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eek edition July/August/September 2023 free ofcharge, not for sale quarterly publishedmusic magazine 43 TEST DEPT - DIRK DADAVO BLAC KOLOR - PSYCHE PORNO KARAOKE ENZO KREFT

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contents 01 Cover PORNO KARAOKE © Luc Luyten /Who Cares 04 Interview TEST DEPARTMENT 05 Reviews 08 Interview DIRK DA DAVO 12 Reviews 14 Interview BLAC KOLOR 18 Interview PSYCHE 24 Interview PORNO KARAOKE 28 Interview ENZO KREFT 32 Reviews 35 Calendar Want contribute to this magazine? English, Dutch, French, German …We don’t mind! Come and join us! Please send an to e-mail [email protected] 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 Gea STAPELVOORT PHOTOGRAPHERS Elke BREDENBRUCH Luc LUYTEN Yvo Moeys WRITERS Jurgen BRAECKEVELT Dimi BRANDS Jan DENO 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

TEST DEPT Industrial pioneers, Test Dept have proved that it’s possible to have a coherent career, both musically and politically. They have managed to keep surprising us, during all these years, on record and also on stage. I read that all the members of the band were unemployed just before founding Test Dept. Howwas living in the UK at the beginnings of the 80s? Paul Jamrozy: We came from different parts of Britain and settled in NewCross,which was a very run-down area, lots of the properties and businesses around us were boarded up, there were lots of squats and it was here that Test Dept lived and worked. The community was a multicultural mix of students and the unemployed.Musically the punk scene had dissipated, but the experimentation of post punk had changed the sonic environment.Music was a vital force that provided a focus and an antidote to the oppression that existed. More than a decade ago, I visited Sheffield to try to understand how industrial music “started” there. And I thought that the endless sound of factories were the key in the creation of the style.Howdo you think that living in the docks of South London helped the development of the sound of the band? Graham Cunnington: We relocated to the docklands of South London where we were surrounded by the inevitable consequence of Thatcher’s destruction of the heavy industry and manufacturing economic base in favour of a service economy. Corrugated sheeting, empty beer barrels, gas cylinders, car springs, they were everywhere around us. Deptford Creekside was our playground, we wandered around the old decaying factories, rummaged on the banks of the Thames and scavenged in the scrapyards that proliferated in the area. The band used unconventional instruments such as scrap metal and industrial machinery as sound sources. Were Einstürzende Neubauten an inspiration or both bands just did the same at the same time? PJ.: I saw EN in Berlin, they were like a wrecking ball to mainstream rock music. These were ideals we shared in our fledgling state. ’Steh auf Berlin’ struck a chord. It was a clarion call to stand up and fight and seemed to embody what was happening in Europe at the time. GC.:We were on the same label as them (Some Bizzare).They played metal percussion. That’s where the comparison ends for us. They were very creative and somewhat groundbreaking, with their use of sound, especially in those early years,but they seemed to be working more within the whole “rock” aesthetic which was not our scene at all. www.peek-a-boo-magazine.be - 4 - What can you tell us of the collaboration with the South Wales Striking Miners Choir that was the origin of the Shoulder-to-Shoulder record? The band toured and made this album in support of a miner’s strike, right? GC.: The Miners” Strike resonated with us then and now, and is still relevant as marking the moment when the post-war liberal consensus finally started to be fully broken apart; when the uninhibited neoliberal free-market economy could be fully implemented. The Miners’ Strike was the pivotal campaign in the UK, the last great resistance to the introduction of the system of individual and corporate greed which has led,over the subsequent years, to today’s political, social and environmental mess. Thatcher knew if she could break the miners, she could break the unions and thereafter allow the implementation of corporate hegemony and diminished workers’ rights. This model subsequently spread across much of the globe. Beating the Retreat is considered the band’s best work. Do you agree? Why do you think that fans prefer the band’s third album? PJ.: Actually our first vinyl album. It was a huge sonic development from our previous rough and ready sound aided by the genius producer KenThomas.We always treated the studio very differently to live shows, where that raw sound and energy was not something that could be easily captured. It has some strong material on it that is recognized as significant of the early industrial scene. For Disturbance and the current work we have revisited our archive and sought to capture that early energy and rawness combined with contemporary production values.I thinkwe have always tried to do something different in recordings, we have not

ABSTRACKT BLACK - Unheimlich (CD) (DarkDevil Productions) Sidney Stoffels' solo project throws Unheimlicht into our world.A disc with 8 very nice, inviting songs that lie between EBM, dark-wave and synth-wave. Both eighties and contemporary electro sounds throughout this record. ‘Night Owls’ is an instant and potential dance floor filler. It starts excruciatingly slow and dragging but when the beats get involved,we get a blast of a danceable darkwave song.The melody is angular and catchy and cuts to the bone. ‘Can't Contain Myself’ continues with the same momentum. Sidney's voice is an absolute and overall added value. At times firm, then soft, screaming, then constricted again. In any case, a voice that determines the atmosphere. Like a time machine this release, back to the prehistoric times of synthwave, with an eighties vibe. ‘I Am The Beast’ sounds so cool and retro. The synths and rhythm section evoke images of the golden,yet musical,eighties.And what to say about the more electro-punk-oriented ‘A Mind Like Mine’. The machinery seems to be neurotically thrashing around.Pace upwards,wildly beating around,danceable all along the line.“Nothing can be clear in a mind like mine…”Or when you will realize that your brain does not get things clear anymore.…We want more.'nuff said! … [JB] ULTRA SUNN - Kill Your Idols (CD / Vinyl / Digital) (Fleisch Records) Sam Huge and Gaëlle Souflet hit us once again with their witty, danceable, infectious EBM. Still the EBM is the main part. ‘Can You Believe It’ has that typical bass line and drum beats on which feet stomping people go wild for. A melody wedges itself stubbornly in between.Like no other,the duo knows howto unite styles in a sublime way. ‘Set Yourself On Fire’ is another of those songs,bursting with EBM and yet slips smoothly into your ear with another blissful melody nestling on top of the beats and bass line. Somehow even an eighties vibe can be felt.Then we get ‘The Great Escape’,which has a killer bass-line to say the least. This combined with a heavy mourning melody line and a very catchy up-pace rhythm results in … dancing! Always Tanzen! The sixth track is a remix of‘Can You Believe It’by Kris Baha, a producer and DJ.The song is augmented with some dark and some other beats plus a somewhat enlarged bass which that carries the song. EBM in sixth gear. [JB] AGENT SIDE GRINDER - Jack Vegas (Digital) Always underestimated as far as I'm concerned, at home in all markets and very strong live, that's the Swedish Agent Side Grinder who present us with Jack Vegas, their 6th studio album. Jack Vegas is firmly anchored in electro but with a twist, sometimes experimental then again with post punk leanings and sometimes even a treacherous pop halo that hovers over the songs. ‘Waiting Room’ gets straight to the point, an atypical but also danceable electro post punk track, an atmosphere that is repeated on (Progress Productions) ‘Number By Number’, including the addictive synth melody and ditto chorus.‘Bloodless’ is a bit more naked but more enthusiastic with a simple but effective tune. For its part, ‘Madeleine’hovers between light experimentation and the romanticismofAndAlsoThe Trees.A song that only really comes into its own in its simplicity and beauty after a few listens. ‘Flaws In Flames’ reduces the halo with a dormant unrest to a triangle, which connects pop,newwave and electro to retro avant-garde.The title track,withmore than 7 minutes on the clock ‘Jack Vegas’ seems to have sprung from the minimalism of the 80s,a bit of a Kraftwerk through the concrete mixer of the less cultured Neue Deutsche Welle but with a sensitive pop undertone, that electro makes pop interesting too. Less perhaps on the stripped-down ‘Decipher’, where an unsightly simple tune about a doom-pregnant murmur creates tension, until the beat takes over like a runaway heartbeat as if order becomes chaos and not the other way around, although the chaos is structured.The last song,“The Unravelling”.Perhaps the most surprising song because semi-acoustic, fragile with a piano in the lead role, musing, that is also Agent Side Grinder.Playful to bitterly serious,poppy to intimately experimental.Take your time and play this loud, louder, loudest. [KI] Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/ - 5 - www.peek-a-boo-magazine.be

