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contents 01 Cover CRASH COURSE IN SCIENCE © Ronda Cox 04 Interview MONSTERGOD 06 Reviews 08 InterviewOK LION 12 14 Reviews 16 20 Interview DERISION CULT Interview CRASH COURSE IN SCIENCE Interview THEN COMES SILENCE 22 Reviews 27 Calendar colophon ORGANISATION BODYBEATS PRODUCTIONS Marleen MASTBOOMS www.BodyBeats.be PORTA NIGRA Peter Verreycken www.PortaNigra.eu 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 Xavier MARQUIS WRITERS Jurgen BRAECKEVELT Dimi BRANDS Peter DOLPHEN Fred GADGET Hamis HIREK Kurt INGELS Xavier KRUTH Lena DAUTEL Tom PLOVIE Dany QUETIN Britta TABRIT - 3 - WRITERS (continued) Karolina KRATOCHWIL Henk VEREECKEN Dan VOLOHOV Chris WHEATLEY William ZIMMERMAN Frankçois ZAPPA PARTNERS & DISTRIBUTION BODYBEATS PROD. (Antwerp) www.BodyBeats.be DARK BALLOON (Retie) www.darkballoon.be BUNKERLEUTE (Leuven) www.bunkerleute.be DARK ENTRIESMAGAZINE (B) www.darkentries.be GOTHVILLE (Hasselt) www.gothville.com INFRAROT (Germany) www.infrarot.de PORTA NIGRA (Aarschot) www.PortaNigra.eu WEBSITE Ward DE PRINS (RIP) Peek-A-Boo Magazine • Heilig Geesthoek 87A • BE-2070 • Zwijndrecht • Contact: [email protected] / Promo: [email protected] www.peek-a-boo-magazine.be

MONSTERGOD With their most recent release “Ozymandias” Monstergod prove that dark sounds and poetry may go hand in hand to reach the effect that is both mesmerizing and dynamic in the most excellent hard-hitting way. Poetic as always - ”Ozymandias' proves that poetry is the only constant element of what may be called Monstergod bloodstream. Blake, Baudelaire, now Shelley and… Nietzsche? Not what one would call a happy family when it comes to their general message. Why the poetry, and what determines the choice of poets you decide to inscribe into your music? Marek: From the very beginning of music creation by Monstergod I was sure we have to use poetry for our music. It was our agreement when we established this music project with Miłosz. We were even sure that it would be not possible to use our own words to describe the feelings we wanted to describe by Monstergod. And yes, we were wrong. Of course, we use Baudelaire or Shelley poems but we also increase the number of songs where we decided to add our own words. By the way, Nitzsche is our great discovery on the Ozymandias album. How do you feel about the new album? You are not exactly the artists who would release a new thing every year. Then again, 'Invictus' took you six years, so it's not that bad this time Marek: We are not in hurry. We have our families, our jobs, and our problems - we have no rush to release albums every year. We do it when we feel that we have something interesting to show and musically say. This time it has lasted almost 5 years. But I was a bit more involved than Miłosz this time so I worked with myself a little faster ;-) Monstergod's music is in general, dark, nostalgic, and thought-provoking, but “Ozymandias” sounds like one of the darkest of your works so far. Did the circumstances (covid-19, isolation, and all its repercussions) influence the final content? What is the background behind the album? Marek: Yes, 2019 to 2021 period was terrible. As you said covid, darkness, isolation etc. When you create music, it’s not possible to do it without the context of your life and your experiences. This time I was more www.peek-a-boo-magazine.be - 4 - responsible for the final vision of the album than on the older albums - probably that’s why it’s more gloomy than ever before. When you sit to create new music –what is the process like in your case? Do you have a total concept in your mind, or do you go step bystep? Domusic and lyrics come together simultaneously, or is it one thing at a time? Marek: It doesn’t work this way. We create music after that we try to find some lyrics for it. Sometimes we begin from a movie sample, like in Ozymandias song, and sometimes from playing the guitar like in Sundreams. We never have a concept from the very beginning but I feel that our songs form some kind of a story at the end. I really love to listen to Ozymandias as a whole. Tell me about your collab with Dariusz ‘Daray’ Brzozowski. What was his input, and how did it influence the final sound of'Ozymandias”? Marek: Daray is a great drummer and had a great influence on the final sound of Ozymandias.The idea to cooperate with him came up after talks with Filip Heinrich (Vesania, ex-Decapitated) who was responsible for the final fix of the album. I had drums created on a computer using live drums samples. Filip asked me to record the drums live in the studio so we called Daray and after a few minutes - we had a deal. Daray came to the studio for 2 days and recorded all the drums. It was magical to see how Daray and Filip work with each other.They know themselves since “1000” years and you feel this connection when they work together. Who are the other contributors to the album? I notice kr-lik, Cesar Soto, Heinrich, and …Jagoda (on Beloved)? –what was their input? Marek: Ok, Kroolik - you know - we played together in Controlled Collapse and Clicks. I had no idea for vocals for one of the songs, I asked Kroolik and it ….clicked. Cesar Soto is a guitarist Ministry band that I love a lot. I asked to

record some guitar layers and after 3 days I had the tracks in my email. As you remember, the other ex-Ministry guitarist - Sin Quirin recorded guitars for Invictus (the previous Monstergod album). Heinrich is Filip Hałucha - responsible for mixing and some additional guitar and bass layers. He also added some additional synth tracks. He worked sometimes as the third member of the band. And Jagoda, she’s my daughter. I asked her to recite two German rhymes at a certain tempo. She did it great. To what extent has your approach to making music changed since “Invictus” (2018)? Do you still find fun in it? Marek: Of course, I cannot live without it. I make music all the time. Most of it lands in a trash folder but making music is one of the most important things in my life that keeps me happy. We talked about the darkness that seems to come out of this album. But it doesn’t mean that making this music doesn't give me fun, What about live shows; actually I haven't seen you on stage for ages. Are you planning any live shows with the new release? Marek: Short answer: NO. Longer: We have no time for it. I would like to play it with a full band but I’m not sure we could have a budget for doing it. What can we expect from you in the upcoming months? I (we) make music. You will probably have an opportunity to listen to it in about 5 years or so. Thank you! Karolina KRATOCHWIL https://monstergod.com/ - 5 - www.peek-a-boo-magazine.be

