Sep 212018


sichten 1

various artists »sichten 1«

»sichten« refers both to »opinions« as well as the »examination of material«. in loose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels.

as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches.

each issue will be supervised and compiled by a curator. an introductory text shall explain the artistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research.

for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, namely benjamin brunn, mads emil nielsen, mimicof, pierce warnecke, retina it and zavoloka, whose different styles meander between accessible music on the one hand and very abstract compositions on the other hand.

cat#: r-m 180
formats: vinyl ∙ digital


raster @ social networks

Sep 212018




SEPTEMBER 21, 2018

I:SCINTILLA are proud to announce today, Friday, September 21, marks the release of their highly anticipated full-length album, "Swayed", via Alfa Matrix Records! Containing 10 new tracks and 9 bonus tracks showcasing their electronic pop elements with heavy undertones of industrial rock, "Swayed", is available now digitally across all streaming platforms.

Physical copies are also available directly through the band's online shop at

In addition to the standard release, a special edition 2 CD box set including 9 additional remixed tracks is also available, along with a variety of signed CD merch bundles.

I:SCINTILLA are also excited to announce a record release show on Saturday, November 3 in their hometown Chicago, IL with Stabbing Westward at House of Blues. Tickets are on-sale now HERE.  The band was most recently seen performing at Atlanta, GA's annual sci-fi comic convention, DragonCon, and will be announcing more shows in the near future. 

"Swayed" was recorded and produced by Greg Panciera (Sylvia Massy, Alessandro Cortini of Nine Inch Nails, Dave Bianco) and can be described as heavy, dark, atmospheric, edgy, and introspective. Marking their first full-length release since 2010, the band poses several questions – and hints towards just as many answers. The album’s explosive, punk-influenced opening track, "Human", has front-woman Brittany Bindrim asking, “Does this make us human?” It is a fitting initial question when you consider the band’s new sound – a deep studio exploration that favors organic instrumentation over programmed sounds. But that is just the beginning…Throughout the entire album, Bindrim’s lyrics question many aspects of life, reality, and society, she dedicates the last few minutes of the record to just one – have you been swayed?

Bindrim reveals " 'Swayed' is a large step forward in I:Scintilla’s new direction and evolution. We are very proud of this collection of songs and how far we have come as a band. We believe it is our strongest record to date and are very excited to share it with you. Our brief hiatus had really recharged us creatively. In addition to our evolution and renewed passion; introspection, life experiences, meditations on both the cruel and the beautiful aspects of human nature, as well as completely immersing ourselves into the songwriting and recording process – have shaped this album and have transformed who we are as a band.”

Bindrim continues to explain, "The band felt that 'Swayed' was a fitting title for the album; not only because the word itself is quite relevant to the group of songs by definition and in reflection of our current political climate, but ‘Swayed’ is the band’s favorite song on the record. The lyrics were written from the viewpoint of a power hungry figure and almost seemed to be a foreshadowing of the rise of current leaders here in the States; ones who have become intoxicated by power, stagnating progress, leading others to apathy and finger-pointing, and at the same time inspiring more of the same destructive behaviors in others.

"SWAYED" Track Listing:

1. Human

2. Carmena Saturna 

3. Boxing Glove

4. Mercy Screams

5. DFTD (Between the Devils)

6. Nothing But Recordings

7. Pieces

8. Island

9. Seaglass

10. Swayed

"SWAYED" Special Edition Bonus Tracks: 

1. The Art of Excess

2. Human (Angelspit Mix)

3. Boxing Glove (Iris Mix)

4. Mercy Screams (Doganov Mix)

5. Nothing But Recordings (Bounte Mix)

6. Pieces (AL1CE Mix)

7. Island (Diamond Eye Version)

8. Seaglass (S7 Version)

9. Swayed (Greg Panciera Mix)

Stay updated on new tour dates, news and more from I:SCINTILLA at:

Sep 142018





Los Angeles – Sept. 14, 2018 – The Black Queen, the LA-based electro-alternative trio Out described as “a euphoric musical experience” and Rolling Stone dubbed “chilly yet romantic synth-pop,” share a video for “Thrown Into The Dark” via Revolver (

“This is a song, we made a video,” explains Greg Puciato (ex-The Dillinger Escape Plan). Steven Alexander Ryan (Nine Inch Nails/A Perfect Circle technician) adds, “We like it.” TBQ is rounded out by Josh Eustis (Telefon Tel Aviv).

