peek edition January/February/March 2026 free ofcharge, not for sale aboo music & subcultmagazine quarterly publishedmusic magazine 51 DARKER EX-VOTO DARKWAYS CORPUSDELICTI THE JUGGERNAUTS OCCULTADYSSEY& ENS IMPERFECTISSIMUM SUBATOMICSTRANGERS
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peek aboo contents music &moviemagazine 01. THE JUGGERNAUTS ©Marcin Pflanz 04. Interview DARKWAYS 08. 10. 12. 14. Reviews Interview SUBATOMIC STRANGERS Interview DARKER 16. 20. Interview ENS IMPERFECTISSI MUM & OCCULT ODYSSEY InterviewTHE JUGGERNAUTS Interview CORPUS DELICTI 24. Reviews 26. Interview EX-VOTO 29. Reviews 31. Calendar Want to support your scene & contribute to our magazine? English, Dutch, French, German … ! Come and join us and send an e-mail to: [email protected] In loving memory of our co-founder WARD DE PRINS peek aboo REALISED & PRODUCED BY BODYBEATS PRODUCTIONS Marleen MASTBOOMS www.BodyBeats.be CONCEPT / WEBSITE Ward DE PRINS (RIP) LAYOUT Fred GADGET Veerle DE BLOCK FOLLOWUS ON FACEBOOK 30.12.1969 - 12.02.2018 music &moviemagazine EDITORS / TRANSLATORS Michael BOGHE Hayley CLX Tine SWAENEPOEL Gea STAPELVOORT PHOTOGRAPHERS Elke BREDENBRUCH Luc LUYTEN Yvo Moeys WRITERS Jurgen BRAECKEVELT Dimi BRANDS Joeri BRUYNINCKX Hayley CLX Jan DENO Peter DOLPHEN Fred GADGET Hamis HIREK Kurt INGELS Malcolm Nix Xavier KRUTH Dany QUETIN Henk VEREECKEN - 3 - colophon Sven VISTERIN Chris WHEATLEY William ZIMMERMAN François 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 LE FANTASTIQUE (Brussels www.lefantastique.be INFRAROT (Germany) www.infrarot.de PORTA NIGRA (Aarschot) www.PortaNigra.eu YOUR ORGANISATION HERE? Join us & support (y)our scene! Peek-A-Boo Magazine • Heilig Geesthoek 87A • BE-2070 • Zwijndrecht • Contact: [email protected] / Promo: [email protected] www.peek-a-boo-magazine.be
DARKWAYS From the nocturnal heart of Barcelona, Darkways was born—a band shaped by nightfall and neon, crafting a sound where the rhythm of darkwave intertwines with the tension of rock and metal. Formed by Marc and Lluís, longtime friends whose creative bond traces back to their teenage years, they have spent years playing, experimenting, and evolving together through various bands before finding new life in this project. Their music thrives on contrasts: movement and melancholy, emotion and electricity, light trembling on the edge of shadow. Within it, postpunk’s introspection dissolves into cinematic waves of vintage synthesizers, forming a landscape that feels both haunted and vividly alive. Influences rooted in rock, punk, hardcore, and metal now converge with a growing fascination for 1980s electronic textures, goth rock, and darkwave — a fusion that defines their unmistakable sound. Haunted by the 1980s, Darkways breathes new life into the ghosts it summons — transforming nostalgia into movement and memory into sound; timeless yet immediate, intimate yet immense. At Peek-A-Boo, we had the pleasure of speaking with Marc and Lluís about their shared history, their www.peek-a-boo-magazine.be - 4 - creative chemistry, and the undercurrents that continue to shape their unmistakable sound. Hello there, good evening to you guys. Looking up at the sky, there’s an evil moon gazing down tonight — the kind that stirs darkness into the heart. Do you ever feel that the night itself reaches out to you — that strange familiarity, like a friend who’s always there? [Lluís]: The night always reaches out—though not exactly as a friend. It’s more like a shadow that knows you a little too well, lingering just at the edge of your vision.And that moon… it doesn’t just watch, it judges, silently amused by the small darknesses we all carry inside. Somehow it feels familiar, as if it’s always been there, just waiting for us to finally notice... [Marc]: Sorry for that, I guess it’s obvious we’re spending way too many hours working on the lyrics for the new songs.We end up talking like this without even realizing it (laughs). For those who don’t know Darkways yet — how did your journey begin? How did the two of you find your way back to creating music together?
[Marc]: We’ve known each other since our teenage years, and we’ve always been very close friends. Music has always been something we shared deeply.Years ago,we had the chance to play together in a band called Suicidal Nation—you can still find it on Spotify. Even back then we understood each other perfectly, and we used to build the band’s songs together from scratch. [Lluís]: When that project ended,we kept creating music anyway—writing new ideas and teaching ourselves how to produce everything on our own. We constantly sent each other small demos, learning and improving along the way. While Marc began developing Darkways, I started a progressive punk project that unfortunately never took off. [Marc]: When I finished the first singles, I talked with Lluís and we began shaping the whole conceptual universe around the album. Eventually our friend David joined to complete the live lineup, though he’s no longer part of the band for personal reasons. Honestly, Lluís and I complement each other extremely well creatively. Working together makes everything easier, and I think that’s very clear in the new singles—and it will be even more evident on the upcoming album. imagination: what would the tagline be? Something that captures the essence, the mood, the soul of your sound. [Lluís]: It’s hard to imagine—truth is, we’re very ordinary people, so it would probably end up being a pretty boring movie. I think the image people have of musicians in this scene is a bit distorted. We work incredibly hard to make this project happen,we wake up early, no drugs, and we try to be as professional as possible to deliver the best show to anyone who comes to see us. Our songs reflect our own perspectives on the reality around us, and our sound feeds on our concerns, longings, and memories. It would be very difficult to create an “interesting” storyline that captures all of that in a movie… maybe someday. [Marc]: This adventure has only just begun. I guess we don’t have that many“cinematic” experiences to tell yet. If that movie gets made —who would you cast to play yourselves? And who would have to direct it? [Marc]: Two bearded actors—one bald and one with dreadlocks (laughs). As for the director, it would have to “I like the night, Darkness is my only friend. I like the night, And the night likes me.” Your sound draws from many different worlds — rooted in rock, punk and metal, but drawn to the allure of 80s electronic music, goth rock and darkwave. Which artists or bands within each of these genres have inspired you the most, and how have they influenced what Darkways has become? [Marc]: We’re influenced by an enormous range of bands across different genres, including very extreme ones. As a teenager, the bands I followed most closely were Iron Maiden and other classic rock acts. Later I got into Swedish death metal—In Flames,At The Gates, Soilwork, Arch Enemy… [Lluís]: Then we got into hardcore: Madball, Sick of It All, Walls of Jericho, Terror, Born From Pain… Many of the bands I still listen to today come from punk rock—Hot Water Music, Propagandhi,Venerea, Crim… [Marc]: And of course, we’re also inspired by many current darkwave and post-punk artists: She Past Away, Twin Tribes, Boy Harsher, Night in Athens, Ductape, The Spoiled… [Lluís]: Honestly, we could go on forever. There are also many synthwave artists we’re passionate about. Darkways: The Movie. Still fiction for now — but who knows, maybe one day reality. I’m counting on your - 5 - be someone good at capturing everyday life, because as we said, our journey is only beginning and our lives are still very normal. From fiction to reality — your first album, Resonance, released through Young & Cold Records. How did this album come to life, and how did your path cross with the label? [Marc]: Resonance came together in a very eclectic way. It’s a more experimental construct, because we first worked on the singles individually without having a full album concept in mind. [Lluís]: When we decided to solidify the band, we started shaping ideas to connect everything into one album, and we shifted the artistic direction quite a lot on a conceptual level. We realized that the story we want to tell can’t be contained in just one album… so there will be more. Regarding Young & Cold Records— we contacted several labels ourselves. A few showed interest, but Young & Cold felt like the best fit, both ethically and commercially. We’re very happy with the whole team; they allow us to remain independent as artists and support us in every decision. The mood of the album feels very melancolía — like www.peek-a-boo-magazine.be
DARKWAYS Nights, Ductape, Corpus Delicti, MTTM, Deceits, French Police, Plastique Noir… [Marc]: And we’ve connected with many more through social media who we’d love to perform with—Night in Athens, Hinfort, Antipole… We’ve been lucky to meet so many amazing artists. With your latest singles Hollow (released August 29, 2025) and Requiem (released October 30, 2025), what’s next for Darkways? Is there a new album in the making—and what can fans expect in the future? [Marc]: We can’t reveal much, but we can assure you that a lot of surprises are coming very soon. sadness and the beauty of transience transformed into something that invites your inner self to wander through poetry in sound. How would you describe the atmosphere you wanted to create with Resonance? [Marc]: Resonance explores emotions from very different angles. With each song,we wanted to transmit a distinct feeling, always from a very personal space and inspired by our own experiences. [Lluís]: Our existential doubts often make us feel nostalgic—thinking about our childhood, the music we grew up with, and the culture surrounding it. All of that influences our sound and the atmosphere we try to create. Let’s talk about live performances. You’ve already taken Darkways beyond Barcelona — to Turin, Leiria, Caserta, and soon to Toulouse for La Setmana Santa Fest 2025 on December 6. Are there any memorable moments or stories from these shows you’d like to share with us and your fans — and can we hopefully look forward to seeing you perform here in Belgium sometime soon? [Marc]: Honestly, every show has been unforgettable. Everything is new for us, and the scene is incredible. Every promoter has treated us extremely well, and we have the best fans in the world—they support us so much at every concert. We’re building memories we’ll never forget. [Lluís]: In 2026 we want to reach as many places as possible, and we really hope Belgium will be one of the countries we visit. Staying on the live topic — which bands have you had the chance to share the stage with, and which ones would you love to perform alongside in the future? [Lluís]: We’ve had the chance to share the stage with great bands—The Spoiled, Pure Obsessions and Red Now, imagine you receive a letter sealed in blood-red wax — Dracula himself inviting you to dinner at his castle for one night. Who knows, by accepting, you might even gain a few new creatures of the night as fans. The only rule: you must accept everything the host offers — including what’s on the menu. Will you take the invitation? [Lluís]: We’d probably accept—it’s not every day that Dracula invites you to dinner. We just hope the “specials” on the menu aren’t us… Still, the chance to gain a few immortal fans? Alright guys, Marc and Lluís — this has truly been a pleasure. On behalf of Peek-A-Boo, thank you for taking the time to talk with us, and our best wishes for a fantastically musical, Bat-tastic future. To close, any last words you’d like to share with your fans? An under-the-moon cheers! [Marc]: Thank you all for your unconditional support. This whole experience has been incredible, and it’s all thanks to you. [Lluís]: 2026 is going to be an amazing year—we’re sure of it. We hope to see you all again at the upcoming shows! https://darkwaysband.com
