When i write reviews one of the common traps I try hard not to get lost in is comparing every new band I review to one of the sacred dark gods of the 80’s and 90’s that the group I am listening to sounds like. It’s a pretty common tactic and lets face it an effective one. It’s easy to associate with what is familiar and in 2019 when it often feels like the world of goth/industrial/darkwave/new wave/ect has pretty much been discovered and artists are searching for more subtle ways to test the boundaries of what is possible and find some new ground, I figured I would take a moment to acknowledge this is a reality for a lot of people.
I am very open about our special relationship with Cold Transmission Records from Frankfurt Germany. I feel like their musical family approach to releasing Post Punk/Dark Wave/Electronic/Goth music is a template for how new labels can grow bands through a personal relationship and passion for distributing the art they are creating for new fans. Andreas Herrman, Suzy Herrman, and Yvonne Kiel have been working to build something wonderful through an emphasis on quality of music and artistic freedom for their artists which through word of mouth is growing into one of the fastest up and coming labels in this scene. This concert was special and represented what is possible when someone has a vision that puts personal gain aside and instead fosters an environment for unity, beauty, and friendship that brought together fans of this music style from all over the world. We came from America to meet friends from Germany, France, Belgium, Portugal, Denmark, Canada, Sweden, Israel, Turkey and many more all in one club to celebrate without pretense the music we love and what Cold Transmission has accomplished in bringing all these people together. It’s really hard to express in words in the digital age just how special that was and what it felt like to be a part of it. You see that was the secret, anyone could do this. It was one of the most welcoming inclusive environments I’ve ever witnessed at a show, and I have seen a lot. If you loved music there is a place for you here and it made my head spin thinking about the possibilities for how do I make this happen in America. Because everyone needs this. Everyone deserves it.
Lets talk about the epic lineup that was brought together for this show. One of the things that was a cultural shock for me as an American. The show was in Cologne Germany at this wonderful club called the Blue Shell. Doors opened at 7pm (Still quite light out during the summer) 1st band started at 7:30 pm sharp. This was no exaggeration. In America the idea of getting “goth” people to show up before 10:30 pm is laughable. Even when the event says doors at 8pm. So when we showed up at 7:20 pm thinking we will have a long wait before music we saw a packed sold out house that went from the stage to the back wall. People were engaged and clamoring to get to that stage. I was speechless to see this level of passion for new music and the energy and excitement was crackling through the air from the moment the doors opened.
First up was Crying Vessel. I had been extremely excited to see Slade play live for a while and it did not disappoint. Hearing the snapping drive of the live drums Basil was laying down really added an urgency and and fierceness to the melodic beauty of Slade’s singing. The sound system was honed right from the get go and each lyric cut across the distance of a room full of excited fans. Slade reached up with a bit more edge and length on his notes to really lift up the power of his performance. Mixed with those floating effect driving guitars this had even more of the energy and swagger that has been missing in dark wave music.
Setlist: Intro, Empty Glass, Lovers in Paradise, Aftershock, If it all was Real, Killing Time, Kiss the Fire, Dig Deep, Illusions, The Second Sleep
Band number two was IAMTHESHADOW featuring Karl Morten Dahl of Antipole. What an amazing team up. It was at this point I was really struck by how diverse the sounds of the bands on display were. Pedro Code has such a deep rich voice and passionate delivery. The crowded room was drawn in to such a level of intimacy and enveloped in the dark crooning style. Karl’s signature syncopated guitar sound added a unique flavor to Rui and Victors pulsing rhythm section to give this show a one of a kind experience. The rises and falls were so dynamic as Pedro lifted and diminished the power of his voice without much movement. (The stage was tightly packed to give little room for dancing). The beauty of this album which i have reviewed before is powerful and staggering. However I found myself overwhelmed with emotion hearing it raw and exposed this this format and looking out at a captivated audience swaying in time by the dynamic waves of sound washing over us. Then as a surprise the band played two Antipole songs with Pedro providing his resonant artistry to treat the crowd to a performance never heard on stage or album. When they played my favorite Antipole song “Closer” and I heard Pedro’s voice burn forth through the crowd I was overwhelmed. Breathtaking. Hard to image how seamlessly these two bands wove their songs and styles together to make something new.