THE MARS MODEL- Primal Urge (CD / Vinyl / Digital) (FX7 Records) The newThe Mars Model release, named Primal Urge. This carries 6 songs going from solid post-punk over gothic rock with a very cool wink to The Fields Of The Nephilim and associates.Melodic at one moment,menacingly brutal and chaotic at others.‘Baby Paria’ relies on screaming guitars, solid basses that resonate strongly in the final mix (love it!) and sparsely present synths, which are nevertheless important. ‘Ultra Mega’ opens with nicely distorted guitars that remind me of The Cult.“The atmosphere, dark and gay,in a special kind ofway.Last time I sawyou,with that smile,you're not anymore, livin' in exile(…)’”Awonderfully compelling song that brings back the heydays of gothic rock,or if you want: revive it.And what to think about ‘Man Of The Year’? Goth rock with a strong pinch of dark wave.‘Showdown’… Slowly,mysterious synths and then after 25 seconds a guitar riff that gives me the chills.The riff varies throughout the song,slashes, cuts, squirms, screams hoarsely. The synths and bass get credit for getting ‘Atrocity Galore’ on track, top shelf post-punk. ‘FDM’ is the last song on the EP.While the synths lead the way, guitars get a slightly more timid role. This EP belongs in your record cabinet and make sure to go see them live! [JB] ELM - Penetrator (CD / Digital) (Alfa-Matrix) ELM.This Swede does not shy away from stomping feet. I would even say“Im Rhythmus bleiben”, as Front 242, many EBM heads and hopefully many others beside them, chant as an anthem. Penetrator! No nonsense old school inspired EBM. Tight bass lines, menacing drums,make you wanna dance and twist your body in even impossible poses - electro, almost like a tsunami...There is no escape! This album is yet another one that forces you to go total loss. Rhythmically very tight, and the title speaks for itself: the music penetrates very deep into your muscle fibres. From somewhat slower gems, such as‘Razor Horror’, to sharper, faster, harder and potential mosh-pit bangers such as ‘Ha Ha Ha Begär’, ’Vessel Of Violence’ or NWO. The latter is really next level shit in my humble opinion.Where previous albums were already breath-taking,he noweven adds on top of that.No song is inferior.Even the slightly“slower”songs make you wanna move.Beauties like ‘Outcast’, where some extra machinery in the background showcases a dreamy melody as a backdrop.The strength of EBM lies in less is more. [JB] THE JUGGERNAUTS - Fear (CD / Vinyl / Digital) The helmeted no nonsense EBM heads The Juggenauts are back! They kick ass! Fear, as the new EP is titled, features four brand new songs and two remixes, one by roaring frontman Borg and one by True Zebra. ‘Fear V2K18’ is the title song and it is a direct hit! Pounding drum machines, thumping low-frequency basses released by an arsenal of synths, rousing and pumping sequencers,while Borg’s singing is not cheerful, but raw and spiced by a firm dose of anger, cynicism and social criticism.‘End Of Time’, which, in addition to the pounding sound, contains a very catchy melody. Good old Trump gets to kick off‘Shrinking Brains’with one of his notorious speeches: “Our country is in serious trouble…We don't have victories anymore.We used to have victories. But we don't have them…(…)” What follows is a frontal old school EBM headbutt. ’Snitch Bitch’ is a song which got a dark top coat of dark-electro as a finish on a base layer of pure EBM primer. Both of the ‘Fear’ remixes are definitely not inferior to the originals versions.Borg's ‘Fear VK20 (C-19 EBMmix)’packs even more vocal sampling aggression than the original song. ‘Fear V2K22’ Club remix, True Zebra version, we get a rather minimal rhythm, synths and sequences build-up that gives the song a more clubby dance-like undertone. EBM is not dead! An EP that every righteous EBM lover should have in his/her record collection. (BodyBeats Records) [JB] www.peek-a-boo-magazine.be - 6 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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OK LION We recently discovered OK Lion, a fresh Brussels electro duo that released its debut '120 Ways To Get Away' at the beginning of 2022. It contained contributions by a man called Patrick Codenys, famous for his work with Front 242. So we had a lot of questions, which we were happy to ask Stéphane Devillers (synths) and Janaina Costa (vocals). Hello Stéphane and Janaina. If I understood correctly, you met at the beginning of 2020. I even read that you immediately composed a song the day you met. How did it all go? Stéphane: Indeed! A mutual friend named Boods put us in touch. I then sent my demos to Janaina, who came to my house two days later. During this first meeting, we wrote the lyrics to ‘Play’ in one evening and we immediately recorded a first version of this title! Janaina: That was crazy! I had never sung solo before, and I had no idea how to do it, but as soon as I heard the first notes of ‘Play’, I immediately had a vocal melody in my head and we continued on this intuition. We still work like that today: if the melody comes to me on the first listen, then it's a good sign. The lyrics follow, at I didn't convince Patrick Codenys to work with us, it was his idea! their own pace, afterwards. The meeting took place just before the lockdown. There are several ways musicians have reacted to the lockdown. Some complained that they could no longer give concerts but others used the confinement as a creative period where they could work in complete freedom. How did you experience the lockdown? Stéphane: The question of concerts did not arise because we had no songs at the start and we were not ready.We wanted to record a full album, which we were able to do in six months thanks to the lockdown. We weren't supposed to see each other but we broke the rules and worked once or twice a week. www.peek-a-boo-magazine.be - 8 - Janaina: We made a creative ‘bubble’! It was a way of escaping during this period of withdrawal. The disc '120 Ways To Get Away' was released in March 2022, two years after you met. How did the recording go? Stéphane: Very well. Some instrumentals had already been recorded for a long time since I had been looking for a singer for some time. I continued to compose and Janaina wrote the lyrics and recorded the vocals, piece by piece. After six months, we had thirteen tracks. Enough to be able to put the album on Bandcamp and streaming platforms. What impressed a lot of people was that you worked with Patrick Codenys of Front 242, who mixed and produced two tracks on the album. How did you convince Patrick to work with you? Stéphane: I didn't convince him, it was his idea! I have known Patrick for twenty years and he regularly asked me about my project. I sent him the demos and he offered to mix three tracks. In the end, we kept ‘Get Away’, which is our third single, and ‘Brisure’. He did a fantastic job.We are very proud that Patrick participated in the album, Front 242 being one of my major influences. Janaina: I still can't believe how lucky we were! With the participation of Patrick Codenys, aren't you afraid that everyone will compare you to Front 242? Your music is very different, isn’t it? Stéphane: As you say, our music is different. Front 242 is EBM. On our side, we are a mix of electro-pop and a little rock. But I think you can hear their influence in our music, even if we cannot compare. Janaina: Patrick's participation was an invaluable gift! But indeed, even if we hear the influences, we are very different, much more pop-rock, especially on stage with drums and guitar. You started OK Lion as a duo but there are four of you on stage now, after the addition of Pierre Bertens on drums and Jeff Bachely on guitar. How did it go, and what is the role of these two musicians within the