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OCCULT ODYSSEY & ENS IMPERFECTISSIMUM At Rituals Over Limburg, the dark ambient festival organized last week in Heerlen by Dunkelheit Produktionen, the presence of Latin American projects was notable with Occult Odyssey and Ens Imperfectissimum—two bands with the same members from Mexico—and Emme Ya from Colombia. Dark ambient specialist Sven Visterin—maker of the Ernst H.Störzhedr-edition of the radio program ‘The Horny Hour’ on Radio Centraal, which alterns every two weeks with the Moonchild-edition of our Dark Entries colleague Henk Vereecken—managed to interview the Mexicans from Occult Odyssey and Ens Emperfectissimum about their occult projects. It's difficult to find information about Ens Imperfectissimum and Occult Odyssey online. It seems obscure. Sometimes the projects are located in Turin, Italy, and sometimes in Mexico. Der Cadáver : In some places online, we appear as if we’re from Turin, Italy, because we have to hide our identities. We don’t care about the faces. We also use explain that? Der Cadáver : Yes, there are elements from many different magical and religious movements, but the ritual I performed with Ens Imperfectissimum consisted essentially of three parts. The first part was dedicated to Tezcatlipoca, a deity from the Mexican times of the original inhabitants, before the Spanish colonization. Then there’s a part dedicated to Tlaltecuhtli, a god of the same religion from this central part of Mexico. The final part was dedicated to Palo Mayombe, an African deity who first came from Congo, then blew over to the Caribbean, and then spread throughout the rest of Latin America. These are the influences we have. We experience it as a religion, not just as a show. We belong to different spiritual houses. We have different godfathers or padrinos in different magical and religious movements.We experience it this way, and we want to show it. Frater Avferatvr : I want to say something about the tunics we wear.We also have this occidental influence. We also have this occidental influence. We don’t deny it. By not denying that we have this aesthetic, we have the power to let others experience it in a different way, not in the traditional way things that are considered illegal in some places, especially in Mexico, like human remains. Besides protecting our identity, we also simply love Italy. We want to incorporate some of Italy’s aesthetic, and this idea of Catholicism in the crypts and bone gardens. They’re important to our work, to the magic in the projects. Have you ever been to Italy? Frater Avferatvr : No, we haven't been there. Only one of us, me, has traveled a bit in Europe. But we’d love to go to Italy. We’re planning to go there next year. We’re talking to some friends about organizing something there. We hope it works out. During yesterday’s performance of Ens Imperfectissimum, I noticed influences from various magical and shamanic movements. It stems from chaos, from many different perspectives. Can you www.peek-a-boo-magazine.be - 8 - We don’t deny it. By not denying that we have this aesthetic, we have the power to let others experience it in a different way, not in the traditional way.We can let others experience it in a way where they can not only enjoy it, but also feel it, even without being at home in those religious traditions. What is the main difference between Ens Imperfectissimum and Occult Odyssey? Der Cadáver : Perhaps the most important difference between Ens Imperfectissimum and Occult Odyssey is that Occult Odyssey has been in development for ten years, because we’re always trying new things. Occult Odyssey is the three of us. We developed this project together at the same pace. Ens Imperfectissimum is a project that grew out of me like a cell or organism, alone. But at some point, I had to play live, and the others stepped in to handle the
sound so I could concentrate on the ritual. I’m the brain of Ens Imperfectissimum, and the others are the hands, in the background. Occult Odyssey is a project to which each of us contributes. In a magical sense, Ens Imperfectissimum is more about necromancy, originating from Palo. In Occult Odyssey, occidental influences are more central to the project. It incorporates influences such as demonology, thelema, and other influences we experience in our lives, in spiritual houses and orders. Are you influenced by other musicians? Frater Ra-Hoor-Khuit : In Occult Odyssey, I’m primarily responsible for the sound. I don’t consider it music, because we’re not trying to be musicians. We’re trying to create ambient and ritualistic sounds. We use noises and soundscapes and all that stuff. Most of our influences come from broad culture. We love experimental musicians like John Zorn and the loud sound of the band Sunn O))), and Boris, a Japanese band that released a lot of stuff. I think we’re primarily influenced by the experiences we have when making our music. We draw inspiration from meditation, dreams and rituals. We channel what we feel, what we hear, what we smell, what we taste. We try to incorporate those senses into our music. Frater Avferatvr : I didn’t know much about the genre when I joined the group. I was invited by Der Cadáver because of my involvement with the Ordo Templi - 9 - Orientis. That was my involvement, but I was interested in Zero Kama and making instruments from human bones. And we made a few. Der Cadáver : The most obvious and important influence for both Occult Odyssey and Ens Imperfectissimum is Zero Kama. Dark ambient is a beautiful genre, but the influences for our projects are more ritual ambient. Dark ambient has a certain aesthetic, but ritual ambient is about people performing a ritual. It’s really interesting and important for us to be here at this festival because we share influences with the other bands playing at Rituals Over Limburg, and we’re fans of some of them, like Sysselmann, Raison d'être, and Apoptose. There are other influences that are very important to us, especially for my project, Ens Imperctissimum: Aghast, Sigillum S, Sunn O))), Shibalba, Arktau Eos, Aural Holograms, and Halo Manash. Some of these projects have played at Rituals Over Limburg before. We love this festival. Sven VISTERIN Ens Imperfectissimum Occult Odyssey www.peek-a-boo-magazine.be
CORPUS DELICTI - Liminal (CD/Vinyl/Digital) (Season of Mist) Emerging from the dimly lit streets of Nice in 1992, Corpus Delicti came together as if drawn by unseen forces: Sébastien on vocals, Franck on guitar, Chrys on bass, and Roma on drums. Their debut albumTwilight (1993) placed them firmly on themap of European gothic rock.The band quicklybecame known for a sound that blended strongmelodies with a darker post-punk edge. With Liminal, released thirty years after their last studio album Obsessions (1995), Corpus Delicti step once more into the night air [...] Written and recorded over two years while the band crossed continents,the new album reflects the resonance of the world they travelled through. It underscores that Corpus Delicti stand not as ghosts of a distant era but as a living force. It is a work that carries their unmistakable imprint: an evolution shaped by lives lived, roads travelled, and years of experience.You hear it in the clarity of the edges, in the restraint within the arrangements,and in themodern haze that threads through the production.Liminal carries the same spirit that defined Corpus Delicti in the nineties, now approached with a maturity that folds time into the music, proving that their essence remains firmly etched in dark music history. [HC] XPQ-21 -Overgod (CD/Digital) (Trisol) Born from the EDM, techno and rave scene, with their first performance in 1998. Silence followed from 2006 onward. Today, 19 years later, there’s a brand-new album. Jeyênne has navigatedmany electronic subgenres,yet remains loyal to a fewcore principles—even though his sound branches out widely: fromrawEBM to drum’n’bass influences,EDMand fierce techno outbursts.