01. into your eyes 02. Fall apart 03. Everything in this Nothingness 04.the skin 05.october novel(Antipole) 06. Closer( Antipole) 07. This violence 08. Embracing theFall
Playing third was Joy/Disaster from France a band I had limited exposure to before the festival. Having them play after IAMTHESHADOW ended up being a master stroke. All the eloquent subtle beauty was left behind for a blast of pure energy and intensity. It started as a dark foreboding creep with Nicolas Rohr’s echoing rhythmic chanting solemnly floating on top of Soupa Rundstadlers room swelling bass lines. The air crackled with intensity from the contrast. Following a performance like IAMTHESHADOWS was no small feat and Joy/Disaster delivered with a show stopping set full of lashing venom differing from the their album. It was a breakneck march of driven tempo charging up a hill in battle cadence . Because this was the set I had the least expectation for I think it was the one that left me most moved. I was expecting post punk and was assaulted with burning punk aggression played with precision and sweeping melody. The performance was capped by a touching moment where the band presented Andy with a signed guitar for his 50th Birthday present to the ovation of the crowd. Again showing the emotion and sense of family this label has with it’s artists.
KISSES & PAIN
DEALER OF LIFE
Closing the bands for the night was Silent Runners a band I had some knowledge of before the festival. I can tell you the album did not prepare me for the quirky and intense performance they had live on stage. Hailing from the Netherlands singer Dolf Smolenaers oozed with stage presence and connected with the crowd setting up a blistering atmospheric set of laser sharp texture and melodic longing. The off kilter drum beats and and carefully timed guitar and keyboard lines left me in mind of Factory records Happy Mondays. Stanley’s guitar riffs came in varying waves and set the boundaries of the controlled chaos. It surged at you from all over the stage while the crowd swayed and stared in rapture. What a sizzling close to a night of amazing live music
Setlist: Human Capital, Wilderness, Dark Mountain, I Walk Away Again The Knife, Roadkill, Forgotten, Through The Night, Cavemen.
As the bands finished the fun was just beginning. The dance floor flooded and Rule of Three with Christian and Pete started spinning wax with expert hands and discerning ears. Epic set list below
Bad Sector – Negative (edit)M!R!M – Liebe Machen [ Kill Shelter Remix ]The Soft Moon – Black (extended)Neon Electronics – Invisible Man [ Kill Shelter Remix ]Kill Shelter – Get Down ft. The Shyness of StrangersTempers – Strange Harvest *Agent Side Grinder – Doppelgänger (extended):Wumpscut: – Fear In Motion [ Remyl Remix ] (edit)FJERNLYS – Lunar Sphere (edit)Kill Shelter – Bodies ft. Buzz Kull (extended)Soft Kill – Whirl *Nitzer-Ebb.com – I’m Undone *
The night was finished by Cologne Disorder blasting everyone’s favorite retro dance hits until we couldn’t dance anymore.
This was the first Cold Transmission Festival but with it’s resounding success it certainly won’t be the last. I felt something special in the Blue Shell that night. I know everyone around me felt the same. People traveling a great distance to feel a part of the magic they created. We came from many places, spoke many languages, but we were all united in what Suzy, Andy, and Yvonne have built. Bands, Dj’s , Music Writers, and fans. Basking in the connection and glow of the music we love. This was a experience I will hold in my heart and my mind until my dying day. When you get the chance to be a part of something magical like this I can only say grab it and hold on as tight as you can. Moments like this are what make existence worth while and it is never too late for you to be a part of something monumental.