group? Stéphane: When the album was recorded, we started rehearsals in order to play live. We wanted to add a drummer and a guitarist to make the live show more dynamic.A friend suggested Pierre to me, who accepted immediately. He did not participate in the creation process because he has his own group: Autoreivs. Jeff, meanwhile, arrived later. He comes from the metal scene! Janaina: The first year we composed the album and we looked for ways to make it visible. So we started working on the clips and rehearsing in order to perform on stage.When we started collaborating with Pierre,we had already contacted Jeff but he was not available. It - 9 - was during the filming of the clip 'Get away', in which he participated, that this idea came back... a big week before our first concert tour! Jeff learned the songs in record time and we had a wonderful show! Today, they are part of the creative process in their own right, especially for the live part: we first compose together and we put guitar and drum samples, they appropriate them and offer variations. We then decide at four of what is retained. The musical collaboration is very fluid between us, it's really nice! You shot some videos for three tracks on the album. You worked with film editor Zvonock. Are you happy with the result? Janaina: We were so lucky to work with Zvonock! He is www.peek-a-boo-magazine.be

OKLION very involved in the visual identity and likes our music very much, which makes working with him fluid. He is open to proposals and the rendering is at times hilarious, but yes, we are happy. Recently he filmed one of our concerts and made a clip and a teaser of it. The result is really great. He has a very particular and identifiable way of filming. Among the characters that we find in your videos, there is the baby doll. I noticed that the doll even accompanies you on stage. Can you tell me how the doll entered your universe, and what importance it has for you? Janaina: So that's more of a coincidence… during the filming of our second clip, ‘Crash’, we wrote a series of cross stories that took place during a flight. Each character had a role, and among those was a dad with a baby. As the baby was plastic, we invented a story between us that the dad had a special connection with this toy, in a somewhat surreal way that no one questioned. When we shot the third clip, ‘Get Away’, we made several connections with the first two: we took the same car as in ‘Play’, there was again a body in the trunk, we resumed the exchange of smiles between the hostess and two other ‘Crash’ characters and there's the www.peek-a-boo-magazine.be - 10 - baby gliding in both clips. It was a crazy idea that came up during filming. And then we took the baby on stage to continue this delirium. The clips are shot exclusively with the help of our friends, the atmosphere during filming is often crazy. Professional but quirky. The baby character amused us and now it has become our mascot. It is placed sometimes in front,sometimes on the drums, sometimes attached to my microphone… What plans do you still have for the future? Stéphane: We are recording a second album.We hope to be able to release an EP in the spring.We will probably be working on new videos and we hope to do as many shows as possible.We just played with Underviewer and ELM at Magasin 4 in Brussels and it was a fantastic gig! Janaina: We also want to explore new collaborations but that's still in the draft stage... to be continued! Xavier KRUTH http://www.oklion.be/ https://oklion.bandcamp.com/

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DERISION CULT Hi Dave. Thanks for the interview. First let’s talk about your two most recent singles, “Bastards Of The World” and “Deaf Blood”. What can you tell us about these tracks and how they fit in together? Well we knew all along we wanted to get "Deaf Blood" out there front and center because it’s more of a straight ahead rocker. The single for "Bastards of the World" is actually a mix done by the gang at Glitch Mode for the Glitch Mode comp that came out right before Cold Waves. "Bastards" is a pretty metal track– It sort of harkens to the Hansel Und Gretyl sound. If you listen to Mercenary Notes there’s a lot of flavors on there beyond the heavy stuff, but we wanted to lead off with the heavier things. "Bastards" is really about my experiences in the ad agency world and working with big tech. When you’re front and center in silicon valley with all these guys,you see right away that for all the ways they’ve changed our lives, it’s really just about more efficient ways to sell you the next watch, or car or laundry detergent or whatever. Those are the bastards basically."Deaf Blood" was Chris Connelly’s lyrics, but he knew what that overall theme was. Chris is much more poetic than me and his words have a more abstract vibe to them. So "Deaf Blood" I’d say could be more universal and open to interpretation than some of the other tracks. I’m from the outlaw country world where you just kind of lay your testimony out there raw and it is what it is. www.peek-a-boo-magazine.be On ‘Deaf Blood’, one of the mixes features Chris Connelly and Reeves Gabrels. How did you hook up with those guys and what roles do they play in the mix? Well it really started with me hooking up with Sean Payne to produce this. Once he was involved it just felt easier to reach out to people in Chicago to help us with tracks. So Chris Connelly was the first one and really once he laid down his vocals, and was fantastic to work with, I started thinking of other amazing people to work with and Reeves was at the top of that list because he’s a guitar hero of mine from way back. Plus, Chris has a David Bowie tribute band and part of me was like “man how cool would it be to have Chris do a track with a Bowie guitarist”. One thing led to another and that track came together. But from there, Justin Broadrick from Godflesh did a killer mix of a track on the EP and then Martin Atkins did a mix on the "Deaf Blood" single as well as The Joy Thieves. Then Jim Marcus from Go Fight did the visuals. So by the time we were done we had a lot of amazing people we were lucky to have help me with it! You recently got your own hot sauce. How’d that come about and how did you participate in selecting the ingredients? That was pretty cool how that came together! The hot sauce is made by a company called Common Descent Provisions which is run by an old high school friend of mine Chris Bengston out of Kansas City. I very distinctly remember being on vacation with my family in Boyne Mountain Michigan and just like out of nowhere it occurred to me that "Deaf Blood" would be a sweet name for a hot sauce. I already saw artists doing some interesting tie ins and actually- Martin Atkins’ talks about clever ways to market your music was already something that I thought about. So I texted Chris and ran the idea by him. It was a fun thing to do for sure. Over the course of the summer he sent a few prototype recipes me Sean and his wife Anatasia would try them out.Then we landed on one that wasn’t like BLOWYOUR - 12 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