TESTDEPT been interested in repeating a formula, we have shown diversity in working with many different artists and with a variety of styles from classical to techno. Of course, it is all highly subjective. Like some other records, The Unacceptable face of freedom shares the name of the albumwith some events that happened at the time. Was this album created with the music played there? It was a collaboration with Malcolm Poynter, right? PJ.: It was a meeting of minds with South London sculptor Malcolm Poynter whose work emblazoned the iconic Unacceptable Face of Freedom album cover.We sawhis work and immediately saw the connection. We met up with him and he was really open to collaborate, he loved the energy and anger of the music and allowed us to create images of his work for the cover and to use as visuals for a live performance. At the time of the album, we produced the UFoF show at Paddington the first Ministry of Power collaborative event working with dancers, poets, circus performers, metal sculptors, militant miners and Malcolm with his sculptures in the space as part of the performance and projected on film. Pax Britannica was another interesting album, based on a score by John Eacott (he was also playing in the previous records, right?) and featuring the Scottish Chamber Orchestra. It’s the closest that Test Dept would go to classic music. Was the band more interested in this kind of music at the time or was it the music that fitted better the Second Coming event? PJ.:We had always been interested in classical music and our use of elements from composers such as Gorecki, Shostakovich and Prokofiev was part of our performance from the very beginning.What was to finally culminate in the album Pax Britannica started its journey as the live track “Empire” for the Unacceptable Face of Freedom event at Paddington in 1986.The track became a major feature of the shifting TD live set throughout the late eighties, evolving into a Brechtian styled theatrical piece with various adaptions and incarnations scaled up for larger events including Expo “86, Siege of Wapping and the Doulton Fountain Project. It was finally laid to rest as its themes morphed into the Second Coming in 1990, with a targeted critique of the heritage industry and the fictitious use of the past to promote right-wing ideology. A warning of the coming of the current political climate of autocratic fascistic populists. www.peek-a-boo-magazine.be - 6 - In 2014, the book Total State Machine was published with some interviews and diaries of the band. How did the idea of writing/compiling this book? PJ.: We had been exploring our archives and looking at the possibility of reworking some of our recordings, but had always had the idea of turning all the photographic images, sketches, notes, diaries of tours and amazing anecdotal writing into a publication.We met with Peter Webb who was starting up a new publishing company PC Press and he was really into the idea of backing the book project. So the idea was born and it continued to grow as we contacted people we had worked with over the years and gathered their amazing stories. These texts were placed alongside more theoretical pieces that contextualized the work and framed it in within the historic, political and cultural context of our times. Disturbance is your album from 2019. Do you think that it’s the perfect mix between the modern Test Dept and the ones from the 80? PJ.: Disturbance began as an exploration and investigation, reinterpreting our previous work and building on that foundation but we are in a completely different situation now.We thought it was timely to express how we felt about the state of the world around us, and touching on how it got to be this way.While the development of it grew organically, we always had the aim of creating a sound that was newand of the present time while at the same time referencing where we had come from. We felt it important to link the past with present in recalibrating our sound and overall aesthetic.Working with more recent collaborators, producer and sound engineer Lottie Poulet, drummer Zel Kaute,David Altweger on the visual side of the project and our newest member,Greg (Gergely) Konrady,gave us a new dynamic and fresh inspiration. What is Dept Test preparing for the future? PJ.: Things evolve and change as society changes around us and we are open to profound change rather than conforming to the status quo, as it exists. We look at disturbance on a sonic as well as physical plain,as a commentary upon and an instigator of seismic social change. A reflection on the dramatic times we live in,and a warning against catastrophe through historic repetition. François Zappa © Published by the kind permission of El Garaje de Frank www.elgarajedefrank.es Read full interview on https://elgarajedefrank.es/en/interview-test-dept/

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DIRK DA DAVO Dirk Da Davo, half of legendary band The Neon Judgement and the brain behind Neon Electronics, is, undoubtedly one of the key names of our scene. After the separation of the composers of“The Fashion Party”, he has continued to release material, always looking for untravelled paths and adventurous collaborations. Your first solo EP was released in 1987. Why did you have the urge to release music under your name? Did you think that the music did not fit the direction of The Neon Judgement?You releasedwith your band at the time Horny as Hell that same year. Well, actually I do not remember why. I guess there was a reason, but I do not remember; I think it was an idea of the record company… It’s funny starting an interview not being able to answer the first question clearly !! On the following year, you created a new project with Street Ducks member Glenn Frank called If It moves. In the compilation you include the track “Meat Cathedral”, that appeared in that single.What can you please tell us about this short-live collaboration? At the time, I joined up with Street Ducks as an extra guitar player.We were all friends living in the same city and sharing the same rehearsal space.So one day, I was alone with Glenn in the rehearsal room and we started to program some industrial drum sounds, just spontaneously… I took the guitar and Glenn the microphone, we jammed around a bit and “Meat Cathedral”was born! In 1992, you released a more “trance” single with the AKA DDD. Program.The last song of the newcompilation comes from that single, can you please tell us a bit more about this? I was doing some electronic instrumental music just for pleasure.At the period,in the beginning of the 90s,I was going to techno and house clubs. So, I was into club music at that time. It inspired me for this sound. I gave my recordings to the record company; they liked it and we decided to put it on a 12” vinyl record released under DDD PROGRAM (in 1992). After NJ’s Dazsoo, you started Neon Electronics. At the beginning, it was a solo project, but later, you started collaborating with other producers. You said that it was good to “flavour the music and for my own artistic and creative evolution.”After a fewalbums with NE, howdo you think that collaborating with other musicians have marked your way of composing music? I don’t know if it marked me. In the beginning Neon Electronics was intended as a strictly electronic project, later www.peek-a-boo-magazine.be - 8 - my love for guitar sounds got into it. Together with Glenn Keteleer (Radical G) and bass man Pieter-Jan Theunis, we developed a solid LIVE sound.We worked rather intense for 4/5 years drawing this sound. A mixture between dance / electronica / bass guitar / guitar.That was themost enriching concept experience for me within Neon Electronics.We had a good groove together and it might have markedme a little. The interaction between the 3 of us. There is a full LIVE video (2019) on You Tube. Check it out! You said Neon Judgement’s Are You Real recording was influenced by the company, PIAS.On your own, do you think that you have felt influenced by any other factor? Like the music period, selling records, etc.? I always try to followmy heart / instinct. It’s important to be in peace with yourself when you are doing music. The Are You Real experience has only made that feeling stronger. Maybe DDD PROGRAM was created during a certain period in music, but I think I have kept my own identity, even in this musical climate. One song that I miss in the compilation is “Maximum Joy”, the one you recorded with Franz and Shape. We interview Chris Shape last year. How do you remember this collaboration? He also released an album on Unknown Pleasures Records. It was long distance working. I received an e-mail from Chris requesting if I would like to participate in their project. I had a listen to the instrumental song version they had sent. I liked it and I decided to participate. So, the music was made in Italy and the vocal recorded in my home studio in Belgium at the time. I wired the vocal file to them, and they took care of the end production. It worked out excellent! From NE you have taken the track “157” from the album NE, that was released on French label Unknow Pleasures. What can you please tell us more about this album? In the interview you said that it was, together with Apolo, one of your favorites of the project. “157” is definitely a favorite collaboration with Glenn Keteleer/Radical G. The track sounds very intense and I always loved to perform it live. We recorded it in Glenn’s studio room.We were jamming and I played bass guitar.We

found a nice groove together and then I got the idea to put some weird vocals in French on it. It was a super nice recording session, good memories! And yes, the NE recordings got the attention of the French Unknown Pleasures label, they loved it and released the CD. “Road To Freedom” is another cool track on that album. Apolo was recorded 4 years later, and it shows a more developed sound. It’s funny starting an interview not being able to answer the first question clearly ! In 2017 you recorded the Protest EP. Even if you are not including any song in this last compilation, I would like to ask you about this side of your work. I know that you are really conscious about the planet/political situation. How do you think that your lyrics can help people get aware of the different problems that we are facing? I don’t delude myself thinking that music makes people more aware but: I always give it a shot. I think it’s part of my identity. It’s just my inner soul speaking for myself and then I hope that anyone will catch it. In today’s “new normal society”the input in peoples brain became so huge,the mind bombing via social media, TV, media etc… that I sometimes wonder whether it is still possible to get inside people’s heads!? Is there any space left there? The world is moving so fast,everything is everywhere,the narratives dominate.Try to compete with that is wishful thinking,I ‘mafraid.But as I said, I always give it a shot! And, also with The Neon Judgement we wanted to warn the people for a certain possible future, so I did not change a lot, I guess… During your career, you have revisited some of your old songs. Do you see your compositions as a work in progress or just want to update the sound of some of them? It was more intended to give the tracks an update.To refresh them for myself, experiment with the melodies and things… In 2018, you met Sanchez, the bass player you have been working with lately. Can you tell us a bit more about this meeting? It was at Burning Man Festival, right? We met during the summer of 2018. I was traveling through the USA, and came across him…And that was at the Burning Man Festival, yes. We talked for a while about music, there was a good connection, and a few days later we jammed - 9 - some acoustic sessions in a friend’s studio. After that, I took the recordings with me to my studio and I started to work on the arrangements and vocals, finalizing the recordings. DD SANCHEZwas born!We released our first digital EPZ in 2019. ”Cities in Dust” comes from your last release HappyGrey recorded with Mexican bass player Sanchez.What can you please tell us about this, your latest album? As one could read in the notes of your web, it’s your happier sounding project, is it just representative of the way you feel at the moment or just a consequence of the collaboration? No, it was from the beginning intended as it should sound less dark. I am most known in the darker music scene, and I found it a challenge to create a kind of music that sounds a bit lighter, a bit more “cheer up”. Of course, it is not a charts total happy pop music thing, but it is different. I chose the title “HappyGrey” to put the finger on that. It doesn’t sound real dark,but not totally happy neither.Let’s say I didmy best! You planned to release a series of singles under your name in 2022, the first ones are found in the new compilation: “King of Fools” and “The Unreal”. Can you please tell us more about these releases? Are you going to continue recording more songs? I am always recording music. It’s my therapy. And digital single releases allowme to stay around all the time. I do not need to think in an album concept. So I think, yes you can expect newmusic fromme. And“Strive”is the unreleased track of the compilation. Can you please tell us a bit about it? We just finished a video for “Strive”.The concept of the album www.peek-a-boo-magazine.be