“Thrown Into The Dark” arrives as the band prepares for the Sept. 28 release of Infinite Games, as well as a trio of dates on the burgeoning industrial Cold Waves festival before venturing to Europe for a month-long trek. “I think right now, the whole industrial, noise, electronic, ambient scene in L.A. is second only to Berlin,” Puciato said in a recent interview with Alternative Press about TBQ’s appeal to industrial music fans. “The majority of my friend circle is in that scene. The other night I saw Drew McDowall of Coil play a noise set in a church at midnight. There were three cool things happening [in the city] that night. It’s a pretty exciting time for this scene to be out here.”

Infinite Games follows a host of emotional moments for the band members, from Puciato’s Polish bus accident, the demise of The Dillinger Escape Plan, Eustis’ return to Telefon Tel Aviv, and a robbery of the trio’s storage space. “This time, we learned how to do everything ourselves,” explains Puciato, discussing what’s changed since the band’s debut, Fever Daydream. “There’s less uncertainty and more confidence. I’m speaking both about the artistic and business aspect of creating and releasing an album. As for what’s changed with Infinite Games, I think it feels more conceptual as an album. It’s less a collection of songs and more about the front to back listen. Probably because it wasn’t compiled over a four-year span of time like the last one. This one is actually hookier but more insidious, it’s a more delicate record.”

Pre-orders are available now via

The Black Queen tour dates:

September 15 New York, NY Gramercy Theatre

September 23 Chicago, IL Metro

September 28 Los Angeles, CA 1720

October 5 Bristol, UK Thekla

October 7 Glasgow, UK SWG3 Studio Warehouse

October 8 Leeds, UK Brudenell Social Club

October 9 Manchester, UK Deaf Institute

October 10 Nottingham, UK Nottingham Contemporary

October 11 London, UK Bush Hall

October 12 Tilburg, Netherlands Poppodium 013

October 15 Sint-Niklaas, Belgium Sint-Niklaas De Casino

October 16 Frankfurt, Germany Zoom

October 18 Cologne, Germany Blue Shell

October 19 Paris, France Supersonic

October 20 Milan, Italy Legend 54

October 22 Vienna, Austria B 72

October 23 Munich, Germany Backstage Halle

October 24 Leipzig, Germany Werk 2

October 25 Prague, Czech Republic Chapeau Rouge

October 26 Warsaw, Poland Klug Hybrydy

October 27 Berlin, Germany Gretchen

October 28 Hamburg, Germany Nochtspeicher

October 30 Copenhagen, Denmark Stengade

October 31 Oslo, Norway Parkteatret

November 1 Stockholm, Sweden Nalen

November 3 St. Petersburg, Russia Mod Club

November 4 Moscow, Russia 16 Tons

January 18 Sydney, Australia Landsdowne Hotel

January 19 Melbourne, Australia Northcote Social Club

# # #


Photo credit: Jen Reightley



Sep 122018


Legendary electronic act VNV Nation has big news for fans – NOIRE, the highly-anticipated 10th studio album, is out via Metropolis Records on October 12th, the day they embark on a world tour, which kicks off in North America on November 16, 2018. VNV’s creative-force, Dublin-born Ronan Harris, describes “Noire” as a "dark and intense energy that doesn’t hold back."


