounding. Harmonically. When you set up to record such a strange, deep piece of art like Metal Box, don’t you have a fear of losing these qualities? Yes, it’s difficult! Because you could fall flat on your face. I think it takes a great effort to play the bass lines correctly…Obviously, they’re very important. Even with the tempo and some of the keys. You’ve got to have this weird sound. Things got to have weight with the drums. They got to punch with it.You have tomake sure that you get there. Metal Box is like an expressionistic art. Based on a European expressionism, in a way. Very much like a brush drawn across the canvas. No bourgeoise finesse. Very primal. Very European in a way. Eastern-European. Very primal and very vivid.And hopefully, that’s still there. But that was right from the get-go with “Rebuilt in Dub”. Lost its’ energy and vibrancy of the original. Otherwise, if you’re making something [and] there’s no energy – it’s like watching football team. Even before they make passes or make amove,you can tell –something’s wrong. There’s no energy. They’re not happy or something. That would be terrible if they didn’t have that strong feeling ... (Read more on wwww.peek-a-boo-magazine.be) Dan VOLOHOF

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HERRNIA -Takkenwereld (Vinyl/Digital) HerrNia, alter ego of Jonas Cornelissen, is a one-man project from the Ghent-area. This man has been wandering around our scene for some time now, amongst others as a drummer for Causenation. Under his alias HerrNia, Jonas can do completely his own thing. After some modest appearances on different samplers and a self-titled cassette on Wool-E-Tapes in 2018, 'Takkewereld' is HerrNia's first big release. On shiny black vinyl. My turntable is filled with joy. 'Takkewereld' is a selection of 12 demotracks which, after a re-mastering, sound very refreshing.A complete arsenal of electronics float in a sublime way towards my ear, tickling my eardrum. And from that arsenal comes a great variety of melodies,going from a minimalistic "Love",over an almost poppy "Think About It" to the very tasteful EBM of "My Dear Dark Cloud". Now in English, then in Dutch... Every track tells it's own story without much words but with so much feeling.If there is more of this in that demo-box, I would say: don't wait too long with the rest! Because my friends, you'll want to taste more... [PD] (Wool-E Discs) THE ULTIMATE DREAMERS - Live HappilyWhile Waiting For Death Mid 1980s, three friends, Frédéric (vocals), Joël (keyboards) and Laurent (bass guitar) start as a cold wave and post-punk inspired musical trio,which would later grow into a five-headed line-up.Their cold chilly wave and post-punk tunes serve as a musical background for themes and lyrics dominated by dreams, amorous fear and social criticism. In 1990 The Ultimate Dreamers fell into a (very long) sleep while dozens of songs, that had been traditionally recorded on cassette, remained unused in the closet. Until they were discovered again, during the Covid pandemic, underneath a thick layer of dust … The result: eleven songs were released as an album named (Wool-E Discs) 'Live HappilyWhile Waiting For Death'.The sound The Ultimate Dreamers represent clearly refers to the eighties. Instrumentally and vocally unpolished. True and sincere. Too bad it was kept from us, like an elephant pregnancy, for over 30 years. Luckily gynaecologist on duty,Wool-E-Discs, proved skilfully worthy… [JB] ORANGE SECTOR - Alles wird Gold (CD/Digital) This is Orange Sector. You do not need to see the cover, you do not need to look it up. After almost 30 years (yes, their first release “Faith” on Zoth Ommog was way back in 1993),Orange Sector have established themselves as one of the flagships of the oldschool EBM-sound.Recognisable,yes,but certainly not repeating themselves. Two years after “Alarm” (Infacted Recordings, 2019),“Alles wird Gold” is sent into the world. Where a certain virus is slowing a lot of creativity down, it’s not the case for Orange Sector. 11 fresh stomping EBM-tracks are fired through the speakers, all pounding in their typical way. Dictating tracks like “Angstmann” or “No Justice” are alternated with high-tempo bootstomping killertracks like “Fick Dich” or “Alles ist Grau”. At the end, some emotion even comes floating by in “Nuklear”.The highlight for me is “The Work is Done”. It really punches in almost a Fixmer & McCarthy way. A true gem.I can only imagine what this will be like live but I’m sure it give some serious fireworks. Be sure not to miss them if they come near you! (Infacted Recordings) [PD] CAVERNA DELLE ROSE - Elysian Chants (CD/Digital/Vinyl) The Orphic Hymns are a collection of poems from the late Hellenistic period and are situated around the mystery cult of Orphism. A movement that went against the Christian faith. The core of 'Elysian Chants' are seven Orphic Hymns, each dedicated to various deities or natural elements. Caverna Delle Rose is the name for the collaboration between AimA Lichtblau (Les Jumeaux Discordants, Allerseelen), Evor Ameisie (NRTHGTE, DDeM Label, Camerata Mediolanense) and Diego Cinquegrana. The band finds its inspiration in magical rituals and performance practices dating from ancient times to the present.They balance between (anthropological) research and (musical) reinterpretation. As a concept and first album by Caverna Delle Rose, (Slaughters In Art) www.peek-a-boo-magazine.be 'Elysian Chants' is certainly a success and deserves full focus when listening, preferably at high volume and in twilight atmosphere. Recommended for fans of the Neoclassical Dark Ambient musical genre indeed! - 14 - [TP] Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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SOPHIALUCIABLURRINGBOUNDARIES Wholly original, idiosyncraticmusicians are a rare breed, but Chicago-born, Paris-based Sophia Lucia certainly fits into that category. Sophia began writing and playing aged just eight, and in later years took an admirably courageous leap into the unknown, moving to France to pursue her creative endeavours. Now, her Freak Show Cabaret performances are the talk of the Paris underground. On her self-titled debut album, released Dec 16th, 2021, Sophie moves with mesmerizing ease from earcatching folk-rock to off-kilter hooks, offering up a kind of scatter-shot lyrical invention which few could equal. “It is conversational, theatrical, confessional and surrealistic ,” says Sophia herself,“I like to tell stories, as well as jump around from anecdote to anecdote, dovetailing images that are my truths, the truths of others, and fiction.” Spoken Word Paris called Sophia Lucia: “sometimes a melting pot, sometimes a pressure cooker but always hot and very, very original.” Can you tell me a bit about where you were born and grew up? Sophia Lucia: I was born in Chicago, IL, and I grew up partially in West Rogers Park, and partially in Edgebrook, which is a quirky little corner of Chicago that feels more like a small town in Wisconsin than a neighbourhood in a big city. What sort ofmusic and art were you exposed to? Is your familymusical? SL: My family is not musical, but they are artists.They ran a theatre company for most of my life, and I grew up in it. My dad is mainly a di inly an actor. My parents do love music though, and I grew up listening to a lot of 60s/ 70s/80s rock & roll, folk, blues, funk, soul, some jazz…We have a jukebox in our basement and my parents love to throw parties. We’ve spent many an evening downstairs dancing to the jukebox late into the night. When, and why, did you start performing, playing and singing? SL: My first performance was at eight years old, reciting poetry that I had written. It was for a benefit at my parents’ theatre. Then I acted in my first play when I was fifteen, I played Anya in Chekov’s The Cherry Orchard, also at my parents’ theatre. My dad directed it and my mom played mymom in the play.Being directed bymy dad and www.peek-a-boo-magazine.be - 18 - on stage with my mom happened a few times and was always a special experience. I continued on to do live theatre for most of my adolescence and early adult years. I wrote a few songs on the guitar when I was around twelve years old, and then stopped for many years.Out of the blue, about four years ago, I went to an open mic with some friends, and playing and singing on stage was such a pleasure that I had to continue. I was tired of playing covers and wanted to express my own feelings with the music, so I began writing my own songs and trying to book shows shortly after that experience. Moving to Paris was a brave step – how was that experience for you? SL: I think it’s one of the best things I’ve done in my life. Starting from zero in a new country is so liberating. It’s like beaming down from another planet. I could be anyone I wanted to be and no one had any pre-emptive ideas or expectations.And though I could be anyone that I wanted to be, I think it just brought me closer to finding and being my true self. How did the Freak ShowCabaret! come about? SL: It came about as a place for me to put everything. I didn’t want to just play concerts or be a stage actress, I wanted to be able to actualize whatever bits and bobs that came into my head. So I came up with the name ‘Freak Show Cabaret!’ t o entitle my one-woman-variety show. It’s a show where anything goes, and where I can perform dopt character alter-egos when you perform– does this allowyou greater freedom of expression? SL: I think so. I like to make things up, so some of the stuff with my characters are total works of fiction. And sometimes it’s easier for me to express my own feelings and ideas through an alter ego. They are all their own people, and also part of me at the same time. Your music sounds unique–who would you describe as major influences? SL: The quotidian is my number one inspiration. The inbetween moments and 'banal' details of daily life often wax poetic for me. Otherwise, some big inspirations artistically would be Talking Heads, Regina Spektor, Joni Mitchell, David Bowie, Ella Fitzgerald, Ani DiFranco, Bob Dylan, Jack Kerouac, Haruki Murakami, Gene Wilder… the list could go on and on.

That uniqueness can be a double-edged sword–it makes you stand out, but adds additional challenges in terms of the music industry. I'd love to hear your thoughts on this? SL: It’s something I can’t think too much about, to be honest. I make what comes out ofme and that’s all I can do. If I were to change the art that I make so as to be more palpable to the industry, I wouldn’t be having fun anymore. If I’mnot having fun, then there’s no point in trying to be an artist. There are far better paid not-fun jobs out there that I could do instead. I do want to make my living as an artist. If it turns out that enough people like my stuff, then I don’t think it should be a problem that I’m making something different.The mould has to be broken sometimes. You're clearly drawn to elements of surrealism and comedy,where do you think that comes from, and what is it that attracts you? SL: The surrealism comes from me not putting boundaries on what I take from my mind and put onto the paper. Sometimes images come to me that don’t feel related to anything in particular, but they are vivid, and I have fun trying to find words to describe the scenarios and paintings that I see in my head. In my writing process, I often find humour as the best way to get my point across, even when the feeling I am sharing is no laughingmatter.Not as a rule, but often, using irony and humour can help me express my darkness better than a lament or a solemn poem could. What would you like to achieve, personally and professionally, with your music? SL: Personally I want to keep using music (and other forms of writing and performing) to heal, to make sense of the world, and to connect with others. There are songs and albums that have helped me out of dark moments in my life, or were a wonderful soundtrack to accompany a beautiful time. If my music can touch people in this way, and help them through pain or be a soundtrack for their pleasure, that would be very moving to me. Professionally, I want to live off of my art. I can’t imagine living without creating, so if all I need to focus on is my craft, I will lead a very fulfilling life. What are your plans for 2022? SL: I want to play with a band, and I want to record more music. This album I am releasing has 10 songs on it and I have 40 songs written in total, and counting! I want to lay more of them down and experiment with other musicians, on stage and in the recording studio. - 19 - © Stéphane Hervé Chris WHEATLEY www.peek-a-boo-magazine.be

MOVMENT Irish darkwave/post-punk duo Movment, aka Kevin Kelly and Martin Kelly, is a rare beast, concerned more with art and invention than fame and fortune. Their music is both cerebral and abrasive, but everything they do is fuelled by a contrasting faith in humanity, albeit coupled with an awareness of the challenges ahead.As the duo's offical bio states:“They mean what they say.” Can you tell me a bit about where you were born and grew up? Martin Kelly: We are from Mullingar, a town in the middle of Ireland, 50 miles east of Dublin. Being close to the city, we frequently go to gigs in Dublin. I started playing drums in my teens, and Kevin got a bass guitar. So, we formed a band in our garage with friends. We went through various line ups and recorded some demos. Kevin Kelly: Yeah, initially we played some covers, but from the beginning we were writing our own songs, with a 4-track tape recorder. We recorded some demos in the early days but, with members leaving, I moved to playing guitar, and Martin started singing. We are both big music fans and listen to lots of bands across multiple genres. What sort of music were you being exposed to at the time? KK: In our teens we were exposed to all sorts. Myself, I started with Madness, Simple Minds, but then I heard Joy Division, and that was a big influence. I bought Still on vinyl, and the first track,“Exercise One,” was amazing. From there I listened to lots of post punk and indie, and some metal and electronic bands: The Pixies, At The Drive-In, Sonic Youth, and lots more. MK: We both listen to similar music, and I was listening to a lot of metal with friends, and especially early Iron Maiden. Our music tastes have converged in recent years, but we still have our own unique taste. I am a big fan of Nine Inch Nails and New Model Army. How did you first get into playing? MK: I got a drum kit in my teens and played with some bands, until Kevin got a bass. We started a band but eventually I took over as singer and Kevin on guitar.We were always fans of music but the bands that influenced us always made us feel we could write music ourselves. KK: And we were very much into DIY - our own label, our own recordings.Fugazi would be a big influence too.Our attitude was, and still is, write and record your own music, and release it ourselves, on CD, cassette, vinyl, and now digitally. When did you make the decision to release music professionally? KK: We had recorded some demos, before we recorded our first real album, Disturbed, as Raw Novembre. It was a punk album and got a relatively good response. We were full DIY then, releasing it on our own label and connecting with fanzines and fans in the UK,throughout Europe and in the USA. MK: Yeah, we did some gigs in the UK, the USA, and Europe. We released two more albums as Raw Novembre, before eventually starting the Movment projects, as a means to release songs written and recorded by the two of us. KK: We never considered it a professional move.We just knew this was something we wanted to do – record and release music ourselves. Writing songs and making them available was our main goal. It was never a career decision. We were artists first and foremost. We were focused on writing songs and making them available to anyone that wanted to hear them. You obviously care about the state of the world, politically and socially–how does this impact on your music? KK: Yes, we put our ideas in our songs but are not preaching to anyone. We trust everyone to make their own minds up. It used to be easy to do this by reading other people’s opinions and checking out their ideas but now everything is so loaded and biased one way or the other, it is hard to know who to believe or what is influencing their words. I still believe there are honest www.peek-a-boo-magazine.be - 20 -