I’m very excited about this interview. Kill Shelter “Damage” was one of my top albums of 2018, a truly groundbreaking piece of artistic expression which harnessed the vocal talents of some of the darkest stars in the Post Punk/Darkwave genre. I tried to ask questions which would give a firmer grasp of his process and motivations in creating this monumental and personal offering. The album just became available on vinyl and is a must have for any serious collector who values this style. Link just below
Our review of the album 🙂
(Ken) Pete this latest album “Damage” touched on so many emotions for so many people. What did this title mean and what were you trying to capture in these songs that related to it?
(Pete) Firstly thanks so much for the kind words and for the opportunity to talk about it. “Damage” was written during an exceptionally difficult time for me and there were a lot of dark thoughts and emotions that influenced both my music and my song writing in the nine months that it took to produce the album. “Damage” not only reflected my state of mind but it became a thread that ran through all the tracks – whatever happened I wanted to try and create something with a sense of purpose. Music has become so disposable and ubiquitous that I just wanted to try and make something that had some form of substance, meaning and hopefully resonance.
(Ken) You did such a unique concept of writing these songs but bringing in a who’s who of incredible musicians and singers to bring your words and songs to life. That couldn’t have been easy. How did you come up with this concept and what was your biggest challenge to overcome?
(Pete) I’ve always seen myself as a producer first so working with other artists, especially vocalists, is something that I love to do. I’d been doing a set of remixes and had just started writing material when Pedro from Unknown Pleasures Records approached me asking if I intended to do an album and if so he would be interested in considering it for his label. So that gave me something positive to work towards, of course there was no guarantee that a) it would be good and b) that anyone would like it. At that time UPR were going to only do 100 releases in their catalog so I knew if Damage was to be considered it needed to be special and I wanted to help mark the history of the label in some way. I had a “hit list” of artists that I wanted to work with so I began writing with those people in mind. The mistake I made was writing the song first then approaching the artist rather than gauging interest levels first then going down the writing process. It also takes a lot of time to slot into other people’s schedules too so it can easily become a logistical nightmare. I’m taking a different approach with the follow up…
(Ken) I feel like post punk/darkwave music is going through an incredible Renaissance right now, as someone who has made music in this scene a long time what has changed for you the last few years? What excites you about the future?
(Pete) Yes, there is a lot of chat about renaissance and revival and I think that is a good thing – “a rising tide lifts all boats” as they say. The scene is definitely broader now and influences and genres tend to blur at the edges and that is really exciting. I read recently that we were in the 4th or even 5th wave of post-punk now but that doesn’t mean it’s all good. I tend to gravitate towards the timeless and the innovative and that’s what I look and hope for in music. I’m always excited to hear outstanding new music so I’m forever optimistic that something very special is just around the corner
(Ken) I watched Damage shoot to the top of so many top albums on 2018 lists, including Sound and Shadows. Did that surprise you? What is the ideal future for Kill Shelter?
(Pete) To say I was surprised would definitely be an understatement – yeah, I’ve really been blown away by the response. For an album that was released so late in the year (November 26th) I never thought anyone would care let alone put it on their “best of” lists. I’m very grateful to everyone who has supported the album including Sounds and Shadows of course.
The ideal future for Kill Shelter would be continued interest and support and the chance to release another album (or two) that were equally as surprising as the first. That would be a good start.
(Ken) You worked with so many incredible artists I love on this album. Pedro Code, Ashe Ruppe, Nate Jespersen, Karl Morton Dahl, Hante, many more. If you could bring in any vocalist living or dead to do a song with who would it be?
(Pete) I’m hopeful that the next set of Kill Shelter releases partially answers that question for you. There are so many extremely talented vocalists in and out of the genre it would be difficult to name just one. David Sylvian is still one of may favorite vocalists of all time.
(Ken) These songs have such a person feel, are they about your life? Or more of a narrative about what you are seeing in the human condition? If the first what did you draw on to create them?