COLON OUT hot but enough to where it’s got some bite. It goes good with Chicken I’ve found and works well just putting straight on chip. We deliberately made it black because hey, it’s goth industrial! ‘Mercenary Notes Pt 1’ is the forthcoming full-length album.This is a concept album infact, right? What’s the central theme? I don’t really think of it as a concept album in the traditional sense.There’s no storyline persay. But there’s definitely a central theme to it. It’s about how technology, media and the overwhelming amount of information humans process is impacting us and what we need to do to survive with our sanity in tact. So the tracks all kind of revolve around that idea in different ways. Like "Year Hope Failed" is about how technology is replacing livelihoods and how machines do a lot of things better than humans do and if your’e going to survive,you need to adapt and be agile. But then "Slaves Rebuild" is sort of about how media overstimulationparticularly in with young women (as the father of a daughter this is important to me) - can create this sense of inferiority. Then as I mentioned with "Bastards" of the world,we’re all dialed into systems that are the greatest arbiters of intent in all of human history and their sole mission is to sell you another fucking nissan. How did you personal experience in advertising play into the theme of‘Mercenary Notes’? Its’really shaped how I look at big tech and the web. I’ve been doing search engine optimization since before there was a Google. I was there in the first dot com bubble, and I watched platforms rise and fall.We’re at a time now where the world is a fundamentally different place than it was 20 years ago. My kids don’t know a world without the internet. But in that ad business, I was in the war room for presidential campaigns, superbowl campaigns and programs that seize on a movement in the cultural zeitgeist like me too or Black Lives Matter. I know what resources were behind certain stories getting pushed and others suppressed.There’s a sample in Year Hope Failed where James Whittaker - who was a head engineer at Microsoft is saying that the web is fundamentally flawed because he discoverability mechanism is what the advertiser wants you to see. There’s a lot of truth in that. I know because I was there as the whole thing took shape. So I’m acutely aware of how much of a role digital media plays in people’s lives and what the good and evil lies therein. So the experiences of looking at data and deciding what messages to push and what to draft on really influenced what I talk about on Mercenary Notes. - 13 - You’ll also have some special guests on the upcoming album including Justin Broadrick of Godflesh.Who else do you have participating? Justin was awesome to work with! I love the mix he did of Slaves Rebuild. It’s like from the depth of hell! He took what was already a dark track and made it really dark. Sean is a huge Godflesh fan so that was pretty cool to get Justin on board. But beyond that as I mentioned, Martin Atkins also did a killer remix of Deaf Blood and he used live drums. That part is really cool to me because those are THE drums he did those PIL albums with as well as all the NIN, Ministry and Pigface stuff. He has them setup as his museum in Chicago and he’ll let you sit behind them. But just knowing THOSE drums are on that mix is a really cool music nerd thing for me. As you mention Reeves Gabrels plays guitar on some tracks, Chris Connelly did vocals for Deaf Blood and then on the Deaf Blood Single, Dan Milligan from The Joy Thieves does a really cool chill remix of Deaf Blood. He did a mix on the Sys Machine album last year and that was amazing. What’s next for Derision Cult beyond‘Mercenary Notes Pt. 1”? Do you have a vision for Pt.2? We started out with 8 tracks and Mercenary Notes Pt 1 has 5 of the those. We wrote Mercenary over the summer. The other 3 are in various states and we’re going to do two more. It’s two parts because they’re all part of the same theme.We leaned in on these because they were the ones that felt like they were moving the fastest, not necessarily because they’re good and the others are shit! In fact there’s a track on the next one called "Abdication Day" that I’m really excited about.We have some mystery guests we’re working on for part 2 that I don’t want to jinx myself on. But if they come together, it’ll be amazing. Visually it’ll need to continue Jim’s vision so I’m sure he’ll beinvolved in that one too. If you were arrested for a certain crime, what crime would it be which made all your friends know it was you? Streaking and getting busted at a gas station after I asked if the hapless attendant was Sarah Connor William ZIMMERMAN https://derisioncult.bandcamp.com/ www.facebook.com/300southdungeon/ www.peek-a-boo-magazine.be

TC75 - 5th (CD/ Vinyl/Digital) (9XO Media) Since the formation in 2007, Leipzig-based music collective, TC75 has released seven full length albums.At first listen, it becomes obvious that in all the cases the formula if pretty simple. However, comparing the recently released "5th" to the band’s previous albums, you’d understand that it’s a more thoughtful work. Recorded over the course of the pandemic, the new LP has incorporated a necessary feeling of fear and alienation.A combination that, alongside a natural self-searching of TC75 lead the band to question themselves, bout our lives and the future, pandemics and geopolitical shifts in the world. While Skinny Puppy has always been more attracted to animal rights and abstractionist themes, TC75 prove that the age-old industrial has not exhausted itself and there is a lot more to tell. [DV] De Delvers - Hart In Neonlicht (CD/ Digital) (Wagonmaniac) The Belgian post-punks De Delvers are back. Dries Emmerechts (vocals, guitar, beats), Laurens Primusz (guitar, keys, vocals), Sylke Verslype (keys, vocals), Menno Buggenhout (guitar, beats) and Tom Kets (bass, vocals) strike again with an album that’s brimming with a witty post-punk vibe.They lash out unstoppably for 13 songs. Shrilling,menacing, furious but sometimes also modest.‘Hart in Neonlicht (Heart in Neon Light) is the title of this album while the band remains faithful to using the Dutch language. Which we appreciate! The material on this album is as diverse as the number of variants within the aloe vera plant kingdom. Apparently there are over 200 variations, just saying. And exactly this variation is what makes one keep listening. Listening to the rhythms, the surprising intrusion into the basic vocal-guitar-bass synth of many other instruments, such as trumpets, saxes, oriental rhythms to primal post-punk… [JB] www.peek-a-boo-magazine.be - 14 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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CRASHCOURSE INSCIENCE ©Michael Zodorozny The question “What band influenced techno music using toy instruments?” has one only answer: Crash Course in Science.The minimal synth act, coming from Philadelphia, built their own synths to sound different and at the same time futurist. It’s possible that you listened to their “Cardboard Lamb” thinking that it was the last electroclash hit without knowing that it was recorded in 1981. They are playing this Sunday at Ombra Festival and it will be another of the gigs that you should not miss. Crash Course in Science were known for making music with toy instruments. Is it what you had at hand or did you want to sound different? In the early days of the band the toy instruments were used more or less out of necessity.First of all, thank you for reaching out to do an interview. In the beginning we had a real drum set, a guitar and a toy keyboard that eventually was altered to make additional sounds. We focused on sounds that helped depict a created world. Coming fromArt School, do you think that it changed your approach to music? Youwere alreadymaking experiments with tape recorders and toy instruments there, right? www.peek-a-boo-magazine.be - 16 - Coming from an art school background definitely influenced our approach to music. The cinematic aspect and mood of art lends itself to a musical exploration. Michael created early recordings using very crude instruments dating back to when he was teenager using multiple cassette players, acoustic guitar, sirens, broken toy piano and a toy drum set among other things. According to you, why is there currently an interest in classic minimal bands? The style is rich in content and experimentation. There is an attraction to the era, to the sound and outlook of classic minimal wave.The genre has staying power. Being from Philadelphia and being interested in funk, (“Dance to the Music” by Sly and the Family Stone has been named as favorite album) were you interested in Philly sound? Or was it just a reliefwhen newwave/punk emerged? We love howPhilly soul and how it laid the groundwork for disco.We were in art school in Philadelphia during part of that period, so the music was all around us. Around the same time The Ramones first album was released which