people out there, that just speak the truth and mean well, but there are too many people who push their agenda on you, whether it is correct or not.They tend to be extreme. And there is no room to have different opinions than some people.A lot of this is on Twitter and some of it is anonymous. MK: We like to make our own minds up on things. Sometimes it is hard to have a conversation about anything but maybe that is the goal of some people: to shut all conversation down KK: We are working-class, so we have that viewpoint in us. But we are neither left nor right. At least not on the extreme ends of either.We would prefer the world to be fairer but some ideas can make things worse than they already are. So I would say we are not overtly political. We just write and comment on what we see around us, on life and living. Your sound could be described as 'darkwave' – was there a conscious decision to feature that 'dark' edge or did that occur naturally? KK: Dark is a good word to describe what we do, or maybe 'real'. Not fake or false. What you hear is who we are, and our lyrics reflect this - our thoughts on the world we live in. Hopefully that resonates with people. So, we are drawn to people who are straight down the middle. Or who have something to say that connects with us. MK: Yeah, there is a goth influence there. We are into horror and sci-fi. It does not always have to be negative, just dark. I suppose we are not shiny happy people. But we are not glum either.We are attracted to the dark. Who would you describe as your personal music influences? MK: I listen to a lot of music and get inspiration and ideas from lots of them. Lots of bands from back in my youth continue to influence, but there are also new bands. I like Iron Maiden, and early Marillion, and The Jesus Lizard, but new bands like Amyl and the Sniffers, and new tracks like Gary Numan’s “Intruder” are on my playlists. KK: Yeah, I listen to lots of new bands. I’ll give most things a try. I like Vox Low, Life, A Giant Dog and lots more bands. There is so much music out there, you just cannot listen to it all. I like to seek out and find new bands but I will also listen to popular bands too. The only limit is whether I like it or not. - 21 - Do you think that socially conscious music can make a difference? KK: Music can always make a difference to people if it speaks the truth but it ultimately depends on the listener. We are happy if people listen and think a bit more about things and think about the world we live in. We are not creating something that tells people what to do.There are enough experts out there who understand things better than us. We are happy if it impacts on people in a good way and makes them question things. You should question everything.You should really listen to both sides of arguments and make your own mind up. MK: We should always be aware of how we affect other people by our actions. People can make up their own minds on most things but some topics require digging deep and need lots of reading to fully understand what is going on. You also seem quite optimistic about the possibility of change? KK: Anything is possible, although in current times it might not look as if it is. I do believe that ultimately, if people sit down together and discuss things, than they can accommodate each other, even if they have a different opinion. It just seems that there is less dialogue these days and that is not good. But it is possible that it can change. MK: I think people are entrenched in their own views much more. It is their opinion only that matters. That can lead to conflict. An important way out of all of this is good leadership. I don’t see too much of that about. What are Movment's plans for 2022? MK: At the moment we are beginning to write songs for the next album. That process will take at least six months. When we have enough songs written we will record them, get them mixed and mastered and then they are ready for release. It is difficult to put a timeframe on that but it could be soon enough. KK: Yeah, we are writing new songs again. We are also working on other projects, which might be finalised in 2022 and released. So we are planning to release new material in 2022. It might not be as Movment. As far as gigs go, we will see what opportunities arise but it is likely to be at least Summer before we play live. Chris WHEATLEY https://www.facebook.com/MOVEMENTMUSIC www.peek-a-boo-magazine.be

HANTE I broke away from the pressure you have as an artist to appeal to a certain type of audience, to create dance floor hits. Minimal wave, or synth wave if you prefer, is doing well. Think of Zanias, Selofan, Kaelan Mikla, Lebanon Hanover, NNHMN...And let's not forget the two projects byHélène De Thoury, both ofwhich are among the best in this genre: the duo Minuit Machine and her solo project Hante. The first group has released two EPs during the lockdown, the solo project has just released a new record: ‘Morning Tsunami’. Hélène will also present that record live on October 2 in De Klinker in Aarschot, thanks to the organization Into The Dark.Reason enough to have a conversationwith DeThoury. Hi Hélène. We are very impressed with your new Hante record: ‘Morning Tsunami’. You described this record as your ‘most accomplished and inspiredwork to date’. Inwhat sense is this work an evolution fromyour previous records? Hallo! First of all thank you very much! Something happened that I can't explain when I was composing ‘Morning Tsunami’. It was as if I was really one with the music, that it was an extension of me. I had never felt this way before. I think that with everything that has happened in the past year, some deeply hidden emotions have surfaced and triggered new feelings that I had to get out.There was also the desire not to make any concessions in terms of style, production, visuals. I broke away from the pressure you have as an artist to appeal to a certain type of audience, to create dance floor hits. I've also moved away from the classic stanza/chorus construction. Most songs are built up progressively and sometimes it takes a long time before theyget going.I knewit could be a risk,that people would be less moved or would not find themselves in the songs. I tested new ways of working, using new plugins, new virtual synths. I renewed my range of sounds. In the end I was rewarded for taking this risk as the reception was extraordinary! Can you tell us more about the title'Morning Tsunami'? I was looking for a very personal title to accompany the album. I quickly thought of ‘Tsunami’ because it is a word that I find both very beautiful and which frightens me. It's a recurring nightmare I have.I am on a beach or in a city and a huge wave is coming in the distance.And there is no way to escape it. I've associated the word ‘morning’ with it because I often have these kind of nightmares when I return to sleep in the morning.It is a very special moment,between two worlds.This was already a very important theme on my album ‘Between www.peek-a-boo-magazine.be - 22 - Hope & Danger’: the search for those moments when it is possible to escape reality, which unfortunately always comes back to us. All lyrics on ‘Morning Tsunami’ are yours. Don’t you feel the need to approach other people to write lyrics anymore, like you did on'FIERCE'or with your other bandMinuit Machine? I would rather say the opposite, that sometimes I find it necessary to be able to write my own story, to express the emotions in words myself. And that's one of the reasons I created Hante.When I started composing ‘FIERCE’, it had been 2 years since Amandine and I stopped playing in Minuit Machine. I wanted to rediscover the creative inertia you have when you compose a song with several people. That's why I invited several artists to write and sing lyrics on the album. But nowthat we've restartedMinuit Machine,I'mhappy to find this hidden, private garden of Hante and to be able to fully express myself through this project. I really like thewayyou sing in both French and English.Was it something that came naturally or was it a preconceived idea? Howdoyou determinewhether a textwill be in French or in English? Strangely enough, the lyrics come to me more easily in English. I have the impression that you can convey a very strong idea with just a fewwords in English.While that's more complicated in French, I think. But it remains my native language and I feel the need to include it in my musical project because I want it tomatchme 100%.Sometimes,when I have a first impression of a text in French, I seize the opportunity and explore it to the end. The album‘Morning Tsunami’was made in COVID times. Has the lockdown affected your work? Of course! As I said,this period has stirred up a lot of emotions and that has inspiredme enormously.The lockdown,the sense of helplessness, the sadness and fear that the world was plunged into… But it wasn't all negative, I have questioned myself thoroughly, like many people, and there is inevitably a before and an after in our personal developments. I also took a lot of time to be inspired, to listen to a lot of music and to discover projects that greatly influenced me in the making of the record, such as the album‘Unreleased Tracks’by Kas:st.