(Pete) There are people who write from experience and there are people who write imagined experiences. On Damage the material I wrote draws directly from very personal experiences and emotions. I’ve always found writing music cathartic in that way – even when I was growing up I buried myself in writing as a way to deal with my feelings.
(Ken) It’s so hard for me to choose a favorite track on this record, but In Decay hit a special chord for me. Ashe has told me these are your words he sang. Tell me about the background of this song, what were you feeling in Decay?
(Pete) I’m really glad you called that particular track out although it’s an incredibly personal track to me. Without being too maudlin about it, “In Decay” was written about the death of my mother. I didn’t tell Ashe originally what the real meaning was as I thought it was unfair to put him under that amount of pressure. He sang it just the way I’d imagined it though so I’ll be forever grateful to him for that. The line “at the end of forever – I come undone” just about sums it up.
(Ken) This was a complete album and concept, but music is changing. Is there still a place in the modern scene for 10+ song concepts or is the future, singles and internet hits?
(Pete) Listening behavior has changed dramatically. Anonymous single tracks appearing on semi-curated playlists and individual tracks being recommended by algorithms based on listener preference has definitely changed the way we consume music. “Damage” was written as an album and you can hear that when you listen to it – it’s supposed to be a journey. But the individual nature of the contributing artists makes each track unique and therefore able to stand on its own too. Is there a place for a 10+ song concept album? Probably not, but who wants to be the same as everyone else. I really hope that people will discover the album and put the time aside to listen to it as a whole.
(Ken) If you could go on tour opening for any band currently in the scene who would it be and why?
(Pete) There’s a question. How close to the scene are Depeche Mode these days? I’m sure that would have a positive impact on how many people had heard of Kill Shelter. Gary Numan, She Past Away, The Sisters, The Soft Moon… you get the idea…
(Ken) If you could get in a Delorean and travel back in time to talk to 21 year old you, what would you tell that young man? Would he listen?
(Pete) He’d definitely listen to the advice it’s whether he’d have the self belief to act on it. I’d probably say “you are right to be uncompromising in your music. Enjoy listening to other people’s music and continue to be open minded but the best stuff isn’t about trying too hard, it’s about being natural whether it’s in-vogue or not. This journey is yours so stop thinking about what other people think. Above all else – don’t fuck up the only chance you have. And try to stop hating yourself if you can.”
Lable: Self Release
Members: Vin Price (The Ghost of Bela Lugosi) Songs/Instruments/Music. Various guest vocalist including: Zeke Sporn (Winter Corpse) Kevin Srednep (Psyclown), Sandra + Shawn Mortis (Alter Defection) Jak Taylor (Dream upon Tombs) , Owen Gillett (Ice Cocoon) , Ken Magerman + Collin Schipper (Amaranth 🙂
Ok our last glorious trip down the musical rabbit hole was for a band who is on the rise with critical acclaim. So I wanted to get back to a criminally under discussed band and personal friend Austrailia’s own The Ghost of Bela Lugosi. This has been a review a long time coming as I struggled with how to find the right words since I did have the honor of being a part of the project. Vin is a true tunesmith and multi instrument producer extraordinaire who much like a previous review Kill Shelter created an idea I am fast becoming enthralled with in modern music. A single songwriter combining a wide range of songs and styles with a different guest vocalist for each track to create an eclectic yet consistent album. A fan of the horror genre Vin created an homage tapestry to the campy, spooky, sexy concept of retro film monsters. It’s ambitious, it’s sinister, and has an unapologetic artistry that takes chances and hits the mark. For being such strange taboo concepts these songs are held together with such a beautifully woven pop sensibility. The drum beats are atmospheric and layered. The keyboards are nostalgic and dynamic. Each song has such a unique competition ranging from Ministry, Killing Joke, Devo, Shreikback, and of course Bauhaus. It’s a dance album with a lot of disco flavor. A sensual club dance feel. Just not that club that everyone can go to. That forbidden dangerous club you have to be in the know to find with no sign. The lyrics of these songs encapsulate these monsters. The ones from the 80s you found yourself drawn to.