DIRKDADAVO allows me to make a presentation of old and new songs; the past is the past and it was very nice, and I am thankful to the fans, but as an artist I always look to the future, so I thought it was a good idea to present something new tomy audience. Really previously unreleased music! And exclusive on this vinyl. So, it is not even on the music streaming channels at release date… And that’s fine for me, and hopefully also for the listeners! Keep an eye on the video! We already asked you about your album with Jean-Marie Aerts, (DDDJMX) represented here with OZZ but we always want to knowmore. You said that it was recorded for three years as he spent some holidays with you. How did the project evolve during these years? Did you alreadyhave an idea of releasing an album or you were just jamming? Jean-Marie came for the first time 3/4 years ago, and what was intended as a holiday for him, started with recordings after a few days. We started jamming in my studio, just recording simple stuff. So, when he left, I had all the recordings and I was free to do with them what I thought that suited the best; making arrangements,writing lyrics, do the vocals and mixing and finalizing the songs. It was only after his 3rd visit that the idea of the album came up. Everytime he came,it resulted in 3 / 4 demo track recordings. So,we compiled them as an album titled OCEANED.It’s a real honor for me to work with him and it’s a compliment that he trusts me in mixing and producing our recordings. JeanMarie produced tracks for The Neon Judgement‘s Blood and Thunder album (1989), so we are long-time friends. You have also been releasing the material of Radical G on your label DanceDelic-D. He has been collaborating with you in NE too, howdid you meet him? Have you listened to his The Deserted Kingdom that was released a couple of years ago? We have met long time ago at a record company. He was releasing his first cd album and he came to deliver his cd material for further distribution. I got a cd from him, I listened to it, I liked it and I contacted him again and I proposed to do some music together so that happened. Of course, I still follow his music as much as I can. How have you done the selection of the tracks of the new compilation? The selection was made together with Je M’en Fish (Bart Dujardin) the label that co works on the vinyl.He had a good vision sound wise to combine sounds and songs. It is good that he was there because he has more distance from the music as a random listener, and so he was a good help to www.peek-a-boo-magazine.be decide on the tracklist.We discussed it and finally agreed on the tracklist together This is the first vinyl that you release with your label. Do you think that this “vinyl fever” is going to last? No idea, the album presales are going well, so that’s good. But first, we finalize this release before looking into something else.But definitely,vinyl is “warmmusic love”,and I am very happy with this vinyl because it represents my timeline. From my music from the past into my latest music projects. It did not become easier to produce and release vinyl in today’s world… So, I leave this open… What are your plans for the future? Any chance of seeing you live in this 2023 with any of your projects? I have a new EP ready under DDDJMX (with Jean-Marie Aerts ) and I will digitally release it after the Summer. It would be nice to get on stage with one of the projects. But with a new project name it would be very difficult to get a band together and financed it, play gigs in good circumstances… and Neon Electronics LIVE is on non- active. There is an economic reality in music, and I don’t think that in today’s music streaming “business” there is money for investment and to get a new band going on the road, unfortunately…And I am also not really looking for that… But you never know! In the meantime, I am happy continuing composing new music scapes. facebook.com/dirk.dadavo/ www.dancedelicd.com/ François Zappa © Published by the kind permission of El Garaje de Frank www.elgarajedefrank.es - 10 - Read full interview on https://elgarajedefrank.es/en/interview-with-dirk-da-davo/

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NEL& JP - Zelfbeeld van Denaldie (Digital) (Self-released) Soms wordt een mens verrast. Soms vinden mensen elkaar en is de magie compleet. Twee zielen die elkaar vinden en elkaar dan ook wederzijds bezwangeren. De één met punkpoëzie,de ander met een muzikale bagage en feeling voor de betere muziek.Het is het verhaal van Nel Mertens en JPDe Brabander.Logischerwijs kwam er de eerste single. Zelfbeeld van Denaldie. Stevige bassen, een dansbaar ritme.Woorden die snijden, want Nel schuwt het keet schoppen niet in haar teksten. Over het dagelijkse leven in al zijn absurditeit. Over maatschappelijke realiteit, over de liefde, het ego… Allemaal geserveerd met een muzikaal sausje waar je méér van wil.Zelfbeeld van Denaldie is een stevige postpunksong.Het heeft alles: dansbaar, tekstueel pakkend,waarbij de woorden je genadeloos in het gezicht worden geslagen, tempo, zuinige gitaartjes, ritmes om op los te gaan. [JB] NFD -Trinity (EP(Digital)) (Gothic Citadel Records) Know what to expect: drawn-out songs with many changing atmospheres and tempo changes.‘Surrender To MyWill (The Demon and The Witch)’ guarantees almost 9 minutes of enjoyable gothic rock entertainment at the outset.Out of the silence this song emerges with an nice intro.Synths and an entertaining synth melody roll out the red carpet for the pertinent guitars. Sturdy heavy guitars.Then follows ‘To Find My Heaven’.A song with the same ingredients, resulting in the same kind of finger licking Gothic Rock.And even more epic lashes with ‘Static On My Soul’, which is a great dragging song. Perfect for smokeshrouded dancing people with pointed boots. Again good for about 6 minutes entertainment,Wide-spun, extremely dark and with dangerously roaring guitars.NFD has also included two alternate versions of ‘Surrender to My Will: the No Mercy version’ as well as the ‘Original Sin’ version. Nice guitar song but in my opinion not adding much value to this release. The same goes for the alternative version ‘To Find My Heaven' that is only captivating because of the great guitar solo work. Nothing more, nothing less … NFD is back! NFD breathes Gothic rock of the best kind. [JB] CUT - Dead City Nights (CD / Vinyl / Digital) It seems like, for bands like The Cut it's easy to stay in all time creative mode.You can go to a record store and pick any of their records.Clearly recorded.Perfectly played.And quite often, perfectly representing all the best qualities of a band.'Dead City Nights' is the case when a punk band gets ambitious to get outside of the ageless box of one genre. They don't pretend to follow only Fat Mike's variation of punk rock but take everything from everywhere.Whether these are garagy tonalities of the guitar interplay or some colouring of ska,textural changes and barely heard tonalities ofmath rock.With the help of the new drummer,Tony Booza, the trio managed to reach out a strong and uncompromising result, within the aesthetics of Italian horror movies.This albumwon't break the walls down but definitely would keep all the monsters outside! [DV] PLASTIKSTROM - Eskalation (CD / Vinyl / Digital) (Young & Cold Records) The title song takes a rippling start as if it was a minimal electro track.When the melody and bone-dry rhythms make themselves known,we already get the first nice stomper. Even though it is far from old school, it still juggles and balances on the edge of solid EBM.With the track 'M.K.O'. the roof really comes off completely for the first time. Variety is a trade mark of Plastikstrom.'Gipfelstürmer'thumps imperturbably strong and carries some dark electro DNA in it.'Atmen' is also one of those tracks that makes you wanna wander happily around, exploring the dance floor.Abit more relaxed and full of bombast is also allowed.'LetzteWorte'sounds like the title suggests. Progressive.The previous single 'Tanz Allein' seduces you with a very catchy, addictivemelody.Mathias'voice sounds threatening like'Grosny'taken fromBeton GegenAngst. And if it is allowed to be a bit more presumptuous, then we get dark wave like 'Labyrinth'. Or minimal synths like in 'Schüsse'. They do it seemingly effortlessly. Discover it for yourself because it is more than worth getting to know this band if you didn't know them before! [JB] www.peek-a-boo-magazine.be - 12 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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BLACKOLOR As Blac Kolor states in his own Bandcamp: Black is not a color. Black is the mixture of all the colors. With his music, he has known how to mix every kind of tone to create a body of work, that even a decade of releases, it’s still unpredictable. In an interview you said that you got your first cassette in 1985 and that it was one of Depeche Mode.What album if I might ask?What didyou feel listening to it for the first time? It was Some Great Reward and it was not my first tape,but the first original one by DM, with proper cover and shit. So that was my sanctum back then when I was 12. It was my fav back then and it probably still is (alongside 101), only hits. I was totally into it. Listening to it a million times. Think, the ruff industrial like elements caught me, without knowing that other bands laid the foundation for the sound. A couple of years later I understood that. When you had more information. When I amwriting this interview I am listening at the same time to De/Vision, one German band that never hid the Depeche Mode influence. Why do you think that Dave Gahan’s band was so popular in Germany? Oh, I love De/Vision . DM was so popular because of the content. It was a hit machine. Everybody loved it and could deal with the sound. It was fresh and always creative.We all wanted to be Dave back then.Plus,DM played in the GDR just one time, in 1988, which created a massive hype around the band especially in the Eastern parts of Germany. Later you got into industrial with bands like Throbbing Gristle and SkinnyPuppy. It’s an important influence in your music. Howdid you get into that style ofmusic? At the end of the 80s,I got introduce to these bands by a friend. The copied tape business, you heard that already. When the wall came down and we had access to the physical releases we basically gathered around our local record store and shopped everything the record dealer recommended. Heaps of stuff to catch up with back then.In 1990 or maybe 91,I finally realised, this is basically my kind of music, triggering more emotions within me than any other styles.And it is still ongoing. Howdidyou start DJing?AnyDJ that you sawas an influence? I started DJing in the early 90s together with 2 friends, establishing the Electrosmog crew.All out of the need to hear our kind of music in the club. So, we created our own local club night on a regular base and taught ourselves the DJing mechanisms… Learning by doing it in front of the audience basically. All very naive and simple but without any fear of www.peek-a-boo-magazine.be - 14 - makingmistakes.The people honoured that behaviour since we brought them their music – lovely times. And to be honest I had no real DJ role model back then. So, no name dropping here. At the end of the nineties, you started djing Drum’n’ bass and breaks. I was also listening a lot to those styles at the time. Howdo you remember the scenes back in the day? Oh, that was just the best time. I neglected the dark scene almost totally back then,slipping right into that massive energy drum’n’bass could deliver at the end of the 90s.The DnB scene was totally different since it was not about artists and image in the first place. It was all about the music and the rave feeling. Pure energy. I loved that and still do. We still had our regular club night going but I kind of preferred doing the Drum’n’Bass warm up under the hidden moniker of “Fiesemopp”.The people hated it but knew their dark hits will come later, so they let me do and didn’t kickme out of the room.Fun times. How do you remember the composing of your first EP Range? Howdo you see it nowadays? As said, it all started with the track “Range” from the selftitled EP later on. I earned more and more production skills back then and got more confident about the question which sound and techniques could be mine. The positive feedback enabled me to focus on a narrower range of sounds and styles. I kept on producing more stuff like that and my first proper release was born … and so the moniker Blac Kolor. I am still proud of the result nowadays. Considering the circumstances and the level of skills back then, I still think it was the right thing to do. Kold, released only a few months later, is more industrial techno.Why the change? Well, I think Kold was created even before “Range” finally came out. I knew I would like to have a proper album right after the EP, so I produced a lot of stuff in order to find my sound and tried to put things in a context, creating a concept. So most of the sounds of Wide Noise (inclusive Kold) were created pretty much parallel to the Range EP