During the lockdown, you also released two EPs with Minuit Machine: ‘Don't Run From The Fire’ and ‘Basic Needs’. I have the feeling that many artists did not dare to release records during the lockdown. Why did you decide to release these records anyway? I would say there are two reasons for this. First of all, from a financial point of view, we just had to carry on. There was no question of letting the projects bleed to death.But besides that, I realized very quickly that people – contrary to what many artists thought –wanted to listen to new music and that they were willing to support artists even more than usual. It's obviously not that easy to promote an EP or an album without combining it with a tour.But whether it was for Minuit Machine or for Hante: we felt real enthusiasm with every release and that convinced us! Minuit Machine, in which you are accompanied by singer Amandine Stioui, has also become a cult group. Isn't it a bit schizophrenic to be active in two groups at the same time? It's a little complicated sometimes, yes. But it is more a matter of organization. A calendar organization, of course, but also in your head, so as not to get everything mixed up and, above all, not to be influenced too much by one or the other project. I think I have managed to distinguish the two worlds. And also to accept that they can take different paths.It's not always easy, but I'mworking on it! You also have your own label Synth Religion, which releases records byHante and Minuit Machine, as well as other artists such as Fragrance,Marble Slave,The Colder Sea and Box and - 23 - the Twin. I see that you actively participate in the records of these bands,you do the production or mastering, or you participate in the compositions. How do you select the groups you work with and what determines your level of involvement? Most of the artists I've released on the label are friends or people I've met along the way and with whom I get along on a personal,even more than a professional level.The only exception is The Colder Sea, who emailed me and I fell in love with their music! Unfortunately, we never met. The problem I have now is that I don't have much time left to work for other artists. And the more my projects grow, the less I can invest in the label. So now, production-wise, I'm focusing on my two personal projects. With all these activities, I believe you have to make a living from your music. Can you manage that? Also and especially in the difficult months we just went through? I can get by,yes,but with difficulty I must say.I amextremely lucky to have a community of enthusiasts who support me and who continued to buy merchandising when the concerts were all cancelled. As a result, I could continue to work,I even had to continue to produce.I hope it gets better with the return of the concerts! Because it's a vicious circle that you need: the more concerts you play, the more people notice you, the more people listen to you, the more merch you sell, the more you can play etc. Hante: bandcamp / facebook Xavier KRUTH www.peek-a-boo-magazine.be

ERASURE withVince Clarke "Hey, Janos, there you go..." It's cool to be in email contact with Vince Clarke, founder of bands like Depeche Mode, Yazoo and Erasure. He may not be a wordsmith, but goodhumouredly, the living synthpop legend had answered my questions before he went on a well-deserved vacation. At the end of October he is going on a tour through the UK and Europe with his long-time bandmate, Andy Bell. As a small appetizer for the upcoming concerts, Erasure's latest album "The Neon Remixed," will be released at the end of July, featuring remixes of their 2020 work "The Neon", as well as a brand new track"Secrets". Certain electropop tracks are often more successful in remixed version and sometimes sound better than the original.This genre of www.peek-a-boo-magazine.be - 24 - music simply suits remixes well. The same goes for Erasure. Although I'm not a big fan of remixes from the last two decades, this time I was very pleased with what I heard. The remix of "The Neon" includes partly complete new productions, partly extended maxi versions in the classic sense and of course there are enough tracks to dance along to. "The Neon" is also remixed and in this revised version it is pure electropop perfection! "The Neon Remixed" features reinterpretations from artists like KimAnn Foxman, Hifi Sean, Octo Octa, Paul Humphreys (OMD), Andy Bell & Gareth Jones, Brixxtone,Theo Kottis and others.My first question to Vince Clarke was of course about this upcoming remix compilation.