Vin incorperates so many styles in this music but one aspect that bleeds through in all is that sense of punk rock defiance. Not in the actual sound but in the screw off I will never succumb to corporate mainstream feel of every track. While every song has a engaging hook they also lash out with a lo-fi aggression of piss and vinegar that most modern music lacks the courage to undertake.
Because there is so much to say about the individual tracks due to the different vocalist I am going to break protocol a bit and do extra stand out tracks. I won’t use my own because that is just weird but I will say I love the song I did with him Asphyxiation and think it is an incredible song that was way outside the wheelhouse of what I usually do. I really cut loose vocally in a way I rarely do with Amaranth. You should listen to it. In particular the video he did of Fright Night footage is outstanding. So here are some stand out tracks.
Berlin – This is the song that first introduced me to GOBL. It’s incredible. It’s a smokey room in a foreign land with these marimba like keyboard sounds that roll and remind me of The Cure. The guitar lines are very post punk and enthralling. It has themes of desire and obsession. A femme fatal song that has incredible pop hook and seductive whispers. It features his own voice and words which I think gives this song a particular genuine feel. I could listen a million times and still come back to this song.
Vampires of Hollywood – A sinister 80s synth build up draws you into this song. It’s lurking on the endge of your imagination. Sandra + Sean Mortis have a seductive spoken word vocal style with a creppy resonating reverb. Reminds me a bit of Tina from Switchblade Symphony. It doesn’t attack, it lures you into a dark place where you are her captive.
Videodrone – Holy creep dance burner. Owen Gillett has such a vast range and poetic style on this song. Again it is subtle and gentle like a beautiful ballad with David Gahan sex drip and Tones On Tail synth swells. The lyrics are so dangerous and forbidden. When he opens up in his high octave reaches it swells with emotions. “Like Ribbons sliced by razors, blowing in the wind” The bassline here walks a tightrope edge and gives this song motion.
Stockholm Syndrome – What an intricate club jam. The vocals have a terrifying otherworldly monster effect but delivered with a smooth crooning beauty. It’s one of those tracks that attacks you at multiple angles and never lets you get comfortable. I love this feeling and effect. It’s unnerving and unquieting.
Die With Your Eyes Open – Such a great concept for a track. The opening guitar riff is a classic. It’s a post punk throw back to old Killing Joke or Daniel Ash. The vocals are a little background but delivered with a reserved passion that fits the style.
Overall this album is such an unapologetic artistic expression. It’s full of danger and forbidden desires. It is one of the albums I love to play for people and say why do more people not know about this? Maybe it is to risque, too dangerous to make it’s way to the standard charts. I think that is part of it’s strength and I don’t think it is something Vin could change if he wanted to. Step outside the cycle of everything you are hearing and give this album a real try. You won’t be sorry. I’m proud to be a part of this record.
So since we have started doing interviews with bands to add another layer of content to Sound and Shadows it got me thinking about all the other pieces that go into creating a vibrant and exciting music scene. Djs, promoters, and record labels. At the moment the world of music is changing to a focus on global reach and grass roots distribution. No one is doing more to build a base and put out great music for Post Punk/Dark wave/ Cold wave/ Shoegaze genre than Frankfurt Germany based label Cold Transmission Music. Run by Andreas and Suzy Herrmann with Yvonne Kiel as graphic designer, this label is on the forefront of the multimedia movement happening in dark music. They aren’t just a record company, they are music lovers that are looking to lift all ships and find exciting new ways to share the music they love with the world. They have made the idea of musical distribution into a family with a caring touch to foster the people on their label as much as putting out albums and compilations. The Cold Transmission playlists have come to set a standard for support of what is cutting edge. I had the opportunity of getting to know the people behind Cold Transmission a little better and want to share that experience with our readers.