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BLACKOLOR sounds but got kind of parked for the album.So, for me it was not much of a change. It was more an early way of putting sounds into a concept. For me the sounds or tracks of Range EP clued together perfectly back then laying down the foundations of the first proper album. In your first album Wide Noise you already incorporate a concept, right? Is it difficult for you to tell a story through techno music? Yep, the conceptional approach was essential for putting togetherWide Noise.And yes of course,storytelling via Techno is nearly impossible when you don’t have lyrics to transport or accompany a story idea. There is always a huge space for interpretation when you just hear sounds, without having a spoken word. I always tried to transport the conceptional idea via vox samples or phrase from movies or so to push the reception of the sounds in a certain direction,creating thereby the wanted mood or maybe restrict the space of interpretation a bit. I want to work more with lyrics in the future in order to bring more storytelling into my music. Born in Ruinswas a autobiographyalbumabout growing up in the RDA. I read that you had a happy childhood in a ruined background. How do you think that the experience has marked your life? Oh, well, of course it marked my life fundamentally. Experiencing and growing up in two totally different social systems shapes you automatically in a certain way. I feel very lucky to have had the chance to see and experience 2 systems consciously. If I would have grown up in Florida, I think Blac Kolor would never have happened, though You said instead that “Stormfly was more dance-floororiented.”Do you try to have a balance between dance-floor material and headphone one? It depends on my mood. Sometimes I feel a need for some simple bangers just to see the people or myself dancing and not thinking tomuch about it.Sometimes I’m just bored by all the club material and slow down automatically in my productions. But there is definitely no strategic thinking of balancing out these two worlds in mymind.Sometimes I feel ready for some rave, sometimes it has to go deeper. In an interview,you said that“staying unpredictable is themain reason my music sounds the ways it sounds.” Do you think it’s more difficult after so many releases to stay unpredictable? Absolutely,I have to producemuchmuchmoremusic to come to the next release, since a lot of tunes don’t survive my quality assurance anymore. I find myself more and more thinking: “no, get rid of that, you have done that already”. On www.peek-a-boo-magazine.be - 16 - top comes that I get bored from things pretty fast. I feel always a huge tension and it’s rather challenging to find a decent balance between creating new things and enjoying myself and trying to stick with a kind of a typical BK sound by the same token. But maybe that keeps me being productive. Probably, it´s the oil for my engine. You have released a few EPs on one of the most popular and influential labels at the time, aufnahme +wiedergabe. According to you, how has Philipp Strobel’s label changed the scene? As said, not thinking too much about a “scene”, lets me struggling with the answer here. Phil at least teaches the young audience the old stuff in a very consequent way. Other labels (from what we might call “scene” here nonetheless) got an older target group and it’s really hard for them to reach out to younger people. At the end of the day, Phil is just mixing together what belongs together. Berlin helps a lot here, to be successful with this approach. Your last EP has an interesting concept “addressing the oppression, exploitation and eradication of indigenous peoples by the western world.”To follow the concept, you based the tracks on elements of four different tribes. How did you come along with this idea? The basic concept for Roots was in my head for a long time. I think I saw a documentation about how they treated the Indians in Canada, especially their kids, back in the days. That was pretty much the trigger,where I said to myself, do that concept now. I collected a shitload of samples from different tribes all over the world, selected 4 of them (because I love 4-tracker-EPs ) and started to write music around these very snippets. Every track with a different approach but all with 118 BPM. I really wanted to limit myself here. What are your plans for the future? What happened to Weltenbrand? Weltenbrand will come out end of summer 2023 on beloved Hymen (which was my requested label for that concept) and will come with a very special artwork. The whole is much more an art project than a regular release. Stefan from the label and myself really want to create something different here. And I’m pretty sure that it will turn out beautifully. Apart from that there will be a single release corresponding the album a couple of months before and I will probably close my 24U bandcamp series very soon with Volume 10. And I started a few collaborations, we’ll see how this will turn out. http://www.blackolor.de François Zappa © Published by the kind permission of El Garaje de Frank www.elgarajedefrank.es Read full interview on https://elgarajedefrank.es/en/interview-blac-kolor/

DARK BALLOON PRESENTS NEETWAVE UnderViewer Motor!k JL De Meyer and P. Codenys (FRONT242) Ultra Sunn Electrifying Coldwave from Brussels Pulsating Krautrock ft Dirk Ivens (The Klinik - Dive - Sonar) Emmon Swedish Electro Queen Wavy-Afterparty: THeDARkONe & Bie1 Sat. 14 October 2023 GC Den Dries - RETIE (B) Tickets & info - darkballoon.be - 17 - www.peek-a-boo-magazine.be

PSYCHE Pioneers of the dark wave, Psyche is one of the most interesting bands coming from Canada. Getting over all difficulties, theymanaged to publish eleven records where lies hidden among synths. Darrin Huss accepted to answer our questions without noticing that when your band is called Psyche you can’t expect a normal interview but a psychological test. We will enjoy their music at DarkMad Festival that will take place on the 29th and 30th ofApril. Your first album from 1985 is called Insomnia Theatre. Is it your Non-Stop Erotic Cabaret? At that time you sounded more like the very first Soft Cell, the one we can see in songs like “The Girl With the Patent Leather Face” and “Memorabilia.” That’s pretty cool, no one ever said that to me, the Soft Cell comparisons, yes, but not specifically both theirs and our debut album. Insomnia Theatre is much darker, though, and there’s no “Tainted Love” on it, but “Brain Collapses” was probably our first “hit” in Europe. Soft Cell, of course, was always mymain influence, but there is also Fad Gadget,Gary Numan,Visage,DAF,The Cure,and Bauhaus happening in my world of inspiration at the time. I also read that thanks to Skinny Puppy, you changed your style,more industrial, as it can be seen in your compilation Tales from the Darkside from 1990. Anyway, you returned to this sound for the project Vanishing Heat, right? You are well informed! Skinny Puppy and Psyche prettymuch started this style of music in Canada at the same time, and both bands were approached by Nettwerk Records.As Skinny Puppy ended up being signed and building a following for their style,I realised that I was actuallymore a singer,andmy brother and I wanted to do more with synths than to be trapped in a limited industrial mode.We wanted to develop our Horror Synth sound differently. With Unveiling The Secret recorded in Paris for the New Rose record label, we began to carve out our path advancing forward from the labels of EBM, and Industrial towards our own blend. Vanishing Heat was actually started just for fun as everyone seemed to have to have a side project, and Psyche had just released our Synthpop masterpiece Mystery Hotel, so I felt like fooling around with the kind ofmusic we might’ve made if we stayed industrial. It was an experiment, and I enjoyed it, but I didn’t take it as seriously as I do Psyche. Could you describe your concerts in the eighties? You were famous for performing nude covered in cream, right? Did you have any problems with law? How was your music received back in the eighties in Canada? Well, I covered myself in shaving cream because I saw that www.peek-a-boo-magazine.be - 18 - Fad Gadget did that at a concert for his song “Lady Shave.” I just decided not to wear underwear. I was well covered, though, until at one show I slipped on the floor! ha ha. I was also inspired by Wendy O.Williams from the Plasmatics, but obviously she had more trouble with her antics being a woman. We were not that famous yet so I figure the alternative audience wouldn’t call the police on us.However, we were banned for 6 months of playing concerts in Edmonton because we showed an artsy horror film at a festival sponsored by our university radio station in there. Several people complained about our film, so we learned early on about the price you may pay for being provocative or controversial.We often were proud of having people leave at our concerts. We felt honoured if they couldn’t take our show. Mainly it was because we were the only synth act in our region.Alberta is like Canada’s Texas.The cowboys didn’t like New Wave or Synth Music. The only people who liked and supported us were also fans of music coming out of the UK like Cabaret Voltaire, and Throbbing Gristle at the time. Also, the French part of Canada, Montréal and Quebec City was more progressive, and that was our springboard to Europe basically. Your second album, Unveiling the Secret (1986), is seen as your masterpiece. What can you tell us about the recording? I think the first 4 albums are each masterpiece for different reasons, but yes Unveiling The Secret set a new standard for what defines the Psyche sound. It has a range of EBM, early Techno, and even a Synthpop ballad all on one album. The album was recorded in Paris at Garage Studio near Père Lachaise Cemetery where Jim Morrison lies. “The Saint Became A Lush” is a combination of our love for Horror film soundtracks, and me doing my best Ian Curtis style vocal reciting a poem over this epic story of Lovecraftian magnitude. Most of the songs including that one had actually been performed live before we even got in the studio. “Black Panther” was very popular as well. “Unveiling The Secret” was actually written while we were in Paris and was the first new song of that period in the studio. I had to record my lyrics in one take because it was the last day before the budget from New Rose Records allowed before the mix down! You said that “The Saint Became a Lush” sounds a bit like “Tubular Bells”. Did you like prog rock? Some of those bands were pioneers in the use of synths. And do you like “The Secret”, the tune that took inspiration in yours, made by Joris Voorn? The only prog rock we were aware of at the time was Goblin because of the Dario Argento film soundtracks. Unless you