One year after the release ofyour last album„The Neon”its remix version will be released at the end of July. Whose idea was this remix compilation? Did you want to take a new turn with „The Neon” songs to take them in a new direction or was that the idea of the record company? Vince Clarke: The remix albumwas the idea of Mute Records. They wanted to extend the ‘life’ of the album, hopefully right up to the start of the „Neon”Tour. Old friends and colleagues ofyours, like Paul Humphreys or Gareth Jones, as well as a lot of new DJs and remixers can be found among the participating artists.Who selected and requested them for these remixes? Neil Blanket from Mute came up with the list of remixers. (Author's note: Neil Blanket is the Head ofMarketing at Mute.) The„Violate Flame”album also had a similar remixversion, but my favorite one is still„TheTwo Ring Circus”. I would be glad to hear that stunning remix version of „Leave Me To Bleed” by Vince and Eric Radcliffe live one day in my life. Are there any such remixes from your back catalogue, which you think are even better than the original? I’m very fond of Orbitals remix of „Ship Of Fools”. As mentioned before„The Neon”album is already one year old. Howdid it affect you the last time you heard it? Do you still have the same favorite songs on the album? By the way, what are your current favorites? I tend not to listen to an album once it’s been released, unless of course I’m preparing tracks for our up and coming tour. This year there is another anniversary in the history of Erasure: Your debut album „Wonderland” was released 35 years ago.Manyof the fans think that your current albumhas a lot in common with your first album. Have you noticed any similarities in the sound or in terms of the production work? I think there are similarities. Both albums are upbeat and positive looking and the sounds and arrangements are less cluttered... I think... This October you are going on tour according to your plans. Have you put the new setlist together yet? Which are the songs that already have a fix place on the setlist? We’ll obviously be doing songs from ’The Neon’, a few old favorites and a couple of lesser known tracks from our back catalogue. There’s a rumor that Andy wants to sing the Eurythmics classic „Love Is A Stranger”. Are you planning to perform this cover version on the upcoming tour? ‘W& S’... (Wait and see.) - 25 - www.peek-a-boo-magazine.be In these orona times it is difficult to make preparations for a tour. When can you meet each other to rehearse live? We start rehearsals in London, two weeks before the first show in Scotland. At your London concert you are going to have Blancmange as the opening act. I have always liked their music and a lot of fans know about the contact with Depeche Mode (Blancmange were the opening act on Depeche Mode’s 1981 and 1982 tours) and with Vince. Vince, you remixed „Living On The Ceiling” a few years ago and your fans are also eagerly awaiting the joint work with Neil Arthur. Where is this project lying right now? We’re hoping to finallymix our ‘collaboration’at the end of July although it rather depends on UK and US travel restrictions. Vince, you’re also a label manager and host of an online radio show about the world of synths. Is there any news from the home ofVeryRecords? There’s not a lot going on at the moment... perhaps a new release in 2022? And let’s not forget that Vince’s son Oscar has just released his debut work.Vince,please tell us a fewwords about this record and about your possible involvement on it. I contributed very little.My son did prettymuch everything including getting it on Spotify etc. Back to the subject of touring.You are giving six concerts in Germany during the forthcoming tour in October. The German fans have always been very loyal to you. Do you have a story in your mind about Erasure and Germany that you still remember? Our very first show in Hamburg comes to mind.We played a venue called the Markthalle which was probably about half full.We were not well known in Germany at the time but I remember the audience was amazing.. so warm and enthusiastic. The fans are still waiting with great enthusiasm to finally see their idols live on stage again. Hopefully the Corona situation will get better and then we can enjoy Vince and Andy on a concert! See you there! János JANURIK erasureinfo.com/ facebook.com/erasureinfo

TWO WITCHES -The Undead (CD) (Deepland Records) “The Undead” shows a band that has reinvented itself and easily conjures old school (well, rather the 90s) dark rock and gothic rock. Even more, on this album they managed to get Inkubus Sukkubus, Chaos Research, Vlad Janicek (The Nosferatu) and Ariel Maniki (Ariel Maniki And The Black Halos) among others, involved.The result is a series of strong songs such as “The Last Day”,“Bloodlust”,“Deepland” (gothic rock hymn in special clip) but also completely unique songs such as “Inquisition”,“BlackMoon”,Ad Gladium”,“Sacrament For Three” (gothic rock hymn-to-be number two) or “Flowers Of Evil” stand solid. This “The Undead” is an album that many gothic rock enthusiasts should hear and even more should have! This album is not called “The Undead” for no reason. Can’t say anything bad about this “The Undead”. [KI] LAPECHE - Blood In The Water (CD/Vinyl/Digital) (New Granada Records) Blood In The Water is a step forward for the band within their songwriting. Wellbalanced songs getting performed almost fearlessly. From opening with “Finally Trying” to “Oliver” and “Night Witches”. “The lyrical content feels personal and social and hopefully brings some comfort or joy to the listener.While the tunes can be heavy at times,we aspire to weave a thread of hope through all of our work”–admits Diem. “Cool Job” is probably the perfect example of what the bass-player of LAPÊCHE is saying. Having J.Robbins credited as producer, it’s impossible to imagine the record without something that dynamic, to a point when the deepness of the passages recorded by Robbins becomes almost a stylistic element of the compositional structure. Several tracks on the record could be described that way. Cool Job is almost a brilliant one – like a meditation outside a blues-bar at dusk. [DV] DARK - Nightmare (CD/Vinyl/Digital) DARK, a singer/songwriter from Hamburg, strikes hard with the debut album Nightmare. 8 songs that mercilessly drag you along the darkest paths of dark music. Nightmare.Amasterly song.A tsunami of enthusiasm, love at first sight! Forever Suffer belongs at every party. Great darkwave with lyrics that don't need more than a few words: "Passion, Pain, I suffer, Again. Forever Suffer". And then my absolute favourite, Nyctophilia. Actually, all eight songs are my favourites, this one perhaps even more so. You don't change a successful recipe.The ingredients are the same as the previous song, but are backed up by dark guitars. They subtly wriggle their way into this anthem. The next magnus opus: Gothic Love. Do not expect an unctuous ballad. No, don't! DARK's voice sounds evenmore tormented.Musically it hovers between darkwave,minimal and some future-pop-like passages in which the synths get an absolute leading role. (Young & Cold Records) [JB] DE DELVERS - Hart in neonlicht (Single (Digital)) De Delvers debuted with their first LP in 2018. An album that was -justifiably- very well received. In 2022 there will be a sequel, and this 'Hart In Neonlicht' is the first single taken from that album. With their idiosyncratic mix of new-wave, dark belpop, post-punk and related genres they pay tribute to the dark dance, the sweating bodies on the dance floor and make us realise howmuch we have missed all this. In their unique style this Dutch night orchestra continues to elaborate on their debut. With a catchy melody; they continue to sing in their native language... ‘Een hart in neonlicht. Een