‘Overgod’ is a hefty piece of work containing 17 tracks. It quickly becomes clear that Jeyênne is deeply rooted in the wide spectrum of electronic music. From easily digestible darkwave like Dance The Devil, to the drum’n’bass-driven title track Overgod — with a distinctly pitch-black undertone —and Perfect, which shares the same backbone, all the way to atmospheric pieces such as First Rain on Mars and The Expoequivalent-Beta. Industrial influences are not avoided either. […] It all sounds truly (and honestly) authentic. The more dance/techno-oriented tracks resonate with me less; the heavier ones, much more. What remains undeniable is that XPQ-21 still breathes electro.And after 19 years, this album firmly stands its ground. [JB] MESH - Exile (Digital single) (Dependent) 'Exile' is the preliminary and brand new single from UK synth-pop /electro combo Mesh taken from the forthcoming album The Truth Doesn't Matter will be. Exile doesn’t hide its strength — it just doesn’t shout. This is a strong track, confident and grounded, built on a solid synth backbone that carries real emotional weight. It’s focused, direct, and quietly powerful,with Mesh sounding absolutely sure of what they’re doing.No filler, no excess — just a song that knows exactlywhere it’s going.As the opening statement for the upcoming album The Truth Doesn’t Matter, out on 27 March 2026, Exile sets expectations high. It sounds like a band fully aware of its identity and comfortable leaning into depth instead of spectacle. Mesh will presenting this new single and albumduring their 2026 tour in the UK& Europe in April &May. [BP] APOPTYGMA BERZERK - Kathy's Song XXV (Digital) (Pitch Black Drive) Twenty-five years after its first appearance on dark dancefloors,Apoptygma Berzerk celebrates a true club classic with Kathy’s Song XXV, released via Pitch Black Drive.Originally emerging in an era when club culture was about presence and patience, Kathy’s Song earned its place quietly—and never left.To this day, it remains a trusted Top 10 staple for DJs across Europe,not through nostalgia, but because it still works. The track’s longevity comes down to Stephan Groth’s rare ability to make electronic music feel human without sacrificing its core. Kathy’s Song understands space —on the dancefloor and within the listener. This anniversary edition presents four versions.Ferry Corsten’s 2025 remixmodernizes his classic rework with a smooth, uplifting arc.Zone Tripper delivers a darker,heavier club weapon,while Mental Overdrive offers a restrained, minimal interpretation. Closing with the original single version is the strongest reminder of all: timeless,untouched, and still essential.Kathy’s Song XXV doesn’t revise history —it confirms it. [BP] www.peek-a-boo-magazine.be - 10 - Read the full reviews on http://www.peek-a-boo-magazine.be/en/reviews/
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Everything negative is broken down, simultaneously opening a door to something better. - 13 - www.peek-a-boo-magazine.be
DARKER from Jeps that he’d been making music since the late Darker has already caused quite a stir in the Netherlands, and we can certainly say they are a promising name in the darkwave genre. They started convincing the world with a number of singles released during the coronavirus pandemic, and since 2024, they have also released a solid album, "Memento."We invite them to perform at a Dark Entries Night at the Kinky Star on Friday, October 24th, along with Subatomic Strangers, and we also invite you to enjoy these performances for free. We talked to master brain Jeps Salfischberger. According to the biography on your website, Darker was formed in 2020, during the coronavirus pandemic, by a coalition of Jeps and Evil-ien inTilburg andValerio from The Hague. Tell me how you came to form this alliance. Evil and I formed Darker, and the original plan was for Evil-ien to sing. But we weren’t achieving the sound and songs we envisioned, so we decided to place an ad on Facebook. Several people responded, including Valerio. I knewValerio from his previous band,My Propane.He sent us demos, and we hit it off instantly.We clicked, and after a few phone calls, we decided to work together. That’s what ultimately became Darker. He had his own studio in The Hague, and we had ours in Tilburg. Initially, we sent demos back and forth via WeTransfer, but after the pandemic, we started recording in each other’s studios. Mixing was mainly done in Waalwijk at Jan Bijlsma’s studio. This collaboration also proved to be invaluable. I think you’ve had musical experience before. I learned www.peek-a-boo-magazine.be - 14 - ’90s and that he’d previously been active in other bands. I also read that Valerio had previously been active in other bands. Could you provide an overview? And are you working on different projects simultaneously, or is Darker your main project? My first band was Brotherhood Foundation, which I played with quite a bit back then. Fun fact: the drummer and guitarist from that band are now in Within Temptation. After Brotherhood Foundation, I started playing synth guitar in the band Chillburn. Shortly after that band broke up, Darker was formed, sometime around 2018. Besides Darker, I also write music for the trip-hop project Fallen Angel. Valerio had just left My Propane and was working on a new band called Voodoo Chamber. Besides Darker, he’s also in an Italian rock band where he plays keyboards and sometimes tours with. Our live drummer, Jurgen, has also had several musical projects. I was in one of those projects with him. I think the band was called Exzeem, but I could be wrong. Ha ha, it’s been so long. (The correct name was apparently Feature, ed.) You’ve written 84 songs since you formed, but some of them are only just being released. How were you able to be so productive in four years? I think it has to do with my ADD (attention deficit disorder).When I have the time and the inspiration—and I did—writing comes very easily and quickly. I would sometimes write two songs a day, day in and day out, and that’s how we ended up with a huge collection of songs from which we now make selections. We polish them here and there and then release them one by one. Many of your songs were released as individual singles or as four- or five-song EPs. Your full-length album, ‘Memento,’ wasn’t released until 2024. Are you—as befits the zeitgeist—more song-oriented, or still more album-oriented? We’d love to release albums, but due to the distance and lack of time, we often end up releasing singles or EPs rather than full albums, even though we have the
necessary number of songs. Many fans have asked us if we’d like to release our music on vinyl, but due to time, scheduling, and budget constraints, that hasn’t happened yet. However, releasing an album like ‘Memento’ on vinyl, as well as the ‘Memento remix’ album, is high on our wish list. The singles have made quite an impression. ‘Love Is Gonna Save Us’ and ‘Hope’ were very well received, and ‘Enough’ even became ‘Song of the Year’ on 3voor12 Tilburg. Did you expect these songs to catch on so quickly? We didn’t expect it, but we hoped for it. It remains difficult for a project like Darker, with dark electronic music, to gain the attention of national and international radio and media. A radio station like KINK – which we think is a perfect fit – doesn’t play our music because there aren’t enough guitars. We, of course, think that’s nonsense, because KINK does play our biggest influences and sources of inspiration, likeWhite Lies,Depeche Mode, Our main message is to bring light in dark times, a message that contains hope and love. and a whole bunch of other electronic music. Is there a fixed division of labor for song composition, for example, Jeps writing the music and Valerio the lyrics, or are you more of a collective where everyone contributes and democratically decides which elements are developed? Initially, I wrote both the music and the lyrics, but these days the others also have a say.Valerio and I get together more often and jam on vocal lines, synth riffs, and potential beats. Jurgen also mainly adds to and inspires our music live.We also enjoy occasionally playing a cover song that we then make ‘Darker.’ But everything often starts with a musical concept of my own, which I then present to the others with either that idea or the complete song. Your lyrics cover the entire spectrum, from personal relationships to social issues.What do you consider the elements of a good lyric? - 15 - Personally, I try to stay away from political topics. So, I draw inspiration for the songs from personal experiences, past or present. This can be about love, relationships, inner conflict, addiction, or personal suffering. I also love to mislead people with puns. ‘Bed Karma’ is a prime example. But a new song we’re working on, ‘D Is For Anger,’ also has a similar twist. Our main message is to bring light in dark times, a message that contains hope and love. As we mentioned at the beginning, you launched during the coronavirus pandemic. I know many bands saw the pandemic as a curse because they couldn’t rehearse or perform, but some musicians also saw it as a blessing because they could express their creativity without time restrictions, disconnected from the outside world. How do you view this? For us, it was a blessing. We suddenly had tons of time, without the pressures of the outside world or the distractions of our daily work. This allowed me to regularly retreat to the studio and, together with Evilien, lay a foundation that, supplemented with Valerio’s voice, would later lead to a whole bunch of demos, and even later, releases. It also gave us time to think about how we would present Darker to the world. When you play live, you also bring drummer Jurgen with you. I understand that performing is very important to you, and that you also have a good live reputation. What does an ideal Darker performance entail? In other words: what can we expect on October 24th at the Kinky Star? We spent a lot of time thinking about howwe wanted to present ourselves live. The most important thing for us was to distinguish ourselves from a lot of other bands in this genre and in other musical styles. We drew inspiration from the live shows of major artists like Nine Inch Nails, Depeche Mode, and Massive Attack.That was the high bar we set for ourselves. We were also fortunate to receive a subsidy from the province of Brabant, which allowed us to invest a great deal of time and energy in equipment, collaborations with other artists, and mastering programs like Ableton, Arena, Final Cut Pro, and others we use to prepare our live shows. Those attending our show in Ghent will be pleasantly surprised by the audiovisual spectacle Darker will deliver live. Come see for yourself, enjoy, and discover the Darker sound. Xavier KRUTH www.peek-a-boo-magazine.be
