Titelbild des Künstlers FÏX8:SËD8
PHOTO: © FÏX8:SËD8
Band

FÏX8:SËD8

In the artist's words:

The dark electro project Fïx8:Sëd8 was founded in Wiesbaden in 2003 by Martin Sane. With its fifth album, “The Inevitable Relapse,” Fïx8:Sëd8 takes the final step from being a band generating a lot of buzz to becoming an established force in the electro-industrial scene. The band’s name is derived from the psychiatric terms “fixated/sedated.” “The Inevitable Relapse” might be considered an almost prophetic title, as the album was largely created during the global pandemic.

Musically, mastermind Martin Sane stays true to the course he set with his successful previous albums “Foren6” (2017) and “Warning Signs” (2019). Under the unmistakable influence of Canadian cult acts like SKINNY PUPPY and FRONT LINE ASSEMBLY, the Hessian artist has developed his own inimitable style that oscillates between dark electronica and catchy passages. In doing so, Fïx8:Sëd8 have created their own soundscapes by continuously distancing themselves from their musical role models—a development reminiscent of artistic kindred spirits like MENTALLO & THE FIXER and HAUJOBB. This is clearly evident both in their spot-on songwriting and in their production techniques, which are nearly as important in the electronic genre.

The upward trajectory, which continues with every new album, is also reflected on “The Inevitable Relapse”—unmistakably evident in explosive tracks like ‘Prognosis’ and “Unknown to Virtue,” as well as in more complex, darker tracks in the vein of “Human Harvest.” In addition, PYRROLINE frontman Arnte contributed his trained ear to the production and mix.

Fïx8:Sëd8’s steady rise is evident both in the sold-out print runs of their latest releases—which were out of stock even before hitting store shelves—and in their rising prominence in festival lineups and on tour. Subject to pandemic restrictions, the German band has already been booked for major events such as the upcoming Wave-Gotik-Treffen in Leipzig and the E-Tropolis Festival.

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