Bands currently on Cold Transmission Music: Elz and the Cult, White Mansion, Push Button Press, Carlo Onda, Rosi, Monographic, La Mécanique, Reconverb, S Y Z Y G Y X, Silent Runners, The Blue Beard’s Castle, Icy Men , Palais Ideal, Bedless Bones, Closed Mouth.
We have reviewed some of these bands and the more I hear from them the more I like, I can’t wait to continue working my way through their catalog.
(Ken) When did you start the label and what was your goal starting out with Cold Transmission?
(CT) In 2017 Cold Transmission began as a Mixcloud show because we had the burning desire to make more people aware of the new music and bands that were coming up in our scene. The shows were very well received on Mixcloud and the number of followers grew steadily so we created the name „Cold Transmission“ and launched the Facebook page. The next idea was to create a digital compilation, so our ZEITGEIST series was born. Although Andreas always thought about starting a label from the beginning, it was a spontaneous idea that evolved over time, a next logical step. We are still growing into it, learning new things every day about what it takes to be a label and it makes us very happy to support up-and-coming bands and help them grow. So our greatest respect goes out to all other independent labels that are doing this for many years now with enthusiasm and passion. It’s a lot of work especially when doing this next to your normal jobs. The music is our true satisfaction.
(Ken) I feel like goth music has always been a genre focused on the past, in the last couple years this style of music is seeing a huge resurgence with fresh new talent in unprecedented levels since the 80s/90s. What do you think is leading this? What do you see as Cold Transmissions role?
(CT) Yes, we have the same feeling about the scene. You can hardly find a band that is not referencing one of the 80s bands like Joy Division etc. Even our name is inspired by a Joy Division song! Those are all icons we really love but time doesn’t stand still and music is developing further with fresh impulses, techniques and sounds combined with the classic Post-Punk influences. Jason Corbett of ACTORS once called it Post-Punk 2.0 which is an apt description. When you go to parties or festivals a lot such as we have since the 80s we had the feeling of hearing the same music all the time in the last 10 years. We talked to many people from all over the world who had the same experience. Maybe people had gotten a bit fed up with this. We created Cold Transmission to show people from the scene what great new music is out there and what great new bands are surfacing from all parts of the world – through our Mixcloud shows, social media accounts and our label. We’re going to concerts and festivals, sometimes hosting them ourselves. We did a Cold Transmission party, re-invested the money we earned with it to buy new music to support the bands. We also see Cold Transmission not just as a label but as a platform to connect bands and supporters from all over the world. There is a great community of artists, labels, blogs, radio stations, growing up around us and we’re proud to be part of it and support it with all our energy. There also have been great collaborations between the bands already doing remixes of each others songs which is great to see. We created our t-shirts and sent them to supporters, bands and friends around the globe – for us it’s a statement of being part of a wonderful and growing community in our scene.
(Ken)You had a lot of success in 2018, I have watched your support base grow. What are you excited for on the horizon in 2019? What new albums are you looking to release this year?
(CT) In 2019 we’re looking forward to growing our label further – we will release the new albums by La Mécanique, White Mansion, The Blue Beard’s Castle and many more in the future. (Since this interview they had a very exciting release from Palais Ideal currently available) Also we will release four new ZEITGEIST compilations this year. And of course there will be our first little Cold Transmission Festival in Cologne, Germany in July. Still there is no 5-years-plan or anything for Cold Transmission. We love to see things develop organically – we have amazing friends around who are supporting us in so many ways, bands that became friends, interesting people that we are discussing partnerships with to allow us all new opportunities. We have hundreds of ideas in our minds and the day only has 24 hours so let’s see what happens!
(Ken) Recently I interviewed Jim Walker of Push Button Press (amazing new album) and Ashe Ruppe of Delphine Coma. Both are American bands that spoke of how happy they are signing with European labels. What do you think is drawing American bands to think of European labels for the dark music scene?