also consider Tangerine Dream and The Doors in that category although I wouldn’t.We weren’t into things like Yes, or Genesis, so the “Tubular Bells” comparison comes from being inspired by the theme in The Exorcist which just so happens to be an excerpt from Mike Oldfield’s famous track. It’s not quite the same notes, though, but I know my brother really liked the sequence. Joris Voorn was kind enough to write to me and inform me of making, “The Secret.” To be honest, if I wasn’t asked, I may never have known about it, as that is a music scene from another planet as far as I’m concerned. Even though I once did a remix for Richie Hawtin’s Plastikman – “I Don’t Know” (Psyche’s Haunted Whisper Remix Featuring Darrin Huss) but these artists are famous in a whole different scene. I’m just glad they found something inspiring frommy music. You moved into more synthpop with Mystery Hotel (1988) . What were you thinking at the time that led you to make this change? It was a natural progression as we were just continuing to develop our sound and didn’t want to just repeat what we’d done.All the artists I really admire such as Blondie,The Doors, Soft Cell, Eurythmics, Fad Gadget, Grace Jones, and Soft Cell showed me that you could be innovative with your music and yet still be you.If the vocalist was recognisable and the music didn’t suddenly become another genre completely, you still have your sound. Some have said we “changed too drastically”, but we thought we were just developing our repertoire and defining our own boundaries really. Mystery Hotel had everything, synth funk, psychedelic, dark wave, synth pop,and even the unlikely pop song“Eternal,”but it was all still pure Psyche style. Just like any album of The Doors. You know it’s them, whether it’s “Light My Fire” or “The End.” It’s about the range that you bring while still defining your own sound. Although it’s not part of the initial three records The Influence (1989) (that should have been called The Influencer), was another important record. Was the darker mood of the album a reflection of your life at the moment? Yes,and ironically after all I said about different styles on one album,The Influence comes much closer to one unit of sound overall. This was the first album I made without my brother after he was diagnosed with schizophrenia, and I was having trouble deciding what to do about making a future with Psyche. The whole album was made with just the Casio FZ1 - 19 - sampler by David Kristian. Even though there are some normal sounding bass synth sounds on the record, all of it was created by him. That’s what I am always looking for. I always say that I feel like Psyche is a science experiment, as life is in a way. I want new experiences, I want to hear different things that surprise me. It was a moment of luck and courage to make such an album. The freedom to not know where your next paycheck is coming from, but believing in your art. The album is dark because even though I was only 24 at the time, I felt like an old man who’d already experienced a lot of pain and sorrow in life, and I was reflecting on all of it. When it was finished, I actually felt a little nausea at first hearing it entirely. “The Sundial,” made me cry. It’s a very emotional album, and yet that’s why it actually reached a lot of people. I am glad Psyche’s music makes people feel something. That’s all I ever wanted. Loud radio pop just isn’t my business. I saw your music described as horror electronic, do you enjoy horror movies or literature? I read that some of your songs were inspired by different books and movies. In the beginning we were mainly inspired by Horror. The atmosphere and music of the films by George Romero, John Carpenter,David Cronenberg,Dario Argento, and Lucio Fulci. I was reading a lot of H.P. Lovecraft,“The Saint Became A Lush” was inspired by The Case Of Charles Dexter Ward, and “The Outsider” by the short story of the same name. We even dedicated the Unveiling The Secret album to Lovecraft and Cronenberg.Stephen was very inspired by all the 70s and 80s horror stuff. I prefer the atmosphere of the supernatural elements as opposed to straight ahead slashers. Other authors such as Ramsey Campbell inspired my song “Nocturnal Passenger,” and “The Influence.” Then there’s Shirley Jackson who inspired “The Sundial” and “Haunted.” We’re also all indebted to the imagination of Stephen King as well. www.peek-a-boo-magazine.be

PSYCHE After your more famous records, we have Daydream Avenue from 1991 and Intimacy from 1994. How would you recommend these records to someone who listened only until The Influence? Well,Intimacy has some elements ofThe Influence style such as “Broken Heart” and “Love Is A Winter,” but it’s a little weirder because there are elements of lounge and chill out styles mixed with horror themes such as “Freaks!” It’s like a strange sequel made by my brother as opposed to The Influence made by David Kristian. I am very fond of “Blind,” and “The Cathedral” as well. Daydream Avenue has a few highlights, especially “Angel Lies Sleeping” which was a hybrid of Ministry’s Twitch album sound, and the more pop Our goal has always been to further develop what synthesiser music has to offer. side of techno just developing at the beginning of the 90s.As always in between the experimenting with various styles of dance music, there are the dark melancholic songs such as “Ghost” and “Destiny.” This is why I say because of my lyrics and vocal style, it still ends up sounding like Psyche even if some of the instrumentation changes. Even the strange hiphop electro sound on“What SorrowCannot Say”doesn’t take away from the sombre tone of the song itself. How did working with Remi Szyszka changed Psyche? He first worked with you on Sanctuary, was it difficult to have another musician onboard? I’m attempting to avoid talking about the line-up changes with Psyche these days as I don’t like to put toomuch weight on the outcome of what makes the Psyche sound specific. Madonna works with many different people, but she is still Madonna. Also, sometimes things change that are not on purpose.They may happen for personal reasons or whatever. Remi came at exactly the right time, and “Sanctuary” actually created what they call a reboot for movies, but for Psyche in music.The albums The Hiding Place and Babylon Deluxe are what needed to happen in the 21st century, and so I’ve been very lucky to create all these new songs within the realm of Psyche with musicians who each developed additions to the sound as it continues to grow its own unique library. I’m very choosy, so unless I feel we are within the right vibe I usually won’t record. The song “Looking Glass” was Remi’s idea of what makes a typical Psyche song. In Endangered Species (2002) for example, we can find some remixes. Do you like to remix yourself? How do you feel when you hear someone’s remix of one of your songs? www.peek-a-boo-magazine.be - 20 - I have a love/hate relationship with remixes. I prefer extended mixes of the basic foundation as it was done in the 80s. Occasionally, however, a remix completely recreates the song to the point that something new comes out of it.Those can be really cool.Not too fond of ones that just try to add a different dance beat that I normally wouldn’t approve of in the first place. That’s why we like to remix ourselves. I tried the experiment of different versions for the 20th anniversary of Unveiling The Secret in 2006 with the Unveiling The Secret 2.0 release. On that one I loved the Christian Piotrowski mix so much I added it to some compilations,and even performed that version live a few times. Still, some songs are so powerful in their original, there’s almost no point in changing it.“The Saint BecameALush”in the Radical G mix is rather exciting, though, I think it takes all the great elements of the original, but makes an alternative version, also more like a reboot than a remix. It’s like doing the song all over again, keeping the atmosphere and style, but recorded with a different vision.A parallel universe version. Could we say that Brave NewWaves Session (A Brave New Waves Session with music from Psyche was released in 2018) is a kind of Canadian Peel Sessions? What’s the period represented there? Yes, Brave NewWaves was a big deal in Canada, and helped inspire many a musician by bringing us alternative music from all over the world. It’s the first place I heard Anne Clark, earlyMinistry,Tuxedomoon,and the like.Once again Psyche’s trajectory has never been streamlined with a plan and as it happened, the session is more like a lost moment in time.My brother had just performed with me live in Montréal for the last time.Since his diagnosis of schizophrenia, it had become too distressing for him to perform. We had a third member Eric Klaver who performed twomore shows withme after my brother went home. Unfortunately, this also was in the time that we had received the chance to do this special radio recording session. Other than “Unveiling The Secret” all the songs were written and improvised by Eric Klaver, and myself, with additional help from Kevin Komoda (Rational Youth). So, it’s even beyond a John Peel Session where the songs are also usually on albums before and after. In this case what you hear on“Brave NewWaves”was only recorded for that session, and shows once again a range of ideas representing a spontaneous intermezzo in the Psyche repertoire. The 11th Hour (2005) is your last record so far.We haven’t spoken yet about your lyrics, how do you write them? Do you think this album is special in that sense? Well, I mentioned my lyrics to some of my favourite songs in the other questions. I think The 11th Hour is extremely prophetic as I was writing from a very dark place about