we found really inspiring. So, during the art school years there were any musical influences. Did you have any affinity with other bands of the area? Maybe The StickMen? We loved King of Siam, Bunnydrums, Executive Slacks, Experimental Products and the StickMen.Mallory and Dale collaborated with Stick Men guitarist Pete Baker in the Flaming Bango Bangos project. Bob Bell, guitarist from King of Siam, used to jam with us. In the early days we shared a rehearsal space with them in the basement of a bookstore on South Street in Philadelphia. When did you start building homemade synths? Did you have any kind ofmodel when doing them? We initially used store bought toy instruments but the more we wrote and recorded with them we wanted them to be more versatile. Dale began altering the toys by adding potentiometers and additional switches.This increased the vocabulary of the instruments, a practice now known as circuit bending. By using the toy keyboard casing as a shell, we started building a home-made synthesizer inside of it. Each home-made synth has a different color housing such as “the orange,” “the blue,” “the grey,” “the white,” and so forth. Each synth has its own personality. Dale, you said that there was a lot of visual inspiration behind your ideas for music. Howwould you explain this? Visual art can be made up of textures and patterns and built up with ‘colors’.There are a lot of similarities creating a piece of art that satisfying to the eye and creating a musical composition that is satisfying to the ears. Patterns and textures are layered can be layered in both disciplines. There is quite a change fromyour first single to the second, the EP, Signals From Pier Thirteen. It’s darker, and more electronic. Was it intended? Was it a consequence of a change of gear? The Signals fromPier Thirteen EP is a natural progression for us from the first record.The Signals record is where our musical personalities came together. Even though the instrumentation remained crude we were using some additional gear. It wasn’t written to be a dance record, it just captured the music we were making at the time. In Brighton where I lived for a few years there are two piers. One with a fair and the second one abandoned after a fire. This is the one that really caught my attention, maybe because it looked like a defeat against Nature. What did you find interesting in the one in Delaware River that named your famous EP? Pier 13 was a place not far from where we rehearsed at the time. It is pictured in photos on the record cover. It was actu- 17 - ally an abandoned coal-loading machine pier along the Delaware River that seems like it was active during the earlier half of the 20th Century. We were inspired driving around in out-of-the-way industrial places.One day we just ended up there.Pier 13 was a big influence. It was an abandoned pier with huge silent machinery, shapes, shadows, ghosts and debris. We went there often. Daybreak was the best time. This EP influenced both techno and industrial music. Did you feel the influence in later years? We’re grateful that the record was embraced the way it was. As an artist the most complimentary thing that can happen is that other people find your work inspiring. How was opening for Phillip Glass? I mean how did the public receive your show? Opening for Philip Glass was an amazing experience, especially at that time in the band. On that particular tour, we were told he wanted to play with punk/ new wave bands. Having our home-made instruments going through his PA was amazing.He appreciated our set and genuinely seemed interested in what we were doing. We were listed on the flyer for the show in very small type, so I believe we were a surprise to the audience. I did see some audience members in the front rows hiding under their coats when we opened with “Crashing Song”.The performance stirred up a bit of controversy with the crowd, but I would say the performance was well received. The homemade instruments were sometimes unpredictable in a live setting. During the show opening for Phillip Glass one of our instruments or effect boxes was picking up the FM radio station nearby and in between songs you could hear Bruce Springsteen’s “Born to Run”and “Roundabout” by Yes. As we would start to play the radio would be drowned out by our music. It was perceived as a planned part of the show. We grew to embrace the happy accident. Why Near Marineland was not released at the time? The songs on Near Marineland were recorded early on after the songs were written.We performed those songs often at the time and they grew and changed a bit as we performed them live.We went through a management change during this time. There were a couple other studio sessions after the Marineland sessions and thought of combining the material.For one reason or another the album just remained in the vault.When we were approached by Vinyl On Demand to release the box set it was the perfect time to mix and produce the record because we knewwe had an outlet and label for the release. Dale, you said that the bandwrote a lot ofmaterial during these years. Even enough for an album. Any plans of rewww.peek-a-boo-magazine.be