(CT) Since we are very new to that business we don’t really know about the major differences between European and American labels yet to be honest. We as Cold Transmission try to be as professional and committed as we can when signing bands to our label – a typical German attitude maybe. We are still a small label and the personal contact is very important to us and also to our bands. We want them to feel like they are part of a little family that believes in them and motivates them. A way of working that is maybe difficult when you are a bigger label with many bands. The scene in Europe is very old, still vibrant and much more concentrated simply because of the size of the continent compared to America. Maybe that is also a reason why so many bands are looking to Europe and has nothing to do with the differences between European and American labels in particular.
(Ken) What inspired you to become a part of this music scene? Was there a band in particular that let you know this was your chosen path in life?
(CT) We have to distinguish here between us due to our age difference of nearly ten years. Andreas was more into electronic music since 1980 starting with bands like Kraftwerk, Ultravox, Gary Numan, Cabaret Voltaire etc. In 1986 he was really convinced to be part of the scene through bands like Click Click, The Klinik, Skinny Puppy and Front 242. Suzy was more into guitar music, and a real 90s Dark Wave girl – so was Yvonne. Starting with Depeche Mode, The Smiths and Sisters of Mercy in the late 80’s her first „dark love“ was Deine Lakaien in the early 90’s
(Ken) Talk to me about the Post Punk/Darkwave scene in Germany, what is it like today and how has it changed in the last 20 years?
(CT) The scene was always great in Germany from our point of view. You have so many huge festivals, concerts and parties in nearly every part of Germany. In particular the Wave Gotik Treffen in Leipzig that has become the largest Gothic festivals in the world. As said before, from a music standpoint you had the feeling that nothing really changed in the last 20 years. Sure there were new bands surfacing all the time but not many people seemed to be really interested. Especially in the last few years there are new artists emerging and we get the feeling that more people are now open to finding new music. There are more small festivals coming up in Germany next to the big ones that give you a more traditional feeling. The Wave Gotik Treffen took notice of a lot of those bands and presented many of the newer acts in 2018. This is a trend we really hope to see continue.
(Ken) Along with putting out music you got your start in creating playlists and sharing music for bands in the genre. You even had Amaranth on a few, so thank you for that. What lead you to this idea and what role do you think it will play in the future of music?
(CT) The Mixcloud shows were the starting point of Cold Transmission. Andreas is a passionate music collector and spends a lot of time searching for interesting new music on the internet. The desire behind the playlists was to make people aware of that new music – Hey guys, listen, there is more to our scene than our beloved classics! A sort of modern mixtapes we did in the 80’s. Many people don’t have the time anymore to spend hours searching for music on the internet or in record stores – they have their music players and mobile phones, listening to playlists on Spotify or other platforms. This form of listening to music will continue to play an important role in the future.
(Ken) You have a festival in Cologne this July featuring some amazing acts. I’m beyond excited that Rachel and I will be going to witness it. Tell me about it, who will be there, and what are you celebrating?
(CT) The festival will be our first Cold Transmission festival. We are celebrating Andreas’s 50th birthday bash. We chose the Blue Shell in Cologne since we have very strong connections to that club and also close friends in Cologne since Suzy lived there for 20 years. The club has a storied history going back to the 80’s so they are quite experienced and passionate. Some really great bands which we also call our friends are playing live that night: Crying Vessel, IAMTHESHADOW, featuring members of Antipole, Joy/Disaster and Silent Runners. The after show party is hosted by our close friends of Disorder Cologne (Holger and Chantal) who have been successfully running that party for nearly 10 years now. We are also very proud and overjoyed to have a special DJ set by Pete Burns and Christian Schaefer of Rule of Three. A music blog that inspired us from the beginning. Pete recently garnered critical acclaim with his project Kill Shelter! Pete has also became very important to us personally at Cold Transmission through his friendship and guidance from our beginning. We have the feeling that this is not only a festival but also a way of connecting people with a common love of darkwave/postpunk music. People from all over the world are planning to come to Cologne to meet with bands and friends. For example Jim Walker from Push Button Press traveling all the way from Florida. It will be a great event and we are really looking forward to that! Glad that Rachel and you will also be part of it. Let’s make this a night to remember!