THE JUGGERNAUTS The earth quakes beneath their stride, a seismic growl you can feel in your bones, as if even the ground knows what’s coming. The Juggernauts—sound incarnate, summoned from the depths to face a world careening towards its own demise. Their arrival, written in the stars or maybe just scrawled on the back of a crumpled napkin in some forgotten bar, began in 2010, as though they had been ripped from a future too grim to imagine. The apocalypse? We’d all been too busy with our screens to notice. But here they are, unrelenting and unfinished, shaking the very foundations we thought were safe. The Juggernauts are not just a band. They are a waking storm. Their music is a scream against the rising tide of human stupidity, the drowning of our oceans, the death of everything we hold sacred, and the endless cycle of violence we can’t seem to escape.They are, as the world spins faster towards the edge, the sound of the brakes screeching just before we all go over the cliff. And maybe, just maybe, they’re the only ones who know how to make that fall feel like the greatest ride of all. With Judgment Day looming just out of sight, Peek-ABoo has the pleasure of speaking with Peter Mastbooms aka BORG. The Juggernauts are coming after you—and there is no place to run, no place to hide. Mr. Borg, thanks for taking the time to chat with us. Great to have you here. Let’s start with a little history. The Juggernauts formed back in 2010—was the world already showing signs of impending doom back then, a distant thought of something yet to come that led to bringing The Juggernauts into existence? Well, I think the beginning of this planet's decline began when apes learned to walk. But that being said, it seemed as if Mother Nature had had enough of humans... A devastating earthquake followed by an unprecedented tsunami resulting in more than 200,000 deaths, and the nuclear disaster in Fukushima, hurricanes like Dorian, Irna, and Maria that claimed thousands of lives. Humans also contributed by, for example, spilling more than 600 million liters of crude oil into the Gulf of Mexico after the explosion on the Deep Horizon oil rig… The increasing polarization fueled by questionable politicians and reinforced by the poisoned gift of social media… Wars, Mass-shootings, terrorist attacks all in the name of some imaginary God and/or religion … Should I continue? Imagine The Juggernauts as a dystopian comic book. As soon as you open the first page, you get a quick intro to all the characters—all the band members. www.peek-a-boo-magazine.be What would the description say for each of you? Our drummer would then definitely be Thor, maintaining the beat hitting his anvil hard and occasionally hitting an unruly person on the head after he carelessly throws his rubbish in the roadside ditch or in a park. Our synth & sample man could have been Captain America, inserting his shield between warring factions and trying to reconcile and unite everyone with his enchanting synthesizer sounds and melodies... Unfortunately, that's exactly the opposite of what - 16 -
then-legendary band, which I secured a record deal for through my connections at Berlin's Out Of Line Records. But shortly after joining The Klinik on stage, I was stabbed in the back and betrayed by "he/those we don't speak about." Jealousy, paranoia, and alcohol apparently bring out the worst in people...Anyway, this creative and musical outlet was abruptly ended by this incident, but by chance, soon after I met producer Glenn Keteleer (Radical G.), who quickly understood what I wanted and was able to transform my thoughts ideas into solid songs. And lo and behold, a few days later, our first single,"Phoenix," was born, recorded in just a few hours of studio time together.A couple of weeks later, I met my good friend and CEO of Out Of Line, André, at the Kinetik Festival in Montreal, where we were performing back then with The Klinik. I gave him a USB drive with Phoenix on it and told him,"Listen to this!"A few weeks later we were featured among names such as And One, Suicide Commando and Signal Aout '42 on that compilation… Before the release of ‘Phoenix’ in 2013, The Juggernauts' first official strike, the band had already appeared on several other compilations. But to keep the focus on ‘Phoenix’, looking back in 2025, how do you view the EP today? To be honest, the Phoenix EP was recorded and released in a hurry... Immediately after the release of the Awaken the Machine compilation, requests for shows poured in from all over Europe, even from Brazil and Mexico... We were caught by surprise, to say the least. We both had busy schedules and lived quite far apart, so new songs were only finished in dribs and drabs. After yet another question from our label about when the album would finally be finished,we decided to first release an EP with the three songs we considered (at that time) “finished” enough, supplemented with some remixes by a few artist friends. So, looking back on this release, we'd say today, we can do better. But that EP opened many doors for us, and its success motivated us to continue with this project. America's current "captain" is doing so he needs to rethink his outfit and colors. And me … “I’m the Juggernaut B*tc. If I’m correct, the first major introduction of The Juggernauts to the world was with the track ‘Phoenix’ on the ‘Awake The Machines Vol. 7’ compilation. How did you end up on that, alongside so many other wellknown names in the EBM/Industrial scene? Before I founded The Juggernauts, I was also part of a - 17 - The Juggernauts been invited to perform at some major European alternative music festivals, like the renowned Amphi Festival (Köln, DE), Familientreffen X (Sandersleben, DE), Out Of Line Weekender III (Berlin, DE), and BodyFest (Stockholm, SE), to name just a few. Picture this: The ultimate show. Judgment Day. Doom is approaching fast. A roaring, electrified crowd before you. Which song would you bring for the last moment, and what would your final words be to them? www.peek-a-boo-magazine.be
THE JUGGERNAUTS Since this would also be the day of reckoning, we could finally announce with some pride that everyone present, and every individual who has supported us and believed in us over the past years, could rise with us to a better world. We would perform ‘The Juggernauts Are Coming’ for the last time, but this time with the words "No need to hide, No need to run"..."You are the chosen ones!" You’ve been a DJ since the early '80s, starting out around 1984. With influences ranging from The Human League (Travelogue) and The Sisters of Mercy (The Reptile House) to Joy Division (Unknown Pleasures), Liaisons Dangereuses, and Front 242 (Geography and No Comment), and spinning as a resident DJ at BodyBeats events. That’s 41 years of taking the turntables by storm. After all this time, is there anything you still hope to accomplish or experience as a DJ? As a DJ? I'm humbled and incredibly happy that I've been able to introduce my friends to fantastic music all these years. And no, I'm not talking about my own music... Caution: unpopular opinion will follow. I have mixed feelings toward DJs in general. We live in times when DJs apparently consider themselves more important than the music and artists they play. Especially since every track you wish for can be downloaded/played with just one click without even having to buy it, let alone an album. When you pay to enter a party with no live bands whatsoever... Do you ever think about where your money goes? Wouldn't you rather give it to the artists who wrote your favorite songs than to those who just press play? I can honestly say that I've lost more money during my career as a DJ/ organizer than I've ever earned from it. That's the difference between having a challenging passion and earning a easy side income I guess. In an age where every song is now just a click away, what does it still mean to you to hold music as an object — an album, a vinyl, a CD? And beyond that, while you sound critical of today’s scene, do you also see positive evolutions that give you hope? I still believe that showing respect to your favorite artists is best done by supporting them—buying physical merch items like CDs, vinyl, T-shirts… and maybe most important these days: Go out and see their concerts! On a positive note, there *are* still people who come to live shows,buy merch,and thank you personally for the great music or show you’re giving. They are the ones who make it worthwhile to keep putting effort and time into creating new music. Did you know that out of more than 700 million Spotify listeners, fewer than half pay for their account? This means that over 300 million www.peek-a-boo-magazine.be - 18 - so-called music lovers today even consider €15 per month too much to enjoy their favorite music. €15 for access to almost all music available today… In the past, you’d buy exactly one CD for that amount! The Juggernauts’ debut album, ‘The Juggernauts Are Coming’, first unleashed in 2016 and now resurrected as a limited edition digi-pack including the ‘Phoenix’ EP as extra tracks, delivers 15 club-ready, minimalist tracks built on beats, sequencers, and shouts. How do you remember creating this album, and what led to the decision to re-release it now? Mainly because both releases have been sold out for some time now, and fans keep asking for them at the merch table at our concerts. Secondly, at the time of the original release, we didn’t have the time to finish and include the lyrics and artwork booklet, which was also a recurring request from fans. The word“juggernaut”originally refers to the massive, unstoppable chariots in the Hindu Jagannath processions, crushing everything in their path. Figuratively, it has come to mean any overwhelming, unstoppable force. If The Juggernauts were to harness such unstoppable energy, which of your musical heroes would you summon to join you in turning back the tide of impending doom through music? Oh, many! First of all, I would resurrect my all-time favorite artists and inspirators like Frank Tovey (Fad Gadget), Jock McDonald (The Bollock Brothers), and Douglas McCarthy (Nitzer Ebb), so they could join Portion Control and Cabaret Voltaire. And yes, don’t worry—Front 242, The Klinik, and Skinny Puppy would also get a kick in the butt to reboot and be invited for this crusade! The 2022 EP Fear was celebrated for reaffirming your place in the Belgian EBM scene while carving out a distinctive identity, with industrial textures, tight drumming, and piercing synth lines. As this remains your most recent work, can fans expect a new chapter —new music—in The Juggernauts’relentless journey? We are working on our new EP, Immortal, as we speak and will gradually incorporate new songs into our future live sets. This way, we can test them on a live audience. We hope to have it released sometime in 2026. Keep your ears and eyes peeled! Hayley CLX Photo © Alex Jung/Borg The Juggernauts on Facebook >>>>>