zaal vol zwart jassen. We dansen in de mist , Nieuwe golven, Diepe bassen’... Roughly translated as "A neon light heart. A room full of blackcoats (Blackcoats = dutch nickname for Goths). We dance in the mist, New waves, Deep basses'... [JB] www.peek-a-boo-magazine.be - 26 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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WHISPERS IN THE SHADOW Whispers In The Shadow have been around for 25 years, and that should be celebrated. A new compilation is out: ‘GildingThe Lily’,which consists partlyof newrecordings of the best songs from the past quarter of a century.The band has undergone a serious evolution during that period and you can read all about it in the conversation we had with frontman Ashley Dayour. Together, we discussed the entire career of this psychedelic wave rock group, the highs and lows and the permanent search for innovation. Hi Ashley. We’re celebrating 25 years of Whispers In The Shadow this year. So, happy birthday. I suppose you were born out of the goth scene inVienna.Howwas this scene at the time?What attracted you to it? Thanks a lot.Originally, I’m not from Vienna. I grew up in the countryside far from the big city so to speak - if you can call Vienna a big city. So, I wasn’t really part of any scene really. Of course, the music was influenced by the sound of guitar driven wave and goth bands but the little gothic scene we had and have in Vienna had nothing to do with it. I also must add I’m not a big club fanatic,never was. I don’t go out much and I don’t know a lot of people. So, I can’t really say much about the scene back then and the same goes for the goth scene now. It’s small but has always been active.And there’s a few people who really keep it alive and just don’t stop doing so,which is admirable. The first cassettes were released in 1996. It seems that you were Whispers In The Shadow, playing all the instruments. What should we remember from this period? Can you recall howyou startedWhispers In The Shadow? I was also playing in a band called Sanguis Et Cinis at the time but got a little frustrated with how things were moving with them. I just wanted to play the music I was actually listening to. There was no place for that sound with Sanguis Et Cinis, so I decided to record something more or less on my own.The first demos were 4-track-recordings we recorded in my bedroom at my parent’s place when I was still living there. I was very young, it was more than a lifetime ago, actually. I wasn’t really satisfiedwith the first demo but the second one was more to my liking. It was the one that got me a record deal. So within just a couple of months we had a deal and a few months later we were in a professional recording studio. We were lucky. Funnily enough only three songs from that demo made it onto the final album. ‘Face’, ‘Rain’ and ‘Crying Eyes’, the rest were all new songs we wrote afterwards and they sounded very different from the original demo tape. www.peek-a-boo-magazine.be - 28 - I still remember the confused faces of the label executives when they came into the studio to listen to what we’d recorded thus far.They said something like,‘Hmm that wasn’t on the demo,was it?’.They repeated that sentence after every song and of course I was aware of the slightly more concerned faces after each track.Within a couple of months, we changed a lot. But the record did well enough. On the first two albums of Whispers In The Shadow – ‘Laudanum’ from 1997 and ‘November’ from 1999 – the band grew to become a trio with Richard Lederer, known from Die Verbannten Kinder Evas, Weltenbrand and Sanguis Et Cinis; and Zebo Adam, who has rejoined the band last year and is a well-known producer in Vienna. How did they join the band then and how was is to work with those people? It was clear to me that I wanted to play live. Obviously, I couldn’t play all the instruments at once and what’s the fun in touring alone? I knew Richard from Sanguis Et Cinis, so I just asked him if he wanted to be in the band.And Zebo was and still is a very close friend of mine, he’s been with the band ever since,not always as amember but as a very close adviser and/or producer. I remember these first shows very well. It was good fun, some of them anyway, others not so much. The first albums were very influenced by ‘Pornography’style The Cure. If I’m not mistaken, you also had this ‘big hair’-cut that is often associated with Robert Smith. Did it bother you to be compared with The Cure? At the beginning it did not because that was what I wanted to do. Take on from where The Cure left in 1982 and write songs which had that sort of space and darkness.Thing was, you have to know The Cure was pretty much out of fashion in the mid 90s. They didn’t have the ‘God like’ status they have now. I mean, nowadays their influence can be heard in pretty much every guitar sound from every post punk band around the planet. So back then we created a sound which was totally against what people thought was cool.The same goes for the look. But I didn’t care much to be honest.Later on,with our third (‘A Taste Of Decay’) and especially our fourth album (‘Permanent Illusions’), when we expanded our sound and experimented more, it started to bother me a bit when the press still reduced us to that Cure-ish sound.Today I really don’t care at all. I love The Cure, they are part of my musical DNA, as is David Bowie by the way. I just don’t give a damn anymore.

Yeah,that was the start of a difficult time and we bit offmore than we could chew. ‘Permanent Illusions’ was a very ambitious thing and only parts of it succeeded, to be honest. Thomas did write a story around some ideas I had. But the story wasn’t ready when the album came out. I think the problem was we were a bit too spaced out at the time. Nevertheless it has some great songs on it.‘Pandoras Calling’ became a stable live favourite for quite some time. And yes you are right, our ongoing fascination with mythological themes started there. A long silence followed between ‘Permanent Illusion’ in 2001 and the live album‘ACold Night’ in 2007. You said in an earlier interview that this period almost saw the band disappear. What were the difficulties and how did you overcome them? Just recently one guy calledme a Peter Murphy clone.He was the first! And surprisingly so.But you see people always need to compare you to other things. I couldn’t care less. ‘A Taste Of Decay’ saw the band expanding, and offered a more direct rock sound. Howdid this switch happen? After two albums which explored the dark wave sound in full, I just wanted to do something different. I always have been interested in changes and other perspectives. I’m not a conservative songwriter and I’m not interested in the status quo.I’m interested in progress.We wanted to be a rock band so we got a real drummer and became a ‘real’ band. The line-up changed completely.That album has a few fantastic songs on it, like ‘Nothing Stays Forever’which is sort of a quintessential Whisper InThe Shadowsong.The productionwasn’t verygood though. It was our first recording with a real drummer. It’s a very naïve record and somehow that might even be sort of its strength. The new versions we did for ‘Gilding The Lily’ from two of these tracks - ‘Nothing Stays Forever’ and ‘A Taste Of Decay’ - show the actual potential. I also have to point out we really became a band at this stage with Fork on bass and Martin‘Acid’Gutmann on keys,who is still in the band and who produced our last couple of records with me. The next album, ‘Permanent Illusions’ from 2001, is a further step forward. It offered a more psychedelic sound which earned you the title of‘goth floyd’, and a first taste of mythological references, in this case to the legend of Pandora.Youworkedwith theAustrianwriter Thomas Havlik for the concept, didn’t you? Howdid