(Ken) What do you look for in a potential band to sign to Cold Transmission?
(CT) Since we like to call our label our “Cold Transmission family” We are currently signing bands whose music we really like and believe in. People that are as passionate with their music as we are. We have close contacts to all bands signed to our label and support them in any way we can in a variety of ways. Every success the bands have makes us very happy and proud. We want to grow up together with our bands so it’s symbiotic in a sense. We also aim for long-term partnerships to achieve that. Of course we also want to have a good mixture of different music styles from different countries on our label especially in the Post-Punk and Coldwave genre. In nearly every country of the world you can find bands and artists from our scene and we are happy to have some of them on our label to show the variety that is out there.
(Ken) If you could travel back in time and see any show ever in recorded history, what would it be and why?
(CT) That would be shows of today’s Post-Punks icons like Joy Division in the late 70’s and early 80’s. To see such a show in a small club with around 20 people, listening to the music and having the feeling that something great is happening. That would have been awesome.
Since this was our first interview with someone who wasn’t a band I thought it was important to share some perspective of some of the people who surround Cold Transmission. Musicians, artists, producers about what this label means to them. Here are some of those thoughts.
Jim Walker (Push Button Press) “I will let a big secret about the label out of the bag, Suzy is the secret special sauce that makes everything fall into place.”
(SYZYGYX) “Suzy’s and Andy’s passion for music shows in the way they treat their artists, we’ve been lucky to work with such amazing people and label, and look forward to continue working with them. They know the scene, they’re knowledgeable on how to target the audience and promote! Love Cold Transmission”
Pedro Code (IAMTHESHADOW) “They are great enthusiasts of the dark Scene, wonderfull people and my friends. I knew them long before they started Cold Transmission, in WGT, Leipzig, 2017 but now its another level. They are growing and its a great thing for the dark scene in Europe hey are very passionate about the music being made. Its great for all the bands what they are doing, They once told me they had the idea of Cold Transmission, after we meet in WGT, 2017. :)”
Silent Runners “Like many people in the scene we met Andy and Suzy online, enthusiastically spreading our music on forums and groups within the scene. From the start they were the greatest supporters a band can hope for! They really have a personal love for music and the scene and want to spread it so other people can enjoy it as well. Since we met personally on WGT2018 we’ve been in touch weekly. Seems only logical that we recently took the next step and joined their great label family as band. We hope to do great stuff together in the future.”
Monographic “Cold Transmission is not a “normal ” record label! For us, its more a collaboration between friends for the most important thing… music!!! They’re doing a lot for new bands and for the underground scene. You can feel, its not about the money compared to other labels, its more about spreading the love … Suzy and Andreas are doing everything, for the bands to keep moving forward and you can see they are doing it right. We hope to be part of it in the many years to come and we look forward to the bright future of their label”
Pete Burns (Kill Shelter) “Andy and Suzy have been great supporters of both Rule of Three (which I run with my partner in crime Christian Schaefer) and also my personal Kill Shelter project so I can’t thank them enough for that really. They are extremely passionate, kind and energetic people and are always incredibly positive – you need unbridled enthusiasm and optimism to work in this industry and they have that in spades. I’ve been lucky enough to help them with engineering and mastering of some of their releases and that’s just been an absolute joy. I’m hoping we’ll do more of that in 2019. I’ll be heading to Germany in July for the Cold Transmission Festival & Disorder Party where Christian and I will be doing a special audio/visual DJ set and we have some surprises lined up for that. It will be an honor to be part of that event and I really hope they have a magical time – they deserve it.”