NOIRE is VNV Nation’s first studio album in 5 years. It was produced at Ronan Harris’ studio in Hamburg, Germany. The sound and style of the album is far-reaching with dark and ominous moments on tracks like “A million” to something symphonic like “All our sins”, to more melodic territory like “When is the future” and “God of all.”  A juxtaposition of classic and new studio technology was used to painstakingly craft NOIRE’s 70+ minutes / 13 songs.  NOIRE draws on a wealth of musical influences; from the bleaker, darker side of today’s dance music, all the way back to avant-garde composers from the end of the 19th century.  Citing inspiration from “70s electronic rock to dark machine-room beats, post-punk, alternative 80s, blues, electronic-pop, cinematic orchestrations, post-classical, dark-ambient and minimalist music,” Harris is immensely proud of the coming opus.


VNV Nation is known for unforgettable, energetic and inspiring live performances. The tour/show promises more to fans than seen before, presenting “Noire” alongside fan favourites and rarities. Special appearances from Berlin synthpop artist De/Vision and Cologne’s dark, new-wave upstarts, Holygram.

"VNV" stands for "Victory Not Vengeance", espousing the artist’s core message that, "One should strive to achieve, not sit in bitter regret."  The sound blends poetic and thought-provoking lyrics and emotive music, ranging from electronic beats, alternative anthems and haunting ballads, to post-classical. Over its career, VNV Nation’s success has continued to grow. Its last 3 albums charted top 10 in Germany, and its last album Resonance achieved top 5 Billboard Chart positions in the US.



Fri/Oct-12                   Dresden, Germany                 Alter Schlachthof

Sat/Oct-13                  Erfurt, Germany                      Stadtgarten

Sun/Oct-14                 Stuttgart, Germany                Im Wizemann

Tue/Oct-16                 Prague, Czech Republic         Futurum Music Bar

Wed/Oct-17               Warsaw, Poland                     Progresja Music Zone

Fri/Oct-19                   Eindhoven, Netherlands        Effenaar

Sat/Oct-20                  Cologne, Germany                 E-Werk Köln

Sun/Oct-21                 Sint-niklaas, Belgium             De Casino

Tue/Oct-23                 Amsterdam, Netherlands      Melkweg

Wed/Oct-24               Bielefeld, Germany                Ringlokschuppen

Fri/Oct-26                   Berlin, Germany                      Columbiahalle

Sat/Oct-27                  Magdeburg, Germany           Altes Theater Magdeburg

Sun/Oct-28                 Munich, Germany                   Café Muffathalle

Tue/Oct-30                 Frankfurt, Germany                Batschkapp

Wed/Oct-31               Leipzig, Germany                   Haus Leipzig

Thu/Nov-1                  Rostock, Germany                  M.A.U. Club / Zabrik e.V.

Fri/Nov-2                    Hamburg, Germany               Mehr! Theater




Fri/Nov-16                  Austin, TX                               Barracuda

Sat/Nov-17                 Houston, TX                            White Oak Music Hall

Mon/Nov-19               Atlanta, GA                            Masquerade

Tue/Nov-20                Ft. Lauderdale, FL                  Culture Room

Wed/Nov-21              St.Petersburg, FL                   Jannus Live

Fri/Nov-23                  Philadelphia, PA                    Union Transfer

Sat/Nov-24                 New York, NY                        Irving Plaza

Sun/Nov-25                Boston, MA                            Royale

Tue/Nov-27                Montreal, QC                         Corona Theater

Wed/Nov-28              Toronto, ON                           Danforth Music Hall

Fri/Nov-30                  Detroit, MI                              St. Andrews

Sat/Dec-01                  Chicago, IL                             The Metro

Sun/Dec-02                 Minneapolis, MN                   Skyway Theater

Tue/Dec-04                 Denver, CO                            The Oriental Theater

Wed/Dec-05               Salt Lake City, UT                   The Metro

Fri/Dec-07                   Seattle, WA                            Neptune

Sat/Dec-08                  Portland, OR                          Roseland Theater