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PSYCHE everything coming to an end. It’s about getting older, not belonging, watching the world dying, feeling cursed, and trying to find an acceptance of the situation in order to keep going. I don’t know if the lyrics are more special than the others, though. I think the title “Bloodcurse,” and “September Moon” are pretty cool, but my favourite lyrics are spread out over all the Psyche albums. I love my lyrics to “The Hiding Place” title song just as much as “The Outsider” or “The Saint Became A Lush.” In the early days, I was inspired by stories I was reading,and some social issues.Themiddle period ofmy lyrics became more personal experiences, and some romantic themes. Later there has been an addition to how humanity is dealing with technological advances, and the kind of world problems we are facing. Spirits of Lo c kdown was your last EP of n e w m a t e r i a l with five covers. Howdid you choose the songs? I have wanted to do “Cry Little Sister” for the last 20 years, and made a demo in 2006, but was never confident enough until I decided to once again have a special release for Halloween. Then because of COVID-19 and the lockdowns I thought it would be fun to just put together a few songs I have loved forever, and make a little digital EP to represent these moods. I have always wanted to make an electro punk version of “Living In The Real World” from Blondie, so I did that, and also wanted to do “Just One Kiss” from The Cure in the full 12” version as I absolutely love that song, and have it on my mind ever since I first heard it. I was fairly proud of it, so that song and “Security” by Men Without Hats became the streaming single while the other covers just stay exclusive to Bandcamp. “Security” is another one that I just felt fit exactly in our modern times of surveillance, hacking and also the fears that people had about lockdowns etc. What can you tell us of Psyche Enterprises? How is it going? You have also released some solo albums and your brother post-albums, any recommendations? It’s just a made-up label for my digital distribution to cover any work by Psyche-related creations. Just to have the family legacy in place. I’m not signing anyone. Two years ago, Artificial Dance released Galaxy, a compilation of tracks from your brother Stephen back catalogue. You were involved in the selection of songs. What can you please tell us about this release? It was quite popular among my electro-lover friends. Can we expect - 22 - 'We have worked and risked so much to make this tou happen, so pleeeeeease come get wild!!!' more reissues in the future? This album became possible because Artificial Dance chose a previously unreleased instrumental called “Infinity Sign”by my brother for their second compilation. After that it was their idea to make an album of Stephen’s work, and we compiled the choices together. I absolutely love this release as it also contains tracks that were previously only on CD or cassette as well as some cool choices from the label. I do Hope I’ll get an opportunity to make a follow up. When arewe going to have the long-promised newalbum? And the acoustic one? I think by the time I’m ready it may have to be a double album to cover these options,but I can only do this when I’m confident of the new songs and can’t wait to play them live. Sometimes life just happens, and I ended up just making singles, and small musical statements rather than a complete album. https://www.psyche-hq.de/ https://psyche.bandcamp.com/ https://www.facebook.com/Psyche/ François Zappa Read full interview on https://elgarajedefrank.es/en/interview-psyche/

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PORNO KARAOKE After their successful debut performances in Sau Paulo Brazil at the end of 2019 and early 2020, the flying start of Porno Karaoke was unfortunately cut short by the outbreak of the global Covid pandemic. However, with a smashing performance at the Brussels Magasin 4 and the recent invitation to perform at the famous UK INFEST festival an interview with this bizarre project couldn't be missed. We spoke with mastermind and Porno Karaoke frontman Horny B in a crowded hazy bar. Howdid Porno Karaoke come together as a band, andwhat inspired the choice of doing an electro-industrial cover band? Horny B.: Well the idea of starting an electro-Industrial cover band been maturing in my head for many years. I used to be, and still am,a big fan of the Revolting Cocks early works and sound. The way they covered Rod Stewart’s ‘Do Ya Think I’m Sexy’ is simply amazing! But I never found the time or opportunity to make Porno Karaoke happen. Until one day I was asked by a Brazilian promoter/friend to come up with an extra act for his festival as one of the acts couldn’t make it. Since I had already a map named Porno Karaoke on my computer for years, a map where I “dumped” my cover version try-outs and demo’s I asked Edson (the promoter) if Porno Karaoke could be an option/solution … He immediately liked the idea, as the Brazilians seemed to, as the gig was a success and Porno Karaoke was invited back to Sao Paulo only 3 months later! As far as the band thing is concerned, I don't see porno Karaoke as a traditional band - 24 - with a fixed line-up but more as a collective with changing musicians & performers. How do you decide which songs to cover? Can you tell us about the creative process behind selecting and adapting songs for your electro-industrial style? One of the general conditions is that the song in question can no longer be heard live because the band no longer exists or the artist in question has already passed away. Although we sometimes make an exception to that last condition if, for example,we think a song is just too good not to molest and put it through our Porn Karaoke chop and blender. Regarding the creative process we can be quick too as the original artist took care of the most creative part, trying to make his song sound perfect.We just fiddle around with some sounds and samples until we find it sounds perfect to our industrial music loving ears. Mind you, sometimes our respect for a song or artist is so big and we try to stay as close as possible to the original, without wanting to sound like a perfect copy. What sets Porno Karaoke apart from other cover bands in the electro-industrial genre? Porno Karaoke does not try to play a perfect copy of a song. If you want to hear songs as they were originally released, you better sit at home on the couch and put on Spotify, satisfaction guaranteed! If you prefer all the sounds a bit greasier,harsher and sleazier and you feel like partying,Porn Karaoke is your fix! (continued on p.26)

11.08 DJINGEL DJANGEL - ANTWERP W W W . D J I N G E L D J A N G E L . B E - 25 -

PORNOKARAOKE Howdo you balance staying true to the original songwhile infusing it with your own electro-industrial sound? What challenges do you encounter during this process? A lot depends from song to song, some songs and artists deserve some more respect than others hahaha...We try our best to keep the songs recognizable but we can't promise anythingmore.Themain challenge is usually the vocal parts, as in many songs much of the recognizability lies in those, while I tend to produce a sort of death rattle sound that is reminiscent of everything but vocals. But hey, I'm the leader of our band so they can't sackme for it! Another challenge is, many "pop songs" have a catchy, but mostly cheapish, synth sound that we carefully try to replace with amore acceptable sound in electro-industrial environments.As far as the"band" thing is concerned, I don't see Porno Karaoke as a traditional band with a fixed line-up, but more as a collective with changing musicians & performers. What has been the most memorable or challenging performance for Porno Karaoke so far? Of course the first two shows in Brazil are very memorable, it was so great and a relief to see those Brazilians go wild for songs like 'Shoot Your Shot' & 'Sweet Dreams’, shouting the lyrics almost louder than Horny B. did. Another memorable performance was when we, almost exactly a year ago today, played at a crowded Magasin 4 in Brussels. Also here the audience spontaneously started dancing, from the first note we played and was pogoing towards the end of our set. Screaming and shouting for more … sadly our time was up. What are your aspirations for the future as a band? Are there any particular goals or milestones that you hope to achieve? Well,we are thinking of releasing an albumwith some our interpretations in the future and of course hope to make manymore people happy by playing at their bachelor parties, weddings, baby showers, divorces and funerals! One of our dreams/goals is to perform a complete Fad Gadget -Best of set... www.peek-a-boo-magazine.be - 26 - How do you handle criticism or negative feedback as a band? How do you use it to improve and evolve your performances? Once, at one of our first Belgian shows, we found ourselves in the wrong place, at the wrong time in front of the wrong audience...The friendly and daring promoter programmed us as a midnight surprise to play after a "very serious act" and before an apparently "very important autoscooter music DJ". Due to delays and technical problems the changeover didn't go as smooth as we would have hoped for so most people left the venue after the "headliner", while hardcore scootermusic fans waited for their beloved DJ hero.About 20 people were standing against the wall in the back...who didn't get our tongue in cheek perfomance... with crossed arms... just waiting for our set to end... But seeing those horrified faces didn't make us feel insecure... Quite the opposite! For us it was the proof we are doing the right thing! We enjoyed every minute of playing that show! Funnily enough we still did get some positive feedback,from people that wish to stay anomynous, in the aftermath! "It was the audience, not you!" hahahaha… So, have any negative feedback? Bring it on wussies! Can you share anyupcoming projects or exciting plans that Porno Karaoke has in store for your fans? Exciting plans? You bet! This year, for the first time since 2020 (Blame covid!) we're playing , once again outside the EU! :P At the renowned Infest festival in Bradford UK on August 25th! But before that we will be onstage in Antwerp together with Mildreda at the Djingel Djangel music club. And who knows, we even might pop up somewhere as a surprise act! You all have been warned! 11.08.Porno Karaoke + Mildreda@Djingel Djangel,Antwerp 25.09.23 Porno Karaoke &More @ Infest, Bradford,UK https://www.facebook.com/pornkaraoke Hamis HERIK