CRASHCOURSE INSCIENCE leasing it? Howwould you describe this“possible album”? There are many recordings and phases of Crash Course in Science. We experimented with different types of instrumentation and wrote a lot of material over the years. In addition to our unreleased studio recordings, we have wellrecorded tapes ofmost of our rehearsals and live shows.The rehearsal tapes contain spontaneous material that I would love to see released at some point.We may include some of this material as bonus tracks in an upcoming release. During these years that the band wasn’t active, did it happen that you listen to your tracks in clubs? Yes,we did here our tracks in the clubs occasionally. Howwere your lives in the years before 2009? We focused on our careers and continued to create artwork and music individually. Whydid the band reunite in 2009?Youwere asked to perform live, right? Yes,we were asked to perform live at Bimfest in Antwerp in 2009 and once we started working together again we just kept going. Howwas your approach to SituationalAwareness? Did you try to keep a similaritywith the sound of the past or were looking to do something different? The songs for Situational Awareness were written after we began working together again. We continued to use the home-made gear, but we experimented with different percussion,working methods and sounds. Michael, you also were part of KMZwith Ken Montgomery back in the 80s, right? What can you please tell us about this? You also were part of Disturbed FormTheater, right? KMZ was a collaboration between Michael and Ken Montgomery. They were neighbours in the east village in the early 80’s and performed in NYC at the Pyramid club, in Philadelphia and in Berlin. After finding common ground working together in Ken’s apartment on music, they began to play live.Michael also did the soundtracks and slide projections for Disturbed Form Theater, a performance art group with collaborator,dancer and set designer Greg Reeves.They were inspired by Bauhaus theater design and Alwin Nikolais dance theater.The industrial soundtracks were raw and utilized additional home-made synthesizers, tape loops and percussion. www.peek-a-boo-magazine.be - 18 - The producer of the band, John Wicks, is nowmember of the band. Is he touring with you? Do you think it has changed your way ofworking? John does tour with us as a musician and he helped devise the technical aspects of performing the live show.His work as a producer has been important during recording as well as performing live. Other Side is the debut solo albumbyMichael Zodorozny. What can you please tell us about this? Michael composes and writes other material in addition to his work with Crash Course in Science. The material created for the Other Side LP explores themes that are raw and more personal and seemed better suited for a solo release. The album was recorded at Michael’s home studio and was produced by Matia Simovich at Infinite Powers Studio in L.A. Other Side is released on the Electronic Emergencies label. What can we expect in the future of the band? We will continue to create music and art and explore the possibilities of both. François ZAPPA © Published by the kind permission of El Garaje de Frank www.elgarajedefrank.es Instead, Dale and Mallory had a couple of side band projects “Green Ghost” and “The Flaming Bango Bangos”. Now it’s your turn to tell us more about this. When Michael was active in NYC with Disturbed Form and KMZ,Mallory and Dale created Green Ghost. It was a band with a theatrical edge that utilized stage sets and eerie lighting. As mentioned above Mallory and Dale collaborated in the Flaming Bango Bangos project with Stick Men guitarist Pete Baker. It was a wild project with Mallory as vocalist,Dale on electronics and fragmented guitar playing by Pete Baker. © Christina Del Barco

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THEN COMES SILENCE With a career spanning over a decade, Then Comes Silence has become one of the key post-punk/Goth rock bands of this century. It hasn’t been an easy road, as their fifth record was released during the pandemic, and they have suffered some changes of line-up. But, nowa threepiece, they are facing a 2023 that seems promising with a second EEUU tour and a new concert in Spain.We have talked again withAlex Svenson to knowa bit more about how the Swedish band has been doing during these latest years. They will play at DarkMad on the 30th of April together with Boy Harsher, Cold Cave, Kite and Sigue Sigue Sputnik Electronic. A lot of things have changed since the last interview, First, your two guitar players left, and theywere replaced by Hugo Zombie and Mattias Ruejas. Now Mattias is gone. What can you please tell us about Hugo being in the band? You know that he is quite popular in Spain. Also, howis the band sounding nowwith onlyone guitar? Are you planning to get another one? It’s a heavy dutywith lots of responsibility being a guitarist in Then Comes Silence. It’s not for everyone, but Hugo is made of the right stuff and got what it takes.He is the sole axman of the band, the king of guitarists now. Joking apart… We had to drastically change the appearance on stage when Mattias couldn’t go with the band to the US with so short notice.We had no other option than work as a three piece in the US. Surprisingly, it went quite well. I had to add live backtracks from the synths that are on all www.peek-a-boo-magazine.be - 20 - the albums to fill in for the missing guitar. Hugo picked up important parts from Mattias and modified his style of playing. So… when Mattias retired from the band last September, we decided to continue as a trio. It has proven to work quite well and we want to explore it even more. I don’t think fans and followers will get disappointed. The drummer of the band, Jonas Fransson got married with Gözde of Aux Animaux, an artist that we have been following for some years now. The band collaborated with her in the cover of “All Tomorrow Parties” and she has also sung chorus in your last album. You have also recommended one of her last albums in a short interview. Did you like her last EP, Hauntology? Yes, Aux Animaux, A.K.A. Gözde Duzer is truly becoming very interesting and I believe she will grow a lot among the crowd this year. Her performances are exciting and well-thought-out. She is working solo and can carry a whole performance on her own. She is productive and keeps releasing new music frequently. Why isn’t there a label signing her now as we speak? The EP Hauntology is just another proof of quality. In our first interview, you commented that you were going to record an album, but finally it got shelved.What can you tell us about this record? Do you think that the songs will have any chance of being released in the future? It’s the rejected album. And it’s rejected for a reason. The © Jonas Fransson

songs didn’t qualify for a new album. At the time it happened it was a hard thing to accept, but now I totally understand. It was weird and probably too experimental, but, of course, some elements will revive and be recycled for the next album. You have to pass thru weird paths and places on the way to the next album. I don’t want to repeat myself as a songwriter, but I don’t want to release whatever comes out if it’s rubbish. It’s better to keep your eyes on the road and deliver a more thoroughly worked out piece in the end. Everybody was really excited with the release of Machine. I remember talking with Jorge Larreina about it and he was really enthusiastic. But then, Covid appeared. Do you think that the album should have been waymore successful without the pandemic? Well, it’s hard to tell. With hindsight it was a good timing to release it in the beginning of the lockdown.We got the time to focus on social media, but that was also the only platform that worked well for us and probably everyone else. Our labels gave us the opportunity to make more videos to keep it going. An album spreads and sells better with touring and festival shows. Both physically and digitally. Machine will always be the album without the tour. Stefan Glaumann has done the mixing of the album, how was working with him? Also, you have been producing most of your own work. Would you be interested in working with a producer in the future? Working with Mr.Glaumann was a great experience.He did a wonderful job mixing the album. I produced Machine as well as the early records, but who knows about the next album? We’ll see. It’s good to invite others to the playground. In the song “Ritual” you collaborated with Karolina Engdahl fromTRUE MOON. How did you meet her? Then Comes Silence have been fans of TRUE MOON for some time.Karolina’s got that voice I can listen to over and over again. When we recorded the song, we didn’t know each other yet.We met up for the first time in Hamburg in 2019 when we played two shows in a weekend together.. ”W.O.O.O.U.”is the name of one of the songs of the album, but also the initials of your Facebook fans/followers page. Do you think that keeping in touch with your fans have been important during these strange times? The band seems to be very active in social media. Yes, it’s been an essential lifeline.No doubt. It feels like we have come a bit closer tomany of our followers/fans.We’ve grown together. In thick and thin. - 21 - Last year you also had your first tour in the States. How was it? It became a memory for life. Taking the step and making the decision to go to the US to play and promote the music of Then Comes Silence will prove crucial for the future. It’s an investment that definitely keeps you awake at night. Nothing is for free in America, but if things go well it can be quite fruitful and worthwhile. We’ll see what happens. We’re going back in March for the second round. The American crowd is wonderful. Last year we supported The Bellwether Syndicate on their tour from coast to coast. This time we have been invited to open for Vision Video who has become quite popular in the younger dark scene community. In 2022, the band released a new album. How have the pandemic influenced Hunger? I realized when we did an interview for an American radio station not so long ago, that when they asked me to explain a little more, song by song what it was about, it struckme it’s prettymuch about how it played tricks on our minds and how to carry on now when it’s almost over. I thought I was over with it, but apparently, I haven’t dropped it yet really. that was the lyrical part.The music is more energetic and positive though. How do you see the evolution of the band until this last album? It’s constantly going a little bit better every year, but still hard to make a living of it.We recently discovered we’ve hit more than 65.000 monthly listeners on Spotify. That’s quite good for the post punk scene. Hopefully a good sign and not just a coincidence. How was collaborating with Goth legendary singer William Faith in the new album? We got to know each other a bit by the end of 2021. He then invited Then Comes Silence to come and play in America. It was a natural thing to do, asking him to sing some parts on the new album. We’ve always admired his work, so we got excited to have him on the album. He is a professional. I love working with professionals. In the box set of the album, there are two Spanish versions of the songs. Can you please tell us more about this as we did not have the chance to listen to them? They are versions in Spanish of “Days And Years” and “Worm” from the new album.“Days And Years” is verymuch influenced by Paralisis Permanente. I have always wanted to try writing in Spanish. The label was quite resolute the Bonus Box would only be available as a physical release and never hit the digital platforms. So, the only legal way to get to hear the versions is buying the box. www.peek-a-boo-magazine.be