this collaborationwork? - 29 - ‘Permanent Illusions’ didn’t do well, neither with fans nor with the press. I was frustrated. Also, the band fell apart. There were private matters which were complicating things. The typical near 30 years of age crises. We also tried different directions. But nothing really worked.We recorded a whole album and tried to get our feet on the ground again. Parts of that album were released on the compilation release ‘Borrowed Nightmares And Forgotten Dreams’. Other parts remain unreleased to this very day. How did we overcome this phase? We finally found a direction which felt right. I began to have a clearer vision of what I wanted to do. And we also got a new record deal. Within a year or so everything fell into place again. The next big step must have been 2008,when you started a series of records around occult themes, a four-part cycle: ‘Into the Arms of Chaos’ in 2008, ‘The Eternal Arcane’ in 2010, ‘The Rites Of Passage’ in 2012 and ‘Beyond the Cycles of Time’ in 2014. Each album treats another alchemic state. In total, you have worked more than seven years on occult themes. The references to Austin Osman Spare and other occult writers are legion on these records. What inspired you in their work? I always was fascinated with Magick and Occult themes and I wanted to get that into the music. However, it all began with the movie The Fountain from director Darren Aronofsky. That movie changed a lot of things.Overnight,I dived deeper into the subjects of that movie. So, the changes for me were obvious. I learned about the usual subjects, Spare, Crowley, etc. and that influenced my lyrics and music. And it worked. We were back. A resurrection! We also became a five-piece around that time. With Lazy Schulz on Guitar our sound became way richer, especially live. When I had the idea of writing 4 albums with these themes, I knew that this would be a lot of work to stay focused and explore that path to the end.After that fourth ‘occult’ album it took a couple of years to actually write songs again because clearly all was said and done with that old direction. www.peek-a-boo-magazine.be

WHISPERS INTHE SHADOW ‘The UrgencyOfNow’in 2018 sawyou taking another turn: more direct rock and more political themes. Did the reaction of the public fulfil your expectations? Just a few days ago, there was a review of ‘Gilding The Lily’ and the critique pointed out that ‘The Urgency Of Now’ is her favourite album.That happens a lot.When it first came out, I didn’t realize people liked it that much, or maybe it was a slowgrower.We were one of the first bands of our genre who went more political.It was about time.And it certainlywasn’t expected from us. It’s a good album. Especially lyric wise. It was written pretty fast. It’s an album driven by hate but equally so by hope. I think that’s why it resonates a bit more with people. Because its themes are more universal. On ‘Yesterday Is Forever’, the record from 2020, the music is more diverse than ever before, in my opinion. Even though you claim not to have started from an overarching theme this time, as you did on the last six albums, I can still see a subject connecting the songs: the relation between past, present and future. Do you agree? Yes, you might be right but that wasn’t planned. It was just something that happened.And I also agree that it’s our most diverse and kaleidoscopic album. I wanted to show the world and mostly myself that this band is still able to surprise and that we are not done yet. By all means I wanted to do the opposite of a nostalgic “back to the roots” record. Which is something most bands do around that point of their career. That doesn’t mean we will never ever record such a record though. I’m still very happy with that one. I consider it one of our best. By far actually. album is designed as a live set.My idea was to get away from the usual chronological playlists of such records and make it something else. Like a real album, actually. You also chose to make new recordings of the tracks on ‘Gilding The Lily’. Sometimes you just changed the vocals, sometimes you rerecorded the whole track.Whywas that? I wanted it to be coherent in terms of production and sound, so it was obvious we had to re-record the older songs. Also, I’m a way better singer now than I was when we started. So this was a good opportunity to set things straight. And I wanted to make it special, even with the older material. I wanted to do something new. A lot of songs are updated versions which represent the band in the here and now.Take a song like ‘Back To The Wound’ for example. My vocals now have a different attitude than on the original 10 years ago. That goes for most songs,actually.We also did a newvideo for ‘Back To The Wound’. It was interesting to create something visual for an almost 10-year-old song but somehow present it like it would have been on the last album. I’m not a conservative songwriter and I’m not interested in the status quo; I’m interested in progress. The new record –'Gilding The Lily. A Retrospective'– is a compilation that was made to celebrate 25 years of Whispers In The Shadow. How difficult was it to select the right songs for the album?What criteria did you use? It was very difficult indeed. If you have over a hundred songs to choose from, that’s not an easy task. My idea was to have at least one and maximum three tracks from each album.Of course, there are songs we had to include: the hits, so to speak but I also wanted to take the opportunity to dig out some deep cuts, songs that were slightly forgotten or didn’t get the attention they deserved when they first came out. 'Pillowcase' and 'Halous At Dawn' are such songs. Also, the www.peek-a-boo-magazine.be - 30 - Finally, when you look back upon these last 25 years… there have been a lot of changes in musical style, in content, also several line-up changes… but Whispers In The Shadow was always there. You always survived. What has made the longevity of the band and what is the one thing that the output of the band has in common, that defines Whispers In The Shadow? As long as I exist this band will most likely survive. It really is that simple.Of course, I have played with thoughts to call it a day from time to time but then I think again and realise it’s stupid. I mean, if I were to break up the band,wewould be back in a couple of years anyway and honestly, I really don’t want to become one of these bands you know.We are way too honest for that. Musically I think my voice is what defines the band. That’s what makes it Whispers In The Shadow. With all its pros and cons that is. I’m aware that I’m not a spot-on singer but it is my voice,it got better and it is the one constant.And spiritual wise I would say our consistency is to do what we think is best.We were not always right, by far not.But that was never the point. Create music I’d like to hear and maybe surprise me and our audience from time to time. In the end it comes down to that.That’s why we are still here. That and that feeling when you just played a really good concert. Which is about time again. There are some very interesting shows planned for 2022. Fingers crossed they will finally happen. Xavier KRUTH