Sun/Dec-09                 Vancouver, BC                        Imperial Theatre

Wed/Dec-12               San Francisco, CA                  The Regency Ballroom

Thu/Dec-13                 Los Angeles, CA                     The Wiltern

Fri/Dec-14                   Phoenix, AZ                            Marquee

Sat/Dec-15                  Las Vegas, NV                        Backstage


Sep 032018


Park Jiha belongs to a rising tide of contemporary musicians from Korea who are reshuffling and combining traditional and modern music in a very fascinating way. According to the words attached to the introduction of her recent debut album “Communion” (out on Glitterbeat‘s sister label tak:til), which I highly recommend checking out, “her music combines the formalism of classical minimalism, the rootedness of Korean folk motifs and the dynamics of post-rock and contemporary jazz.” We tried to explain her style using her own words.

interview picture 1

Park Jiha – courtesy of Kim Jaewoo

Chain D.L.K.
: Hi, Park! How are you?

Park Jiha: ^———-^


Chain D.L.K.: Before speaking of your awesome recent album ‘Communion,’ can we trace your path back? Do you remember the very first moments when you approached a musical instrument?

Park Jiha: Actually, I learned Western instruments first, such as piano and flute, when I was a child, and I liked singing also. I always liked music very much. So, one day, my parents suggested applying to Gukak National Middle School (Korean traditional music school). Gukak means Korean traditional music. Traditional Korean music is referred to as Gukak (Hangul: 국악), which literally means “national music.”
I chose my major upon entering Gukak Middle School. My major instrument was the Piri (bamboo oboe) and I stuck to my major until graduating college. After graduation and starting my own music, I wanted to make more varied sounds, so I learned the Saenghwang (mouth organ) and the Yanggeum (hammered dulcimer) by myself.


Chain D.L.K.: …and how did you start composing your own music?

Park Jiha: I learned Korean traditional music for more than 10 years, but I wanted to tell my story, because it was difficult to find any inspiration for playing traditional music. When I listen to Korean traditional music, I also feel it is deep and great music, but I can’t deliver my emotion with my playing. So I started to make my own music. I didn’t learn any composing, but I could write through my instruments and my ear.


Chain D.L.K.: Did the sources of inspiration change over years?

Park Jiha: Yes, of course. Because my life changed and grew up, my music also did the same.


Chain D.L.K.: The beauty of your music could turn you into the ambassador of the beauty of Korean culture, which is somehow unknown to the Western masses yet…would you suggest some reading or some listening in order to take the first steps into the fundamentals of Korean culture?

Park Jiha: I recommend the Korean traditional Piri solo piece called ‘Sangyeongsan,’ which is one of my favorite traditional pieces. This piece is very gentle and calm, but sometimes very deep and powerful. You can feel all about the Piri sound. [have a look/listen here:]


Chain D.L.K.: Your music is a really fascinating combination of jazz and Korean music dynamics…how did you start to think that a meeting of these elements could be possible?

Park Jiha: Actually, I don’t think that is a combination of Korean music and jazz. It is true I play Korean traditional instruments, but when I’m making music, I don’t think about genre. I just make my own music and stories. The other musicians who played with me on my record, they also didn’t think about genre when playing my music. I asked them to use their own style of playing. I think it is just a combination of sounds and the communication of my language and their language.


Park Jiha - courtesy of Nah Seungyull

Park Jiha – courtesy of Nah Seungyull

Chain D.L.K.: Let’s get deeper into Communion…why such a title?

Park Jiha: Communion, that meant a lot to me and my music and life. It’s not a coincidence that some sounds come up to me when I was making music. Numerous substances, environments, experiences, relationships, and processes of contact and sympathy flow naturally through time. It is routine, but every moment is very sublime, so I wanted to find one word that can explain those moments. ‘Communion’ is one word that can explain every moment of my life, but I couldn’t explain clearly.

I also still relate to the meaning of Communion. It’s a big word for me. Anyway, I liked the word because when I make music, I communicate  many things. For example, nature, people, air, and sometimes spirit. So, I wanted to find a word that meant ‘communication.’ I’m Catholic, so the word feels closer to me, but it doesn’t mean just a Catholic tradition. The word ‘Communion’ covers a lot of fields. After I recorded this album, I named the title ‘Communion.’