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CORPUS DELICTI " All is quiet, the motion's cold. I face the wind as I'm taking the road. " In the shadowed corridors of gothic rock, there are names whispered like incantations—legends that burned briefly yet left scars that refuse to fade. Corpus Delicti, born in Nice in 1992, carved such a mark. With Sébastien’s spectral voice, Franck’s serrated guitars, Chrys’s pulsating basslines, and Roma’s relentless drums, they conjured a sound that was both fierce and fragile, melodic and merciless. Their debut Twilight (1993) was no mere record—it was a beacon in the night, a benchmark that secured their place beside the eternal giants of the genre. Though their flame seemed to dim in 1997, time only deepened the shadows around them. While other names flickered out, the cult of Corpus Delicti grew stronger, sustained by faithful devotees across the globe. Revered as France’s dark emissaries in a pantheon dominated by Bauhaus, The Cure, and Joy Division, their legacy survived in whispers, reissues, and the trembling hands of collectors. Then, like revenants breaking through the veil, they returned. The year 2022 brought resurrection: soldout halls from Cannes to Mexico City, voices united from continents apart, the past colliding with the present in a wave of devotion. Streaming numbers soared, festivals opened their gates, and the oncebroken silence was filled again with haunting grooves that had never truly died. Now, three decades after Twilight, Corpus Delicti rise once more—armed with new songs (Chaos,A Fairy Lie), a forthcoming album ‘Liminal’, and the same unwavering spirit that first set their darkness ablaze. They are no relics of the past, but living proof that shadows, once summoned, never truly vanish. At Peek-A-Boo Magazine, we have the pleasure of delving into the depths with the band, to speak of their past, their resurrection, and the echoes yet to come. www.peek-a-boo-magazine.be - 20 - Hello to you all—Corpus Delicti united once again, and with us today. Let us close our eyes and wander back to Nice in 1992, when darkness first whispered its call—how did you, as companions in the night, meet each other, and what omens led to the birth of Corpus Delicti? [Chris]: We weren't very many at that time to listen to this kind of music. At that time, I was working in a record store, which allowed me to spot people who had good musical taste. I met Franck like that; I had then seen his band, he played bass, and one day I told him to join Corpus, but he had only been playing guitar for a few months. I told him it didn't matter, he said okay! We met Sebastien in the same way; he had a great look (except for his Smiths t-shirt which had slightly put me off), very charismatic, he sang well, without imitating anyone, that was cool. Personally, I had been in a relationship with Roma for some time, so there you go, the band was complete. [Franck]: Corpus Delicti already existed before I joined the band. It was a trio. We all knew Chris from this record shop he was working for. Once I opened for one of their gig with my ex band, and the day after he asked me if I was interested in joining the project. First I thought he was kidding me,and when I realized he was serious, it took me 2 seconds to accept the offer. All is quiet, the motion's cold. I face the wind as I'm taking the road. These opening lines from your song Twilight, the title track of your 1993 debut, immediately evoke something special, like an inner solitude. Focusing on your debut album, could you share with us—and your fans—how the album came to life? Was it truly a passage into the cold wind, a path through darkness? [Franck]: He came to life in the rehearsal room most of the time. We started to compose from a Chris baseline idea or a guitar riff or even drums pattern, and we developed it together. Then, after every single show, we used the money straight away to go in studio to record one or two songs [Chris]: Creation is a strange thing; it mainly happens thanks to the chemistry within the group. Some things
are more thoughtful than others, some more instinctive. Everyone adds their stone to the building,and the result is sometimes more interesting than we initially thought. [Sebastien]: You’ve got it right —text-wise, it’s an album about solitude.At the time, I was a very young man who had found himself in complicated romantic relationships. I had made it a point of honor not to use the word “love” in any of the songs on that album. It only appeared later, on the following one... There is a technique in surrealist photography that creates images by deconstructing and reconstructing them. If I understand correctly, this approach even inspired your band name, reflecting the artistic vision you embody. With that in mind… imagine a dark, surreal TV series, where the world is depicted through this technique and each episode revolves around Corpus Delicti’s artistic vision. Each of you is given a leading role—howwould you portray yourselves? [Franck]: Like a Snake … Even if I’m scared about this animal (haha). [Chris]: Bassines are so melodic, so I just have to fit the guitars between the vocals and the bass with my sound, and the drums for the rythms obviously. [Sebastien]: I could see myself as the male counterpart of a Laura Palmer–type character: lonely, complex, tortured, fragile. - 21 - Building on this subject, one more question: your album, single, and EP covers carry a dreamlike, often unsettling quality.Were there any particular surrealist photographers, filmmakers, or artworks that inspired these visuals? [Franck]: all kind of arts and design are important to us. We always looked for a beauty , expressive, sensitive artworks I guess. [Sebastien]: Of course, there are entire worlds that inspire us, artists through their works… I think that in the ’90s, Lynch had a strong impact on my creativity. A series like Twin Peaks, films like Lost Highway — they completely changed the way I conceived art. In painting, Mossa’s universe also had a significant influence. In any case, we always tried to avoid the clichés of the genre in the visuals we used.: We’ve now touched on the visual side, but what about the music itself? Which artists or bands have influenced Corpus Delicti, and are there particular musicians that each of you personally looks up to or draws inspiration from? [Franck]: Many but originally, I would say Bauhaus,Tones On Tail, The Cure, The Sound, Cocteau Twins, Chameleons. [Sebastien]: Bowie for sure, The Cure, Slowdive, Echo And The Bunnymen, Joy Division, The Smiths. www.peek-a-boo-magazine.be
CORPUSDELICTI underground scene, I remember a fest in St. Niklaas where the stage was built with beers boxes. Mad. [Chris]: Of course, the tour in the USA organized by William Faith in 1994 from Los Angeles to New York remains a great memory, especially if one remembers how easy it was to go play there at that time!! [Sebastien]: Yes,USA, that was crazy…I was 20 years old, incredible. One of the greatest one for me was the one we did in 1995 at The Marquee in London. Such iconic venue. [Chris]: The great classics like Bauhaus, Siouxsie & the Banshees, The Cure, Stranglers, New Order… But before I really liked the punk from '77, early ska and reggae. Turning to your second album, Sylphes, which followed the path you began with Twilight and features gems such as ‘Patient’ and ‘Noxious (The Demon’s Game)’, can you tell us about the creative process behind this album?Were there new directions, ideas, or challenges that shaped its sound in 1994? Any special memories you’d like to share? [Chris]: I think we knew each other better back then,and above all we never set any limits when it came to creation. Of course, we had our influences, but they specifically told us not to copy them but to use them to create what we wanted. [Sebastien]: For me, that’s my favorite period.There was such amazing energy in the band —we were confident after Twilight and ready to explore new territory. I have a very vivid memory of creating Saraband during rehearsal: Chris came up with his bass part, Jérôme immediately added that strange, sinuous guitar, and Roma brought in that bouncy, distinctive drum rhythm. The melody came to me easily, and after a few tries we were really excited. But I kept saying to them: “It’s very pop, isn’t it??” I felt like we were almost doing Blur … Well, looking back, it wasn’t really that at all. Recently, you performed at incredible venues such as La Maroquinerie in Paris,The Forge in London, Madrid, Ittre in our very own Belgium, and Mexico City (with a 3-hour fan signing session), bringing your music to devoted fans around the world. But looking back at the numerous shows you played in the 90s, are there particular moments from that era that still stand out to you today? [Franck]: It was hard times (haha) lots of driving, really www.peek-a-boo-magazine.be - 22 - Gothic rock is a genre that emerged in the late 1970s and early 1980s, defined by its dark atmospheres, melodic intensity, and often introspective lyrics. While some bands embraced being labeled as such, others preferred not to be. How do you, as Corpus Delicti, relate to the Goth label? What does it mean to you, both as a band and as individual musicians? [Chris]: I believe that we sometimes struggle with this label, because this term has become a bit diluted over time; we put anything and everything under this term, especially the non-specialized media but unfortunately not only them. It encompasses metal bands or shock rock groups with which we do not really have a connection, and sometimes we don't want to be associated with them or be stuck in clichés. So I would say that Corpus Delicti is gothic, is new wave, is postpunk, is rock; it is whatever you want it to be. [Franck]: I love dark, cinematic, dreamy, ethereal , or sharp atmospheres and introspective lyrics.So we might be Goths I suppose. Personally It’s just about art, I don’t think to be a dark person, I love the sea, the sun, the heat, but I love cold music. The 1995 album Obsessions, a record that many fans still consider a high point in your discography, was the last studio album you released before your flame dimmed in 1997. Not counting the excellent live album From Dust To Light released in 2024, it’s been over 30 years since a full studio album.What reignited that flame and brought you back together in 2022, and how does it feel to be releasing a brand new album very soon after all this time? [Franck]: We’ve been back in 2022 because of the fans … only for them. We decided to do it and have a maximum of fun, but being 100% involved. We had to be true, not faking.We met many fans around the world, and it always been intense, touching. After 2 years of touring, it became quite obvious to record some new material. When we realized we still have our signature it became really exciting to make a new album.