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COMBICHRIST - Compliance (Single Digital) (Out Of Line) All works from each project of the famous Nordic musician Andy La Plegua are always very well received by lovers of alternative electronic music and his most famous band has recently released a new single late September on Out Of Line that always accompanies the best artists. His musical versatility and his singular brand have made him transcend from Europe to the world, since Combichrist has played on almost every continent on the planet."Compilance" is an explosive song, but one that enters the ears with stealth respecting the dark style of the band and that surprises with nuances where the band is exploring other rhythms as well as slower tempos.The official video for the single contains the band's gloomy stamp.They did a great editing job that you can appreciate on YouTube with the song's lyrics. [GC] JIHAD - Retrospekt (CD) Soft fluttering electronics and audible light structures contrast with the harsh, modulated vocals that muddle the heartfelt lyrics as if the protagonist,worthy though he may be,doesn’t see himself that way. It’s a fine bit of futuristic introspection.Retrospekt’s musical style is readily apparent - near spoken word lyrics over muted dark, trancelike compositions. Most tracks start off in a minimalistic fashion before being constructed into complex digital soundscapes with definitive grooves. Many songs likely would disappear into the background of late-night bar conversation were it not for the upfront, gravely vocals to bring attention back to the arrangements.Standout tracks here are“We Believe”with some clever transitions and“The Prophecy”that conjures a less militant Too Dark Park vibe.For those who pay close attention to absorb its nuances, it pays off. [CM] LA SCALTRA - Cabaret (CD) (Solar Lodge) “Intro” is a quiet, smokey interlude setting the stage for the eerie sounds to come. “The Garden” comes in with a simple, one-two, one-two, one-two, plodding beat, like a Raven “tap tap tapping at mybedroomdoor.”Each drop,however,sustains the reverb and it bleeds into the next, leaving no aural spaces open. The near ethereal vocals are reminiscent of Switchblade Symphony and there’s an aching, pleading, but almost sarcastic tone. It’s as if she knows that you know the game.But she also knows that you can’t resist her entreaties to“come intomy garden.”You both know it’ll be wrong.But you’re going to go through with it anyway. If there is a dance track on the album, it would be “Nightmares.”No heavy EBM stomping, but it pulsates and throbs into a dream state, perfect for spinning and gesticulating, physically expressing the pains of a nightmarish existence. The riffs burn with angst as the synths flitter chromatically above the melody. [CM] MILDREDA - I was never really there (CD) (Dependent) www.peek-a-boo-magazine.be Backfire sets things of with a blast as the opener. Great to hear how subtle every sound, sample and noise finds its place in this slightly slower opener. The typical atmosphere of earlier work is very recognisable.If you like dark,lingering electrowith a touch of industrial, then Reinvention Of Pain is right up your street.With Echoes, DIVE comes to the rescue.A lingering song in which the characteristic voice of Dirk Ivens brings some noisy accents. Halfway through the album, the sound ebbs away to almost nothing, only to rise again in its grandeur.Another of Jan's heroes,Cyan (The Eternal Afflict) joins the fray on Blame It On The Moon. The song has more future-pop allure and is wonderfully danceable. Musically, the whole thing hovers between the rough and gothic impact it once started with and more contemporary electro. Where it has always been Jan's goal with Mildreda to make atmospheric music with a dark edge,he has succeeded perfectly with this album. - 32 - [JB] Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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calendar 19.02 CARRE NOIR #1 @ Le Garage, Liège [BE] Sandra Kill (electro-punk), The Ultimate Dreamers (cold Wave), Faust Project (post-punk), partikul (Wave). 19.02 NEWWAVE CLASSIX @ Vooruit, Gent [BE] 26.02 NOT JUST ANOTHER EBM DAY! THE 100% BELGIAN EDITION! @ De Casino, 9100 St-niklaas [BE] 100% Belgian Line-up: Signal Aout '42, Dive, Parade Ground, Lescure 13, Wulf7 + Resident Dj BORG 04.03 6BILL, THE ULTIMATE DREAMERS, HOTEL DU GLOBE @ Le Rideau Rouge, 1380 Lasne [BE] 05.03 FAUST PROJECT, THE ULTIMATE DREAMERS, PARTIKUL @ B52, 8480 Eernegem [BE] Faust Project (dark Wave), The Ultimate Dreamers (cold Wave), Partikul (minimal Wave) 11.03 ADULT. + PLACK BLAGUE @ The Black Lab, Wasquehal [FR] 12.03 ADULT. + PLACK BLAGUE + THE JUGGERNAUTS @Magasin 4, Brussels [BE] Adult. Will Come And Present Their 9th Album ”Becoming Undone'. The Eu Tour Support Is The Extravagant Leather Induced EbmAct Plack Blague (us). Opener: Hard Hitting Electronic Body Band The Juggernauts 18.03 BIM XIX - DAY 1 - ***NEW DATE *** @ De Casino, St-niklaas [BE] Qek Junior, True Zebra, Ultra Sunn, A Split- Second, Portion Control (SEED Set) + After Party Dj BORG! 18.03 DARK RECOVERIES @ L'enoteca, Gaurain-ramecroix [BE] Curse Of The Vampire (coldwave) + Ultimate Dreamers (coldwave) + Mars Model (post Punk) + Fktb … 19.03 BIM XIX - DAY 2 - **NEW DATE*** @ De Casino, St-niklaas [BE] Llumen Causenation Mildreda Elm Implant Absolute Body Control Portion Control (best Of Set) + Dj BORG! 19.03 VAMPIREPARTY :: THE 25TH BIRTHDAY EDITION (NEW DATE) @ Den Aalmoezenier, Antwerpen [BE] Dj Hive & Guest-dj Orphea 26.03 PASSAGERS DE LA NUIT @ Belvédère, Namur [BE] The Ultimate Dreamers, Curtis, The Mistress Of Jersey - Before & After Party: Handsome Brothers, Chacha 02.04 PORTA NIGRA 10 YEARS CELEBRATION @ Stadsfeestzaal, Aarschot [BE] Blutengel, Covenant, Hocico, Suicide Commando, Rotersand, Sitd, Pink Turns Blue, The Arch, The Invincible Spirit, Jadu, Korinthians, The Juggernauts 03.04 PORTA NIGRA 10 YEARS CELEBRATION @ Stadsfeestzaal, Aarschot [BE] Blutengel, Covenant, Hocico, Suicide Commando, Rotersand, Sitd, Pink Turns Blue, The Arch, The Invincible Spirit, Jadu, Korinthians, The Juggernauts 21.04 KAELAN MIKLA + KANGA@ De Klinker, Aarschot, Aarschot [BE] 23.04 DARK MALTA FESTIVAL @Montekristo Estate Malta, [MT] Dark Malta Festival Is Back For Offering You International Gothic/metal/industrial Bands Over 3 Days Giving You An Unforgettable Experience Bigger And Better Than The Previous Years 24.04 DARK MALTA FESTIVAL @Montekristo Estate Malta, [MT] 14.05 THIS IS NOT A DARK FEST @ Salle Saint Roch, Lessines [BE] Red Zebra, The Ultimate Dreamers, Ultra Sunn, Partikul Dj Sets & Afterparty With Dj Chacha & Dj Gore. 21.05 PORTA NIGRA, ANOTHER BODYMOVING PASSAGE @ De Klinker, Aarschot, Aarschot [BE] Der Prager Handgriff, Fïx8:sëd8, Accessory, V2a, Mildreda, Stin Scatzor 29.05 LAMUERTE @ De Klinker, Aarschot, Aarschot [BE] La Muerte Supported By Motor!k, Heathen Apostles, Needle & The Pain Reaction 03.06- 06.06 WAVE GOTIK TREFFEN @ Various, Leipzig [DE] 23.07 -24.07 AMPHI FESTIVAL XVI @Amphi Eventpark / Tanzbrunnen, Köln [DE] Line-up: Vnv Nation + Eisbrecher + Mono Inc. + The Birthday Massacre + Diary Of Dreams + Suicide Commando + London After Midnight + Solar Fake + Mesh + Aesthetic Perfection + Zeromancer + She Past Away + Letzte Instanz + [:sitd:] + In Strict Confidence + Stahlmann + Nachtblut + Frozen Plasma + Rome + Heldmaschine + Empathy Test + Sono + Minuit Machine + Cat Rapes Dog + Rroyce + Dupont + Sturm CafÉ + Erdling + Chemical Sweet Kid + Jadu + V2a + Wisborg + The Foreign Resort + Joy Division Undercover + Der Fluch + Johnny Deathshadow + Schwarzschild + Bragolin + Alienare + Perfection Doll + ... 19.08 THE MACHINISTS RE:UNITED 2022 - FRONT LINE ASSEMBLY + DIE KRUPPS! @ De Casino, St-niklaas [BE] Support: Tension Control Afterparty With Dj Borg 26.08 PROJECT PITCHFORK @ De Casino, St-niklaas [BE] Project Pitchfork 2022 Belgian Exclusive Club Show! + Afterparty Beats & Waves With Dj Borg. 03.09 FRONT 242 - SUICIDE COMMANDO @ Gc Den Dries, Retie [BE] 24.09 E-TROPOLIS FESTIVAL @ Turbinenhalle, Oberhausen [DE] Project Pitchfork + Solar Fake + Faderhead + Grendel + LeÆther Strip + The Joke Jay + WinterkÄlte + Rroyce + Mildreda + More Tba …. 15.10 BELGIAN ELECTROWAVE IS NOT DEAD! @Wommel, Wommelgem [BE] Line-up - Tba IF YOUR EVENT ISN’T LISTED HERE, YOU FAILED TO ADD IT (FOR FREE) ON WWW.PEEK-A-BOO-MAGAZINE.BE! - 35 - www.peek-a-boo-magazine.be

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