THENCOMES SILENCE I read in certain interviews that you lived a few years in Spain.What do you remember of these years? I have many childhood memories. I moved back to Sweden when I was six. I went to pre-school in Madrid. My first friends were Spanish kids. I remember that the climate at the playground school yard was pretty hard for a silent and shy little kid like me, but no harm done. The jargon was a bit different than I was used to. My family followed my father’s assignments. He worked for a big Swedish company and since he spoke Spanish fluently, he was sent to Latin America and Spain. How did you get the idea, during the pandemic, of making a cover with friends of “All Tomorrow’s Parties”? It seems to be the perfect song for those days. You also covered Siouxsie and the Banshees’s “Christine,” right? Isn’t it just natural? I am surprised we haven’t seen others doing a cover of that song. The title says it all. It’s an old song, a classic. Some might have missed its existence.One of the artists that we asked to be a part of this didn’t know the song and kindly declined to contribute. We felt very early that the parties will be missed. The lockdown with closed borders wouldn’t just be a brief thing. It could take some time…We didn’t expect it to take so long thou. It felt like a good thing to do at the time. It was also a kind of rehearsal for the online event “Gothicat Festival” that was going to be launched a week after our version of “All Tomorrow’s Parties.” That’s where we premiered the quarantine live session of “Christine.” After the stream of “All Tomorrow’s Party”, the band recorded four Eps, where we can find covers of some classic Goth bands as Siouxsie or Sisters of Mercy, of some modern bands as She Past Away and Buzz Kull but also of some artists far from Then Comes Silence’s universe (at least according to me) as Grace Jones or Gene Vincent. How did you choose the songs? Have you thought of releasing these tracks on CD or Vinyl? It was mostly me who picked the songs. I was already the self-appointed producer for the project, so I wanted songs that could work well together in a wide range. Both lyrically and musically they had to feel they could have been our songs, too.Hugo picked a couple of songs and did a lot of the arrangements. One track we all, the band arranged together in the studio.And that track is one ofmy favorites, “Be-Bop-A-Lula”. The recording sessions were done in one of the tougher times during the pandemic. When we were still waiting on the vaccines. Back when you didn’t know what new restrictions would turn up the next week. Uncertain times.We had a chance to record the www.peek-a-boo-magazine.be - 22 - drums in a short period of time, so Jonas did all the drum takes in one day! Eighteen songs in one day, imagine… eventually we had to skip one song by The Doors, so we ended up with seventeen tracks. Jonas was completely exhausted. I was impressed. He is a professional. We won’t do any physical releases of the cover project ‘Horsemen’ EP. The flip side of a project like that is taking care of the approvals and the legal matters regarding copyrights and similar.We had to take out the Jimi Hendrix song last minute for the North American market.The ones taking care of his legacy threatened to sue our American label. The rest of the world works fine with the rights apparently. You have a new project called Neonpocalypse. What can you please tell us about this? It’s about the beauty of the downfall, the end and ruin. Mankind is a very interesting character. Sometimes a monster and sometimes a genius. I choose to see the beauty of the effects of human destruction. It helps when the world frightens you. What are the plans of the band for the future? Apart from returning to the US this Spring,we will pick up where we left and followout most of the postponed shows that have been haunting us.We want to play Germany and the rest of Europe again like we did before the pandemic. Onwards and forwards. Let’s go down the Autobahn again. In the first interview, we asked you about South America, have you managed to go there to play yet? We have been invited and there have been requests, but it’s unfortunately a matter about the budget. We have so much going on at the moment, so there’s no possibility to make a trip over there paying from our own pockets. But… of course we’d love to go there one day. In one of your streamings, you collaborated with Nicklas Stenemo, from Kite. He is playing at DarkMad too on the same day.Will we see you together? Me and Nicklas knoweach other from long before Kite and Then Comes Silence.A true professional.No,we don’t have any plans of playing together on stage, but you might see us socializing holding a beer in a bar instead. François ZAPPA © Published by the kind permission of El Garaje de Frank www.elgarajedefrank.es