[Chris]: To be completely honest,we did not imagine the extent that our return would take, we didn't think we would do so many concerts, and therefore it was not planned to create new songs. Then the desire returned quite quickly, we started to receive a lot of requests from fans for new songs, but we wanted to do things right, not to be a caricature of our past. We wanted to take our time and be very demanding of ourselves to ensure we were completely happy and proud of the result. And now that it is done, we are really happy to have made this new album,and we can't wait to play the new songs on stage. Have you guys ever heard of The Phantom Phial Bat? He is the one who takes on the duties of the Genie in a Bottle when the moon casts its shadow over a world cloaked in darkness. Now imagine The Phantom Phial Bat approaching you on such a macabre night, and each of you is allowed three wishes. But there’s a cursed turn: each wish carries a dark unknown consequence, though you have the option to make only one wish so you can undo its sinister side effect. What would you choose, and what would that one—or three— wishes be? [Franck]: No one hahaha. Who wants to have more problems in its life? Back to our present reality: on November 28th, you are set to release your brand new album, Liminal. Already preceded by tracks like ‘Chaos’and ‘A Fairy Lie’, what can you share with us and your fans about it? [Franck]: We evolved, matured as human being, but we still have our identity made of intensity and sense of melodies and atmospheres. I love the entire album, love the cover. [Sebastien]: We are very proud of this record. It carries the spirit of the band, but we are looking toward the future — we don’t look back. It’s a varied album; we move through different atmospheres, as we’ve always loved to do. For us, it’s not just another album —it’s one that truly has meaning. We would never have released these songs if they weren’t good enough. We’ve been playing together again for five years now, but this record is only coming out now because it had to be the right moment, with the right songs, without rushing things. Alright guys, on behalf of Peek-A-Boo Magazine, we’d like to sincerely thank you for this wonderful interview. Before we let you go, would each of you like to share a final word with your fans? Here’s to a journey that continues to carry forth dark melodies and a bat-tastic future! [Franck]: I wish this new album will be part of their journey. Recognizing themselves in it, enjoying it for their own reasons. [Chris]: In this increasingly crazy world, stay united by the love of music, defend it, respect it, be strong! [Sebastien]: We hope this record will take you on a bit of a journey…We really need it right now. Hayley CLX corpusdelicti0.wixsite.com/band - 23 - www.peek-a-boo-magazine.be
THE JUGGERNAUTS -…Are Coming - Extend (CD) (BodyBeats Productions Records) When The Juggernauts Are Coming first appeared in 2016, Belgian electroindustrial/EBMact The Juggernauts made an immediate and uncompromising statement. The newly released The Juggernauts Are Coming – Extended re-issue reinforces that impact, presenting the album as a definitive snapshot of the band’s early power and vision.This album still hits hard, driven by militant rhythms, abrasive synth lines, and commanding vocals. Tracks like the title cut and “Plastic World” blend classic EBM discipline with modern production, avoiding retro clichés while delivering maximum club-floor force. A major highlight of this extended edition is the inclusion of all tracks from the debut EP Phoenix as bonus material. These songs add valuable context, showcasing a rawer, more primitive side of the band while underscoring their rapid evolution.The physical edition is equally compelling: a 3-panel digipak with a full-color 12-page lyrics booklet and stickers, strictly limited to 300 copies.This re-issue is both a sonic and visual collector’s piece —essential for EBM devotees. [HH] ROUGUE UNITvs DARKVOLT-The Truth (Rhys Fulber Remix) (Digital single) (DressCode Black) The Truth (Rhys Fulber Remix) is a striking reinterpretation that elevates this track into a darker, more immersive soundscape. Released digitally in January 2026 via Antwerp’s DressCode Black, this remix marks the second instalment in the State Of Calamity remix series,with industrial veteran Rhys Fulber at the helm. Fulber’s touch reshapes the track with his signature blend of dense atmospherics and precision-forged rhythms, pushing the original’s electro-industrial core into a deeper, more brooding territory. The remix layers pulsing synths and claustrophobic textures beneath Darkvolt’s emotive vocals, creating a sense of urgency and gravitas that complements Rogue Unit’s production aesthetic. The result is a compelling fusion of styles: dancefloor-ready energy tempered by ominous sonic depth. The Truth (Rhys Fulber Remix) stands out as both a powerful standalone single & a promising peek into the wider State Of Calamity project. [HH] PISTON DAMP - Downfall (Single Digital) Piston Damp is a Danish–Norwegian electronic duo formed by Jonas Groth and Truls Sønsterud. Jonas is also known for his long-standing involvement with Apoptygma Berzerk, fronted by his brother Stephan. This connection places Piston Damp firmly within the Scandinavian electronic tradition while allowing the project to maintain its own distinct musical identity.Their latest album,Mastermind Vol.1: No Points For Trying, presents a measured and carefully structured body of work, rooted in synth-pop and EBM while favouring atmosphere and melodic clarity over excess. The album’s controlled pacing and restrained production underline the duo’s focus on cohesion and balance rather than overt dramatic gestures. The new single Downfall serves as the album’s closing release and offers several distinct elements: Downfall (Single Version) mixed by Willi Dammeier, Downfall (Elegant Machinery Remix) who reinterprets the track through a more minimal synth framework, Now You Know (Realization Version), in a strippeddown realisation for piano&vocals only&Downfall (AlbumVersion) the reference point for the single, highly recommended as a strong entry point into Piston Damp’s work.[BP] (Sub Culture Records) JEROME FROESE - Sunsets in Stereo (CD/Digital) (Moonpop) www.peek-a-boo-magazine.be Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/ Jerome Froese has always lived between worlds.As the son of Tangerine Dream founder Edgar Froese, his roots are deeply embedded in electronic music history, yet his career has never relied on inheritance. Since the early 1990s, he has forged his own identity through Guitartronica — a distinctive fusion where guitar functions as rhythm, texture, and atmosphere within electronic frameworks. During his time with Tangerine Dream (1990–2006), Froese helped shape the band’s most commercially successful era, contributing to seven GRAMMY nominations, over 1.5 million album sales, and major Billboard success. Beyond Tangerine Dream, his solo work and collaborations have continually expanded the Guitartronica concept. In 2025, Sunsets in Stereo emerges as a luminous, reflective statement. Across ten tracks, shimmering guitars intertwine with sequenced electronics, balancing intimacy and scale. The album unfolds with quiet poetry and emotional depth, capturing resilience, movement, and grace — a work that feels both timeless and deeply personal. - 24 - [HC]
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EX-VOTO Ex-VoTo emerged from the shadows of1980s Los Angeles, a force born of disillusionment with the mainstream Punk scene. Founded by Larry Rainwater, Linda Patti, and David Rhine, the band sought to carve a new path, one that embraced the macabre and the mysterious. Their sound— a haunting blend of drum machines, cold synthesizers, heavy guitars, and driving rock beats —was initially met with scorn, but its dark allure proved irresistible. In that defiance, Deathrock was born. Through the years, Ex-VoTo’s lineup has transformed, but the essence has remained unwavering. Larry, the architect of the band’s music and bass lines, would later take on the role of lead vocalist. Today, alongside Spleen and Patrick Midnite, they continue to channel the spirit of a genre that once lived in the fringes and has now found its place in the light once more. From the streets of Los Angeles to NewOrleans, and then, driven by the winds of Hurricane Katrina, to the heart of Houston, Ex-VoTo’s journey is one etched in the dark corners of time. They’ve graced the stages of legends, sharing space with icons like Nine Inch Nails, Christian Death, and The Jesus and Mary Chain, leaving their mark on the underground music scene. At Peek-A-Boo, we have the privilege of speaking with the mastermind behind Ex-VoTo, Larry Rainwater. Good evening Larry, on behalf of Peek-A-Boo magazine, a deep thank you for taking the time to unravel the ExVoTo story with us. Ex-VoTo emerged from the shadows of the early '80s, a time when the mainstream Punk scenewas too bright, too loud, and too confined. In those darker days, what was it that called to you, and to your bandmates, to create something more... mysterious, more haunting? What was the force that pulled you into the depths, giving birth to Ex-VoTo? We were all looking to grow as musicians, to constantly experiment with songwriting and make something different. Those early days were heavily influenced by Psychic TV, Public Image LTD, and Suicide. We had that youthful, naive idea that we could do anything. We embraced electronic instruments early on, like the drum machine, when it was unheard of not to have a live drummer. I remember people used to actually yell at us "Get a drummer!". I guess they felt threatened by our use of electronics.But the drummachine allowed me to single handedly write entire songs on my own, to control everything. It gave me independence and the opportunity to explore a whole different sound. I could approach the drums from a completely different angle than a drummer would have.What drummer would have been ok with the drums for ‘In A Modern Time’? I was also really drawn to www.peek-a-boo-magazine.be synthesizers because you could use them to make songs really lush and emotional. They made arrangements really heavy and thick. It turns out there were a lot of bands