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ENZOKREFT of the Kremlin’s war rhetoric. By stationing tactical nuclear weapons in Belarus, Putin is now taking it a step further.The days of a new Cold War have arrived, and the atmosphere is becoming increasingly grim.So I felt the need towrite a song about it. I soon found inspiration in the eponymous American information film from the 1950s, in which children were taught – in a very absurd and hilarious way – by a certain Bert the turtle how to ‘protect’ themselves against an atomic bomb. When I started working on the album at the end of 2021, I already had a pretty good idea of where I wanted to go, but current events have certainly had an influence on the further course of the project. The song ‘Standing On The Soil Of Another’ immediately reminds me of the war in Ukraine, but actually also of the war in Iraq. Was that the intention? Do you, like me, see parallels between these two wars? Those parallels are certainly there! Just as Russia justifies its Enzo Kreft likes to keep a finger on the pulse of what's going on in society, and he's never shy about speaking his mind when he thinks something is unfair. On ‘Different World’ (2021), he sang about the corona pandemic and everything that resulted from it, ‘Control’ (2019) handled about the control that contemporary society can exert on the individual, and on 'Wasteland' (2017), environmental issues were discussed extensively. With his new album ‘Shelter’, the minimal veteran–active since 1983! –made war the subject of his music. Not as a result of the war in Ukraine, as you might think, although a good deal of the actuality has once again made it onto the record. Enzo Kreft provides text and explanation for his new edition. Hallo Enzo. I'm so happy to hear your new record, and love it again. I know you always have a concept behind your records. Tell me, what is the main theme this time? You might think that Russia’s invasion of Ukraine was the starting point for ‘Shelter’, but actually I was already toying with the idea of making an album about the theme of war at the end of 2021, and the title was already set. When I heard your first single‘DuckAnd Cover’, I thought you were going to make a record about the nuclear threat, but the main theme turns out to be war. Did the theme of the record evolve as you worked on it, or did you have a clear idea of the outcome you were aiming for from the start? I made ‘Duck and Cover’ last year,when Putin and his cronies started threatening with their nuclear arsenal. That nuclear threat,meanwhile, seems to be becoming a permanent part www.peek-a-boo-magazine.be - 28 - ‘special military operation’on the basis of lies,the US did this in Iraq: that country allegedly had weapons of mass destruction and was said to have had connections with Al Qaeda,which has never been proven.The US invasion of Iraq has mobilized masses of refugees and killed hundreds of thousands. Just like now in Ukraine, the infrastructure in Iraq was razed to the ground. Chemical weapons were used, prisoners were brutally tortured. The country was left torn apart and terrorist organizations such as ISIS sprang up on the ruins. Like Russia now, the US should have been held accountable for the war crimes committed. The fact that Bush and co.got awaywith this unpunished,was a precedent for other dictators and autocratic leaders to commit illegal deeds, also for Putin in Ukraine. In ‘There Is No Tomorrow’ you sing about the indifference of the people towards the threat ofwar. Do you think there is a risk of the war in Ukraine turning into a nuclear war? And what do you think we can do about the apathy of the masses? ‘There Is No Tomorrow’ is a dark, apocalyptic track that invites you to dance while you still can, just before the complete destruction. In that sense, it is comparable to what Prince sang about in ‘1999’. The underlying question in this protest song is: are we on the verge of nuclear armageddon? I think we should not underestimate Putin when he threatens to use tactical nuclear weapons. Perhaps he will conduct a nuclear test somewhere first, and if this does not change the attitude of the international community in his view, I see him capable of deploying a nuclear bomb in Ukraine. You can imagine the escalation that could result from that.It is therefore up to current and future generations to show political courage and to protest worldwide.We must

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take to the streets en masse.At present, the fate of humanity rests in the hands of villains who will not hesitate to drag anyone into their fall.This must be stopped! The guitars are strikingly present in the mix this time.They were also present before, but were always in the background.Whydid you give themamore prominent role now? When the tracks were being created, I found that the guitar sound fitted well into the atmosphere and theme of the album.A guitar can cry, and a guitar can also have a chilling effect or make the atmosphere creepier, and that's what this production asked for.That's how I felt. The result is a more eclectic record, with of course the minimal wave influences that we know from you, but also musical variation from guitar wave to EBM. Did you deliberately pursue that variation? Certainly, I did pursue musical variety.Actually, I try to do that with every album, but with ‘Shelter’, it worked out the best in my opinion. There's nothing more boring than an album where all the songs sound alike. I've been hearing too many flat releases lately. Is that because certain bands desperately try to fit into a musical box? Everybody is free of course, of course, but I personally think that variation is very important. In the end, it doesn't really matter to me which genres my tracks belong to.For me,an album is a story inwhich different moods are reviewed, a musical journey in which there must be relief. That's why I want to alternate between sung tracks and instrumentals,slower and faster,exciting tracks,etc.I also think the order and structure in this is super important! I find your lyrics quite sharp, and I wonder why you have incorporated so many instrumental tracks on your record. Is writing lyrics a difficult task? I do that because of the musical variation, right? Instrumental numbers ‘speak’ just as well; Moreover, they are given an appropriate title, just as an abstract painting can be given a title. I also like to use sound collages with instrumentals – I did that even with my very earliest songs from 1983 and 1984.The Junkers in ‘Here Come the Birds of Prey’ immediately set the tone of the album,and I think lyrics in this track would be superfluous. The sample of the crowd chanting ‘Stop the war’ at the beginning of ‘The Power to Turn the Tide’carries the track.No further text is needed here either, I think. Instrumental songs also give an album something cinematic. I've always had a preference for film music. But writing texts is of course also very interesting. Is that a difficult assignment? Sometimes,sometimes not at all. With certain songs, I struggle with the lyrics, delete and replace words or passages. With other songs, the lyrics just flow frommy pen,without effort. You rightlybring up the refugee problem in‘Refugee Song’. Wars lead to refugees. Europe was willing to take in a lot www.peek-a-boo-magazine.be - 30 - of refugees fromUkraine, but if theycome fromSyria, there is more mistrust.What do you think about this? Refugees who are under serious threat or who are victims of human rights violations always have the right to protection, shelter, food and healthcare. This therefore applies to all refugees, whether they come from Ukraine, Syria or elsewhere.The situation in Syria is still dire: the conflict has now lasted more than a decade and has affected millions of people, young and old. Due to the ongoing violence, many children have lost their homes and their families. The existing infrastructure has been destroyed. Sending these people back is simply a violation of human rights treaties. I'm just expressing my own opinion. When I first heard ‘Shelter’, I thought it was the best record you've ever made. I suspect that the theme immediately appealed to me, but also the musical diversity, which is greater than on your previous records. I know it's a tough question for artists, but do you also feel like this is a milestone in your career? I always like to present the most recent creation, maybe because I’m still very emotionally attached to it, so right now that's ‘Shelter’. I can confirm that the musical variety on this album is great,but whether this is a milestone in mymusical career I really can't say... I prefer to leave that to the listener. So far the comments have been very positive and I also feel very gilded with your compliment! https://enzokreft.bandcamp.com/ https://www.facebook.com/enzo.kreft https://enzokreft.blogspot.com/ Xavier Kruth Read full interview on www.peek-a-boo-magazine.be

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MOTOR!K - 4 (CD / Vinyl / Digital) (Out of Line) Motor!k's first album was a solid representation of the sound and modus operandi, being the Krautrock sound and the 4/4 drum beat known from Can and NEU! provided with a contemporary look,Motor!k 2 confirmed the intention of the trio….As said, the real change came with the EP Oddyssey and the album Motor!k 3, which made the undersigned look forward to the next move…On this 4th albumMotor!k goes a step further in exploring the possibilities.The material on Mk.3 seemed like a clear choice of variety on one album.Mk.4 changes it again by opting for 2 suites that relate to each other like brother and sister.In the first part we find the 3 parts of Terra Illustris, where the sound indeed sounds a bit lighter and more psychedelic.And as befits a good suite, the piece can preferably be listened to in one go, with minimal attention to the transitions. Terra Obscura sounds a bit darker and heavier-handed,whichmakes it a bit of the favourite half of this album.With this 4th album, the trio has once again proven that the bag of tricks is far from empty. [JD] 2ND FACE - utOpium (CD / Vinyl / Digital) (Dependent) “utOpium”, an album that turns out to be a dark and tantalizing dark electro trip but also an electronic and post-industrial dystopian nightmare. The Canadian old-school is never far away, you know, a multi-layered synth sound over a sometimes penetrating and then again jerking and jerking rhythm section with incantating to menacing vocals. Dark electro of the first generation, sharpened with industrial sounds of a rusted machine park that creaks, grinds and squeaks and is slowly but surely replaced by the dystopian intoxication of a virtual and splitting reality. Skinny Puppy, in its older guise, is never far off on songs like “1 Of The Others” ,“Underneath The Silence” or “Formula Extinction”. Or how humanity, in the delusion of the day in caged freedom, slowly crushes itself in front of a light box like a scaredy-cat.Melody is also there now and then,as if at a rare moment the music also makes you happy, you can take a dance step in the acceptance of the inevitable fate.“life(I)over” or “Vox Irea”? Will you dance or is it rather cold sweat. [KI] DER KLINKE - Facing Fate (CD / Vinyl / Digital) (Self-released) The opening song is of a kind that we don't often hear fromDer Klinke.Avery dark subdued and compelling song is based on Baudelaire's poem‘Recueillement’.Bombastic,bravura and big. Despite this restrained opening track, the band is heated up and so we get the firmly rocking, with a greasy post-punk edge, ‘The Shallow Shadows’. ‘Dance Of Liberty’ is a danceable New Wave/Dark Wave song. Chesko is using the lowest regions of his vocal chords while the synths take a prominent roll in this very nice uptempo song.With a grave voice and a minimal-feel synth line,‘Closing’gets going only to emerge into a banging song that invites you to move. ‘You're Looking Good In an Elevator’, pleasant tempo, fat basses, distorted guitars driven by a collection of pedals that pushes them forward… Conclusion: YES! This iFacing Fate became another very strong album, for an equally strong band. A well-oiled music machine, assisted vocally on this album by a number of guest voices. [JB] ENZO KREFT - Shelter (CD / Digital) (Self-released) “Shelter”, the new album is quite varied, but extremely catchy and a powerful commentary onwar,conflict and the human experience in times of crisis.Each song highlights an aspect of the devastating effects of war.But it also cries out that empathy, solidarity and hope are important in very uncertain times as well as the joining of forces to take action against that senseless violence. For instance the closing song literally indicates that we still have 100 seconds to make that change.The man carries electronicmusicmore than in his heart alone. But not only electro, guitars also have their say. On the opening track ‘Here Come The Birds Of Prey’,an instrumental,we immediately get all that beauty.Excruciatingly slow drums,a very deep synth melody and shoegaze guitar work that travels along with the rest of the instruments in a challenging way. This album is like an enforced concrete bunker. Apart from the rawness and pain that the lyrics exude,it is above all a high-qualitymusical piece of art. [JB] www.peek-a-boo-magazine.be - 32 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/