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calendar 06.01 SUIR, THE ULTIMATE DREAMERS, KINEX KINEX + DJ SETS @ Le Lac, Brussel [BE] 27.01 LAVVI EBBEL @ Djingel Djangel, Antwerpen [BE] 28.01 DE PROFUNDIS @ Le Garage Creative Music, Liège [BE] + Frontmaschine, Zynik 14, Dreadfool, TÖt 04.02 BUNKERLEUTE - DARK UNDERGROUND PARTY @Musicafé, Leuven [BE] 04.02 THE BREATH OF LIFE @ Canal10, 7334 Hautrage [BE] Support Act Enid & Kezdown 10.02 RITUAL HOWLS @ BODIES & BEATS @ Fetish Café, Antwerpen [BE] Afterparty By Dj Borg 10.02 WAVE INVASION @ DE BUNKER, GEMERT @ De Bunker, Gemert, Gemert [NL] Lifeless Past + 32 Ohm 12.02 ZANIAS @ BODIES & BEATS @ Fetish Café, Antwerpen [BE] Afterparty By Dj Borg 16.02 A PROJECTION, TURQUOISE @ Le Lac, Brussels [BE] + Dj Sets (lisaluv, Misty) 17.02 BURÇA / SISTO ROSSI / GESELING / BOMI / WHILE ZENO @Acu, Utrecht [NL] 24.02 INTERNATIONAL EBM DAY @ De Casino, St. Niklaas [BE] with Suicide Commando, No Sleep By The Machine (se), Fïx8-Sëd8, Kalt & DJ BORG 25.02 GOESTING IV: A SLICE OF LIFE + BAT EYES | PODIUM 'T BEEST @ 't Beest, Goes [NL] 03.03 APPARAAT + KORINTHIANS @ Djingel Djangel, Antwerpen [BE] 04.03 ELECTRO/ INDUSTRIAL TOP 100 @Aalmoezenier, Antwerpen [BE] Dj's Philter (mixed Visions) & Gdw (ic 434) 10.03 THE OBSCURE @ Djingel Djangel, Antwerp [BE] 11.03 EBM BLAST [DIVE - TENSION CONTROL - STURM CAFé - THE JUGGERNAUTS - SYMPTOM ESKALATION] @ Der Kult, Nuremberg [DE] 11.03 THéRAPIE TRIBUTE TO THE CURE + NEWWAVE PARTY @ La Boule Du Centre, Gaurain-ramecroix [BE] 15.03 VNV NATION - ELECTRIC SUN - TOUR 2023 @ De Casino, St-niklaas [BE] 18.03 THE ULTIMATE DREAMERS + AT NIGHT @ Caliclub, Drogenbos [BE] 24.03 DE BRASSERS @ Djingel Djangel, Antwerpen [BE] 25.03 THE JUGGERNAUTS + CAUSENATION + DARK MINIMAL PROJECT @ La Zone, Liege [BE] 25.03 GLITCH PROJECT / RETURN FROM HELSINKI @ Canal 10, 7334, Hautrage Belgique [BE] 25.03 WAVE NIGHT: A SLICE OF LIFE / SUBATOMIC STRANGERS @Asgaard, Gent [BE] 25.03 ELEKTRIK TRICK @ Kunstraum Kö 106, Düsseldorf [DE] Hypnoskull + Elaina Vierce Mortaja Kaffee Und Kuchen + Moogulator 21.04 DARK MALTA FESTIVAL - 3 DAYS @Montekristo Estate Malta [MLT] 22.04 DARKEST NIGHT 2023 @ Jk2470, Retie [BE] Deleritas (b) - Sturm Café (s) - Orange Sector(d) - Ad:key (d) 29.04 LAMUERTE + MOTOR!K + SOVIET WAR + NEEDLE @ De Klinker, Aarschot, Aarschot [BE] 29.04 DARKMAD - DAY 1 @Autocine, Madrid [ES] The Human League, Ana Curra, Lene Lovich Band, Psyche, Joolz Playing 'the Stand', James Rays Gangwar, The Arch, Blac Kolor, Karl Hefner And Hugh Lagerfeld, The Juggernauts. Francistein & Accelerated Corrosion, Dj Paradroid, 30.04 DARKMAD - DAY 2 @Autocine, Madrid [ES] 04.05 OUT OF LINE WEEKENDER - DAY 1 @Astra Kulturhaus, Berlin [DE] * Front 242 * Hocico * Kirlian Camera * Combichrist (oldschool Set) * Solar Fake * Sidewalks & Skeletons * Cashforgold * Leaether Strip * Rave The Reqviem * Priest * Ordo Rosarius Equilibrio * The Juggernauts * Motor!k * Suzi Sabotage * The Juggernauts * Alpha Point … 05.05 OUT OF LINE WEEKENDER - DAY 2 @Astra Kulturhaus, Berlin [DE] 06.05 OUT OF LINE WEEKENDER - DAY 3 @Astra Kulturhaus, Berlin [DE] 06.05 DARK INFECTION @ Feierwerk / Orange House, Munich [DE] Ebm | Industrial | Rhytm'n'noise | Dark Electronic 12.05 BUNKERLEUTE - DARK UNDERGROUND PARTY @Musicafé, Leuven [BE] 13.05 SAD LOVERS & GIANTS @ Soundville, Rotterdam [NL] 20.05 MOTOR!K @ Djingel Djangel, Antwerpen [BE] 10.06 LAURA KRIEG (CAN) + JOHNY COUTEAU (CAN) @ Djingle Djangle, Antwerp [BE] 10.06 SIOUXSIDAIRES - SIOUXSIE & THE BANSHEES TRIBUTE @ B52, Eernegem [BE] 29.07 AMPHI FESTIVAL XVI @Amphi Eventpark / Tanzbrunnen, Köln [DE] Orchestral Manoeuvres In The Dark* Deine Lakaien * Front 242 * Covenant * Lord Of The Lost * Combichrist (oldschool Set) * Welle: Erdball * Zeraphine * Actors * Unzucht * Diorama * L'Âme Immortelle * Zeromancer * Calva Y Nada * Lebanon Hanover * Coppelius * Solitary Experiments * Wesselsky * Qntal * Clan Of Xymox * Centhron * Rue Oberkampf * Nnhmn * Whispering Sons * Future Lied To Us * Selofan * Scarlet Dorn * A Life Divided * Traitrs * FÏx8:sËd8 * Whispers In The Shadow * Potochkine * The Joke Jay * Vanguard * SchÖngeist * Xotox * Oberer Totpunkt * Blitz Union * Rabengott + … 30.07 AMPHI FESTIVAL XVI - DAY 2 @Amphi Eventpark / Tanzbrunnen, Köln [DE] 07.08 SIOUXSIE + PLACEBO + THE HAUNTED YOUTH @ LOKERSE FEESTEN @ Lokerse Feesten, Lokeren [BE] 30.09 E-TROPOLIS FESTIVAL @ Turbinenhalle, Oberhausen [DE] Suicide Commando, Nachtmahr, Kite, Frozen Plasma, Empathy Test, Rroyce And Accessory 01.12 BIMFEST - DAY1 @ De Casino, St. Niklaas [BE] 02.12 BIMFEST - DAY1 @ De Casino, St. Niklaas [BE] Your event not listed here? Shame on YOU! You can add it for free on our website ww.peek-a-boo-magazine.be! - 27 -

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