looking to do these same things at around the same time, even though we were isolated from each other. But we had a unique sound in Orange County, which at the time was still all about Punk Rock, but when we started playing in L.A. we began to draw a following. Though the drummachine had been introduced by bands across various genres before, the 1930s Rhythmicon — often considered the very first prototype—was developed by Léon Theremin. Artists such as Robin Gibb of the Bee Gees, Sly & The Family Stone, Krautrock pioneers Can, and Suicide, whom you mentioned as an influence — to name just a few—have all used it. Am I right in thinking that all that pushback from the live audience actually ended up fueling your creative drive even more? Our early audiences were not accustomed to seeing bands live without drummers. And yes, it made me feel like I was on to something if it was making people feel uncomfortable or at least provoking some emotion out of the audience. Before the first official releases, there was ‘In Wax’—a raw, hand-assembled cassette from 1986 that has since become something of a cult artifact. Originally created as a demo, it now haunts collectors' lists like a whispered secret from the past. Can you take us back to those early days —to how those tracks first took form? Those recordings were done with the sole intention of using them as a demo to book shows with and to pitch to record companies. That tape has our second singer and our third guitar player on it.All the songs were written by me except for ‘Motion’ which was written by Mark Allen. We self produced it at the studio I worked at. They were all assembled by hand, using the copier at work, and they were never intended to released to the public.They were cassette to cassette duplications and are very lo-fi.At the time I thought I was really clever with the title ‘In Wax’ because a lot of ex-votos are made of wax and records are called "wax". I don't think it's quite so clever looking back. When we finished the recordings I thought they sounded pretty crappy but they were all we had to go with. I'm mystified as to how the tapes became a desirable thing or how anybody finds them. I actually didn't still have one in my possession until about 15 years ago when someone sent me theirs. In 1990, four years on, came the first official release — the ‘Don’t Look Back’ EP, issued on vinyl by Poor Alice - 26 -
meaning of ex-voto—a votive offering, a gift born from gratitude and sacred promises —also play a role in that choice? I first saw the word somewhere in print and it caught my eye. It was a very interesting looking word. So I looked into it and found out it was Latin and learned about devotional art. This was long before the internet, of course, so all that research was done the old-fashioned way. I thought it was beautiful and would make a great band name, one that would be memorable. Beyond that I didn't think too much about it - it's like my lyrics in that I don't ever set out with a particular idea or message I want to say. I write the music first. Then, and maybe this sounds corny, I just write whatever comes out of my heart and mind. But looking back at my songs and the kind of lyrics I tend to write I guess it makes sense that I would have been drawn to "ex-voto" as a band name. Imagine this: Avisionary showrunner is creating a dark, atmospheric TV series inspired by Ex-VoTo. Each episode is based on one of your songs — its mood, its story, its ghosts. Let’s call it The Ex-VoTo Files. Which tracks would you insist on being turned into full episodes? Falling Apart, Demons of the Night, I Cry, A Ring a Lake a Deception an Innocent Girl, If I Never. I think all of those have a "story" to them. Music. Howdid that release—and the collaboration with Poor Alice—come about? In 1988 ‘Falling Apart’ appeared on Bomp! Record's American Gothic: The Krypt Kompilation, an album featuring bands from L.A.'s gothic club, The Krypt. That gave us a lot of college radio airplay and brought us to the attention of New World Records and XXX Records. They approached us about doing an EP, that would become ‘Don't Look Back’. We would produce it and they would have the records pressed and distributed. Poor Alice Music is our personal label we created and everything we've done since has been released under that name. Working with record companies in both those instances was interesting. But I realized that there was nothing record companies were doing that we couldn't do on our own. It was a blessing in disguise that I didn't get involved in any other contracts because it's allowed me to keep the rights to all mymusic and retain control of the band.Throughout the 80s I had the band focused on live performances and these recording experiences encouraged me to record more. And of course the ‘If I Never’ music video came out of the ‘Don't Look Back’ release.That was a fun experience. I was going to ask how you came up with the band name, but your mention of the ceremonial wax objects seems to answer that already. Still, I’m curious — did the Latin - 27 - Returning to the haunted pulse of the live stage — ExVoTo has shared it with an iconic lineup of bands: Nine Inch Nails, Jane’s Addiction, Hole, Christian Death, The Jesus and Mary Chain, Screams for Tina, London After Midnight, Kommunity FK … and the list goes on. Are there any moments or shows from those experiences that have stayedwith you—ones you’d like to sharewith us? I really enjoyed the shows we used to play at The Krypt. That was a really exciting time, the whole world felt like it was on fire with music. That was a prime venue of all of the Deathrock bands. When it comes to individual shows, I'm so focused on playing and singing that everything else becomes a blur. I'm more prone to remember the crazy stuff that happens before or after, like bands not showing up on time (or at all), fist fights, equipment failing, or in some instances even being sabotaged! The showwith The Jesus and Mary Chain was pretty memorable. They had been playing stadiums in England and their first show in the US ends up being with us at Safari Sam's.They were shocked when they came in and saw how small the club was! They even discussed leaving, but they stayed and played anyway. The sound guy had absolutely no idea who theywere.He even asked me what they were supposed to sound like so that he could mix them. I said "All I can tell you is that you better have a lot of reverb." www.peek-a-boo-magazine.be
EX-VOTO Shifting gears a bit — how do you personally define Deathrock and Goth Rock, having witnessed their birth firsthand? Given that both genres have their own distinct origins and vibes, howwould you describe these genres to someone who missed the dawn and is just now stepping into their twilight? The name ‘Deathrock’ actually started out as an insult! It's what the Punk Rock guys would call us, making fun of all of us. But that's happened all throughout history - a derogatory name gets adopted and embraced by the group. And ‘Goth’ at the time was called ‘Gothic Rock’ and we associated it primarily, but not exclusively, with the bands coming out of England.To me the Deathrock stuff is more apparent that it was born from Punk Rock and Gothic Rock is a little more polished. Moving forward from‘Don’t Look Back’, Ex-VoTo's journey continued with a series of compelling albums —‘Anno Domini’ (1995), ‘The Light of Day’ (2003), ‘Doloroso’ (2006), and Antioch (2009). That’s an excellent discography. Are there any particular albums or moments in this discography that stand out most to you? ‘Anno Domini’ is a collection of the original songs from the 80s, the stuff we were playing around L.A. at The Krypt, Zombie Zoo, The Scream, Helter Skelter, Anti-Club, Blitz Club, etc. Two of our biggest songs are on that album, "Falling Apart" and "If I Never" as well as "I'll Wait Forever" which has become a huge fan favorite in the last 20 years. During the 90s we did a lot of work for Cleopatra Records' various Goth compilations and goth tribute albums, like The Goth Box. In the 2000's after releasing ‘The Light of Day’, I wanted to focus on more guitar driven songs that really reflect the Deathrock aspect of our music.‘Doloroso’ is the result of that. ‘Antioch’ holds a special place in my heart because it's the first time I actually set out to write an entire album, instead of just writing individual songs. I had never done that before and I was a bit apprehensive but I'm pleased with how it turned out. Some of my personal favorite songs are on it. If you could collaborate with other bands, even from completely different genres, whether for remixes or maybe entirely new material, which bands do you look up to that would be your top picks? Tommy James (and the Shondells). I've always loved their music. I would have loved to work with David Bowie. I think he was the only person I've ever been starstruck over when I met them. Johnny Thunders is another one who is no longer with us that I would have loved to work with - listening to The New York Dolls is where I learned to write music! But back to reality - I do love collaborating. Especially sitting down with others and coming up with song off the top of our heads. I used to do that a lot. I'd have guys from different bands come over and we would set up a tape recorder and just jam.A number of Ex-VoTo songs were inspired by bits and pieces of those improvised sessions. Focusing now on the present, what is Ex-VoTo currently involved with? Any upcoming shows, projects, or plans fans should keep a bat-eye out for? We have some exciting things coming up.‘Don't Look Back’ will soon be re-leased on vinyl and will include a bunch of rare material from that era.Next year ‘Anno Domini’will be released as a double record gatefold album, with even more rarities. Next month we are playing in Santa Ana, CA and in October were are finally playing in Mexico City. People have been persistently inviting us to play there for over 15 years but it has never worked out with our schedules until now.We are thrilled to finally visit! We are currently trying to put together a 2026 tour. Fans everywhere can also be on the lookout for new merch on our website featuring a mix of new and classic designs. To bring this conversation to a close, on behalf of PeekA-Boo, we thank you, Larry, for sharing your journey with us tonight. Before the last note fades, is there any final whisper you’d like to share with your fans or those just stepping into the world of Ex-VoTo? Here’s to a fantastic future, shining ever brighter in the darkness! I want to say thank you to all our amazing fans.You're the reason we have been able to keep making music for over 40 years.We're honored that our music means something deep and personal to you. Even after so long I still get nervous each time we release new music or we play a show. I think"This song that came frommy heart...Will you like it?". It can feel like a dangerous thing, sharing a piece of yourself with others, but you've made it a wonderful ride. As for new fans, it's exciting to see so many younger people discover Deathrock and Gothic Rock! It reminds me ofwhat it was like back at the beginning of the scene,with it's sense of excitement and possibility. If you're just now discovering us, I hope you enjoy what you hear! - 28 -