Chain D.L.K.: The title track could resemble Colin Stetson’s sonorities, but there’s something different in the daydreaming interplay you added as well as in the awesome closing…do you agree? What can you say about this great track?

Park Jiha: I think It is a very simple piece. At the beginning and end of this piece, I just repeat a simple melody, mi-do mi-do mi-do mi-do~ fa-do fa-do fa-do fa-do, something like that… Actually, this simple melody was the beginning of the piece. One day, I recorded this melody on my phone, and then for a while, I forgot this melody. Maybe a year later I listened again to this melody file on my phone, and then I started to make this piece.


Chain D.L.K.: I read you play some Korean traditional instruments…can you tell us something about them? Any related detail about them that our readers would never find on Wikipedia?

Park Jiha: Piri is a very small bamboo oboe. It has a reed, although very small, and only has 8 holes. But its sound is very loud. I think it is a very primitive and very sensitive instrument. The shape looks very simple, but when I’m playing Piri, I have to control many unexpected variables. It’s always hard to me, but because of like this awkward reasons, I feel attracted to the Piri. Moreover, the Piri is my major instrument, so that’s why I have great affection for the Piri.

A Saenghwang is a kind of mouth organ. It consists of lots of bamboo pipes. Mine is 24 pipes. It has a mysterious sound; sometimes it’s like electronic sounds, but it’s also like very natural sounds. Most of the Korean instruments cannot make harmony, but the Saenghwang is the one instrument that can make harmony. When pressing keys or closing holes in the pipes, if I press several keys, I can create harmony.

A Yanggeum is a hammered dulcimer. It’s like an Indian Santur and a Hungarian cimbalom. Recently, I am liking this instrument more and more, even though I didn’t learn in the proper form. I just needed the sounds from the Yanggeum, so I tried to do it by myself. Now, I’m just playing it in my way, but through that process, I have found different sounds. It’s not the proper way, but I think it’s cool.


Chain D.L.K.: One of my favorite moments of the whole album is its longest track, featuring a weird title: “Sounds Heard From The Moon”… any background information about this astonishing piece?

Park Jiha: I like the German artist Nils Frahm very much. I love all of his work, but I was especially impressed by his piece ‘Said and Done.’

That piece starts with only one repeated note; the sound and note are very simple, but when I listened, in that moment I could imagine the infinite possibility in one note.

I think the Yanggeum is also kind of a very old piano, so I got an idea from his piano piece.


Park Jiha – courtesy of Nah Seungyull

Chain D.L.K.: Another fav is the closing track “The first time I sat across from you,” and that sax solo! Do you remember the feelings or the thoughts shaking this track while recording/performing?

Park Jiha: I think this track’s point is a contrast between Yanggeum and sax playing.

I play a fully organized piece, while KimOki (sax player) plays a very free improvisation. I really like his musical language. I made some musical demands of him in my music, but I didn’t touch his own style. He is always super!


Chain D.L.K.: Could you tell us some introductory words about the other musicians playing on “Communion”?

Park Jiha: Every person that worked with me on this album gave me some inspiration. Everyone is really different…their musical backgrounds and lifestyles, especially John Bell’s. He’s from New Zealand. They also all have their own musical work, but the style is totally different from mine. John Bell, Ki, Oki and King Tekhyun, their music is more spiritual, powerful. My music is more calm and minimal, but I like each one’s music style too. I could learn many things from them. I think the variety of harmony on Communion is also ideal.


Chain D.L.K.: Have you performed Communion on a live stage? If yes, what are the audiences you prefer?

Park Jiha: Yes, I did last year and this spring in Europe. I have some more in Europe, the US and Brazil this fall.

I’m very thankful to all the audiences who come to my concerts. I don’t have any preference. I wish I could share my music with them. That’s all.

Chain D.L.K.: Any work in progress?

Park Jiha: I’m planning to perform ‘Communion’ at NY’s EMPAC theater and Washington’s Kennedy Center in September, and I recently almost finished my next album recording!! Thank you so much.

visit Park Jiha on the web at