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calendar 01.07 THE SISTERS OF MERCY - THE CURE - THE MISSION SPECIAL NIGHT @ Le Garage, Liege [BE] 08.07 SUBKULT FESTIVALEN, FEAT. PRETTY ADDICTED + AND ONE & LOADS OF OTHER BANDS @ Göteborg [SE] 15.07 MORTICIA - DARK UNDERGROUND DANCEPARTY @ Cerberus, Hengelo [NL] Presented By Dj Sl!m & Burb 22.07 DEATH DISCO OPEN AIR FESTIVAL @ Technopolis City Of Athens, Athens [GR] Vnv Nation, The Soft - Moon, Sad Lovers & Giants, Selofan, Rue Oberkampf, Ploho, Kalte Nacht, Youth Valley, The Sisters Of Mercy, 23.07 She Past Away, Actors, Absolute Body Control, Mecano Un-ltd., Mechanimal, Data Fragments 29.07 AMPHI FESTIVAL XVI @Amphi Eventpark / Tanzbrunnen, Köln [DE] OMD, Covenant, Qntal, Oberer Totpunkt. - Deine Lakaien, Front 242, Covenant, Lord Of The Lost, Combichrist, Welle: Erdball, Zeraphine, Actors, Unzucht, Diorama, L'Âme Immortelle, Zeromancer, Calva Y Nada, Lebanon Hanover, Coppelius, Solitary Experiments, Wesselsky, Clan Of Xymox, Centhron, Rue Oberkampf, Nnhmn, Future Lied To Us, Selofan, Scarlet Dorn, A Life Divided, Traitrs, Fïx8:sËd8, Whispers In The Shadow, The Joke Jay, Vanguard, SchÖngeist, Xotox, Blitz Union, Rabengott 30.07 AMPHI FESTIVAL XVI - DAY 2 @Amphi Eventpark / Tanzbrunnen, Köln [DE] 04.08 RAMMSTEIN - SOLD OUT! @ Koning Boudewijnstadion, Brussel [BE] 05.08 GARY NUMAN + SUPPORT: CLT DRP @ Olt Rivierenhof, Antwerp [BE] 07.08 SIOUXSIE + PLACEBO + THE HAUNTED YOUTH @ LOKERSE FEESTEN, Lokeren [BE] 10.08 A SPLIT-SECOND + ARBEID ADELT! + ERATO @ FONNEFEESTEN @ Stadsfestival (gratis), Lokeren [BE] 11.08 AN INDUSTRIAL NIGHT WITH PORNO KARAOKE + MILDREDA@ Djingel Djangel, Antwerpen [BE] 15.08 DEVO - FAREWELL TOUR - CELEBRATING 50 YEARS @ Zitadelle Spandau, Berlin [DE] 18.08 ULTIMATE TRIBUTE 5 @ Plaine Communale, Gaurain-ramecroix [BE] Mercadillo + The Slaches + The Tringlers + Atomic + Arnomatic + City Of Light 19.08 ULTIMATE TRIBUTE 5 @ Plaine Communale, Gaurain-ramecroix [BE]: Curse Of The Vampire + Siouxsidaires + Thérapie + Psycho + Lazy + Black City 18.08 THE JUGGERNAUTS + BHPL + DREADFOOL + DELERITAS @ BODIES & BEATS @ Fetish Café, Antwerpen[BE] 25.08 INFEST 2023 - DAY 1 @ St. George's Hall, Bradford, West Yorkshire [UK] Goteki // Porno Karaoke // Beborn Beton // Genevieve Pasquier 26.08 WAVE WAR ONE - INTO THE DARK FEST'S BATTLE OF THE WAVE BANDS @ De Kring, Genk [BE] Bands: Dark Minimal Project, Causenation & Original Band 26.08 INFEST 2023 - DAY 2 @ St. George's Hall, Bradford, West Yorkshire [UK] Xotox // Capital X // Ventenner // Red Meat // Parade Ground // Normoria 27.08 INFEST 2023 - DAY 3 @ St. George's Hall, Bradford, West Yorkshire [UK] Test Dept // Choke Chain // Je T’aime // Intsec // La Rissa // Nightmare Frequency // Zardonic 02.09 SEWERFEST @Wommel, Wommelgem 2160 [BE] Notorious, Hraefn, Red Forest, Lizard Smile 08.09 FROM HIM TO ETERNITY (NICK CAVE TRIBUTE) @ Djingel Djangel, Antwerpen [BE] 08.09 THEN COMES SILENCE @ Canal10, Hautrage [BE] Support Act : Partikul, Aux Animaux 09.09 THEN COMES SILENCE & AUX ANIMAUX + PARTY NEWWAVE WITH DJ GONDRAND @ Le Garage, Liege [BE] 09.09 INTO THE DARK FEST DAG 1 @ Gc Tentakel, Zonhoven [BE] Partikul, Factheory, The Ultimate Dreamers, Instant Lake, Ash Code, Star Industry, Honeymoon Cowboys Lene Lovich Band + Afterparty By Dj Danny Q 10.09 INTO THE DARK FEST DAG 2 @ Gc Tentakel, Zonhoven [BE] We Are Ooh People, Subatomic Strangers, Erato, Der Klinke, The Foreign Resort Empathy Test Sono She Past Away 15.09 BODIES & BEATS XI: MONOLITH, PREEMPTIVE STRIKE 0.1 + DEGENERATED SEQUENCES @ Fetish Café, Antwerpen [BE] Tickets Are Strictly Limited To Only 70! So Be Fast Or Be Sorry! 16.09 SHADOWPLAY - 80'S NEWWAVE (AND BEYOND) DANCEPARTY @Walhalla, Deventer [NL] withy Dj Sl!m 23.09 LIEGE NEWWAVE FESTIVAL 2023 @ Centre Culturel D'engis, 4480 Engis [BE] The Essence, Vox Populi, Dresscode, Driving Dead Girl, Her Descent 05.10 BODIES & BEATS XII WITH ODONIS ODONIS + CHOKE CHAIN @ Fetish Café, 2000 - Antwerpen [BE] 14.10 NEETWAVE 2023 @ Gc Den Dries, Retie [BE] Underviewer, Ultra Sunn, Motor!k + DJ's Thedarkone & Bie1 31.10 HALLOWEEN NIGHT WITH PRESIDENT GAS + PARTY WITH DJ GONDRAND @ Le Garage, Liège [BE] 02.11 WROCLAW INDUSTRIAL FESTIVAL XXII @ Sala Gotycka, Wroclaw [PL] Citizen, Cult Of Youth, Dave Phillips, Deutsch Nepal, FmEinheit, Grim, Hackedepiccioto, Harmony Of Struggle, Hiroshimabend, Orphx, Puce Mary, Sardh, Sect7, Te/dis, Templer, Thighpaulsandra, That’s How I Fight, Triode, The Rorschach Garden, onsechsundachtzig, Zero Kama 04.11 THE ESSENCE WITH SUPPORT WHITE ROSE TRANSMISSION @ Soundville, Rotterdam [NL] 11.11 PORTA NIGRA@ De Klinker, Aarschot [BE] :of The Wand And The Moon: Rome, Apoptose, Witch Of None 14.11 PETER HOOK & THE LIGHT @ Het Depot, Leuven [BE] 18.11 DE PROFUNDIS II @ Le Garage Creative Music, 4000 Liège [BE] Tc75, Frontal, Tension Control + Dj Blackwaver 25.11 DOWNHILL - XVI - THE FINAL CHAPTER (In Loving Memory of Johan Van Mulken) @ Nieuwe Nor, Heerlen [NL] 01.12 BIMFEST XXI - D 1 - LORDS OF ACID, PLACEBO EFFECT, QUAL, 2nd FACE, TUD @ De Casino, St-Niklaas [BE] 02.12 BIMFEST XXI - D 2 - D.A.F, SIGNAL AOUT ‘42, TMO, NER/OGRIS, LIFELESS PAST @ De Casino, St-Niklaas [BE] 15.12 THE BOLLOCK BROTHERS @ Djingel Djangel, Antwerpen [BE] >>>> IF YOUR EVENT IS NOT LISTED HERE YOU FAILED TO ADD IT TO OUR FREE ONLINE CALENDAR<<<< - 35 - -a-boo-magazine.be

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