STEREOSEAT - Moanster (Digital Single) (Self-Released) With ‘Moanster’, Stereoseat presents the first single and title track of their third album. The song tells the story of life on the edge — constantly seeking out boundaries and slowly becoming alienated fromyour own self.The line“I’m theman in themirror,slipped through the cracks…”perfectly captures the song’s existential tension.The accompanying music video is a collaboration between Tom Van Dorpe and artist Stijn De Pourcq. The artwork ‘Geest van opstand’ (‘Spirit of Revolt’) — made up of mummified alpacas and goats — adorns the album cover and is part of a larger artistic project in which the artwork transforms into a rotating carousel.This rotating carousel, featured in the music video, reinforces the song’s theme: objects trapped in their own small, repetitive space. The full album ‘Moanster’ will be released on Friday, February 6, followed by an official release show on Saturday, February 7 at The Crossover Music Pub in Ghent, with special guest An Evening With Knives (NL). [JB] SCREAMING DEAD - Bedlam (CD/Digital) (Self-Released) Formed on the ashes of punk’s first explosion, Screaming Dead took the snarling energy of 1976 and twisted it into something stranger,darker,more cinematic.While their peers shouted politics, theywhispered poetry—tales of vampires,graveyards, and love beyond the grave. Bedlam was produced by Pete Newdeck, whose credits include working with Judas Priest and Saxon.His experience with the band ensures a sound that is both precise and powerful,with clarity that highlights the depth of Screaming Dead’s signature style. A return to Screaming Dead’s gothic roots —moody, brooding, and beautifully sinister — Bedlam feels both cinematic and claustrophobic, as though the ghosts of their Hammer horror past have found a newvoice through modern production.Here,music becomes an exorcism, a ritual that lets the darkness speak, while each riff and vocal line seems to squat among the tombs of punk and horror’s shared history, honoring the past while breathing life into it once more. [HC] THE ULTIMATE DREAMERS - Kids Alone (Digital EP) During the Christmas holidays,you can safely bet that Home Alone will once again be on television. Is that why The Ultimate Dreamers are releasing their Kids Alone EP right now? And is it meant as a playful nod to that tradition—or a suggestion that if Kevin McCallister’s parents hadn’t left him alone at Christmas,we might have been spared that cinematic monstrosity? The truth is more mundane. Electro label Alfa Matrix, like its wave sublabel Spleen, often releases extra EPs following a successful album. And Paradoxical Sleep certainly qualifies, drawing attention with its intelligent wave sound that skillfully blends guitars and electronics. Originally active between 1986 and 1991, The Ultimate Dreamers reformed after singer Frédéric Cotton revisited old recordings during the pandemic. Since then, their evolution has been clear: increasingly complex compositions and polished production. Kids Alone offers dance-oriented remixes that reimagine the album’s atmospheric tracks as club-ready versions, with standout contributions from Aux Animaux and Mängelexemplar. The EP closes charmingly with a Dutch remix of “Envoler,” making this release both a complement to the album and a thoroughly enjoyable listen. (Spleen+/Alfa-Matrix) [XK] KMFDM - Enemy (Digital Single) (Metropolis) With “Enemy,” KMFDM once again prove that longevity doesn’t have to come at the cost of relevance. The single delivers exactly what longtime fans expect, yet it sounds sharp enough to resonate in the present tense. Driven by a pounding industrial beat, razoredged guitar riffs, and a muscular electronic backbone, “Enemy” feels confrontational from the first second.Sascha Konietzko’s vocals are as commanding as ever,dripping with defiance and irony, while the lyrics frame conflict as both personal and systemic—a familiar but effective KMFDM theme. What makes “Enemy” stand out is its clarity and focus. There’s no excess here: the track is tight, aggressive, and designed to hit hard rather than overwhelm. The production is polished but not sterile, preserving the grit that has always defined the band’s sound. “Enemy” doesn’t reinvent KMFDM, but it doesn’t need to. Instead, it reaffirms why the band remains a cornerstone of industrial music: loud, political, and unapologetically powerful. [HH] Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/ - 29 - www.peek-a-boo-magazine.be
peek aboo calendar music &moviemagazine 17.01 MIXED VISIONS' 22ND ELECTRO INDUSTRIAL TOP 100 @Aalmoezenier, Antwerpen [BE] Dj's Philter & Gdw 23.01 PORTA NIGRA@ De Klinker, Aarschot [BE] Diary Of Dreams, Enzo Kreft, Dj The Black Widow 23.01YOUTH CODE + KING YOSEF + STREET SECTS @ Trix, Antwerp [BE] 24.01 PORTA NIGRA@ De Klinker, Aarschot [BE] Nachtmahr, V2a, Die In Eclipse, Dj The Black Widow 14.02 XXX PARTY - VALENTINE’S EDITION @ Rumba & Co, Leuven [BE] With The Superschwarzes Mannheim Dj Team: Md75 & The Lecter; Dj The Black Widow; Dance Act By Zen From The Abyss; Special Performances, Surprises.. 22.02GAVIN FRIDAY @ Bourla Schouwburg, Antwerp [BE] 24.02GAVIN FRIDAY @ Royal Theater Carré, Amsterdam [NL] 27.02TYSKE LUDDER + THE JUGGERNAUTS @ Das Rind, Rüsselheim [DE] 28.02 QUAL + MILDREDA + THE JUGGERNAUTS + DJ BORG @ Blue Shell, Köln [DE] Live On Stage: Qual (Solo-projekt Von Lebanon Hanover), Mildreda (Dark Electro / Industrial) & The Juggernauts (Ebm) Aftershow-party Mit Dj Borg 06.03 GRAUZONE FESTIVAL - DAY1 @ The Hague [NL] More info on https://www.grauzonefestival.nl/ 07.03 GRAUZONE FESTIVAL - DAY2 @ The Hague [NL] More info on https://www.grauzonefestival.nl/ 06.03 GROUPE TRACTATUS CORDIS LIVE @ L'abreuvoir, Coulonges Sur L'autize [FR] + 1ère Partie Mister H. And The Minimalist(e), (belgium) Groupe Dark Wave / Post Punk 14.03 DONKERE TIJDEN (3) I.S.M BLACK PLANET @ Dvg Club, 8500 Kortrijk [BE] JÄGER 90, Plastikstrom (de), Black Snow In Summer 21.03 QUETZALCOATL FEST. @ Bagatelle, Oostende [BE] Agent Side Grinder - Korinthians - Darker - The Dark Wave 27.03 ELEKTROANSCHLAG 2026 - DAY 1 @ Tenne / Brewery Altenburg, Altenburg [DE] Live: 16pad Noise Terrorist (d) Am Not (uk) Derma (i) Frequen-c & Tc75 (d) GjÖll (is) Heimstatt Yipotash (d) Larmo (pl) Oszylayter (d) Spherical Disrupted (d) Xtr Human (d) & more 28.03 ELEKTROANSCHLAG 2026 - DAY 2 @ Tenne / Brewery Altenburg, Altenburg [DE] 28.03 E-TROPOLIS FESTIVAL @ Turbinenhalle, Oberhausen [DE] Combichrist - Welle: Erdball - Ultra Sunn - Fix8:sed8 - Vanguard - Zweite Jugend & more 28.03 12DE NEWWAVE PARTY AAIGEM@ Zaal Torengalm, Aaigem (erpe-mere) [BE] Dj Zanni / Dj Maxalto / Doors 19.00 28.03 THIS NOT A DARK FEST. 3 @ Salle René Magritte, Lessines/lessen [BE] Frustration (fr - Postpunk), The Cutter (uk - Post-punk), Pyo (be - Post-punk), Implant (be - Electro-indus), Alien Tears (fr 25.04 40 YEARS SUICIDE COMMANDO & FRIENDS @ Gc Den Dries, Retie [BE] Suicide Commando,Leather Strip, Emmon, The Juggernauts & Stin Scatzor - Dark Wave) + Dj Sets 02.05 PARADE GROUND 45TH ANNIVERSARY + GUEST @ Studio D'enregistrement Canal 10, 7334 Saint-ghislain [BE] +dj Freddy Merckx : Set Front 242 Only (almost) Front Vs 242 07.05 OUT OF LINE WEEKENDER - DAY 1 @Astra Kulturhause, Berlin [DE] SIERRA VEINS, DINA SUMMER, MIGUELANGELES, PRIEST, HINFORT, GHOSTBELLS 08.05 OUT OF LINE WEEKENDER - DAY 1 @Astra Kulturhause, Berlin [DE] AESTHETIC PERFECTION, DEVISION REDUX, CHROM, RUMMELSNUFF, REAPER, VANGUARD, GENCAB 09.05 OUT OF LINE WEEKENDER - DAY 1 @Astra Kulturhause, Berlin [DE] KITE, ASHBURY HEIGHTS, MASSIVE EGO, HOUSE OF HARM, DAWN OF ASHES, MILDREDA, TBA 05.06 TYSKE LUDDER + THE JUGGERNAUTS @ Kulttempel, Oberhausen [DE] 12.06 CABARET VOLTAIRE @AB Brussels, Boulevard Anspach 110, 1000 Brussel, [BE] 27.06 PEKKERSFEESTEN 2026 @ Cultuurhuis De Leest, Izegem [BE] Covenant Traitrs Merciful Nuns Ductape Fragment 25.07 AMPHI FESTIVAL XIX - DAY 1 @Amphi Eventpark / Tanzbrunnen, Köln [DE] feat. Mono Inc. / Eisbrecher / Clan of Xymox / Diary of Dreams / Das Ich / Pink Turns Blue / Solar Fake / Heldmaschine / Chrom / Empathy Test / Emmon / Solitary Experiments / Soulbound / Schattenman / Rue Oberkampf / Rotersand / The Exploding Boy / Welle: Erdball / SIIE / Joachim Witt / Echoberyl / Dina Summer / Florian Grey / KLLSIGNL / Motel Transylvania / Silent Runners / The Sweet Kill … 14.11 NEWWAVE TRIBUTE LIVE FEST @ Zaal Sint-anna, Bambrugge (erpe-mere) [BE] Fad Gadget (by Collapsing New People) / Depeche Mode (by Depeche More) / The Smiths (by The Smiths Presumably) / Simple Minds (by The Minds) / Sisters Of Mercy (by Body Electric) / New Wave Afterparty / Doors Open 13.30 04.12 BIMFEST XXIV - DAY 1 @ De Casino, St Niklaas, [BE] Line-up to be confirmed! 05.12 BIMFEST XXIV - DAY 2 @ De Casino, St Niklaas, [BE] Line-up to be confirmed! >>>>> Can’t find your event here? Then YOU FAILED to add it to our FREE online calendar! <<<<< www.peek-a-boo-magazine.be - 31 - 21.02 INTERNATIONAL EBM DAY 2026 - NITZER EBB, THE JUGGERNAUTS, IMPLANT, SIIE & KALT! @ De Casino, 9100 St- Niklaas [BE] + W.Y.H.I.W.Y.G afterparty with DJ BORG 26.07 AMPHI FESTIVAL XIX - DAY 2 @Amphi Eventpark / Tanzbrunnen, Köln [DE] 22.08 COLLAPSING NEW PEOPLE (Free Entrance) @ 129 years De Rembrandt, St Niklaas, [BE] The best of FAD GADGET performed by COLLAPSING NEW PEOPLE - start 8PM
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