DieSeele


The legendary Clan Of Xymox have just released their 13th studio album "Spider On The Wall" (not counting the 4 albums released under the name Xymox) and first in three years. The new album has 10 new songs with their signature blend of darkwave / electro and melancholic rock. The album is out July 24th via Trisol and Metropolis Records.

The opener is "She" the first single that was released initially on Valentine’s day, February 14th. A beautiful danceable old-school post-punk track that meets modern darkwave and goth, with classic post-punk guitars and eerie ethereal synths. With the next song "Lovers", the second single off the album, we have a calmer romantic but painfully heartbroken track. Things step up again with "Into The Unknown" with its driving beat and jangly guitars. Their classic electro driven darkwave is all over "All I Ever Know" that was released as the third single in July. Here the beat gets more electro and playful, but the atmosphere balances with Ronny’s characteristic melancholic and desperate vocal tone. In similar vibe, but less electro and more darkwave, we have "I Don't Like Myself".

Halfway through we have the title track "Spider On The Wall", a dark elegiac track with thumping drums. Next is "When We Were Young", another dark track with a brooding bassline. "Black Mirror" that follows continues in the same darkwave/goth style with a chant like chorus. As with all the second half of the album, "My New Lows" is among their more darkwave post-punk driven tracks. The same could be said for "See You On The Other Side" that closes the album. A more upbeat track with a more positive feel.

One again frontman Ronny Moorings has delivered a modern-day classic darkwave / goth album. In general, by listening to the whole album, we see that the band have managed to sound more like their self-titled debut album and of their second studio album "Medusa", released on 4AD in the 80’s, merging the old and the new in a great inspired way.

Review by Nick Drivas


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The dark project Das Noir from Athens, has returned with its second full length album. Sole member of this project is Nick Drivas, who experiments using many samples taken from movies and music. This album "Das Noir II" was released exactly a year after the self-titled debut. Since then, only the new track "Cold" (that is also included here) was featured on our "Stimmen Der Seele vol.5" compilation.

The album begins with "The Night", a two-minute track that’s dark and nocturnal with Nick singing, playing bass and guitar amidst the howling of wolves. "Kind" that follows is a more emotional piece that is overwhelmed by Bruno Ganz’s recitation from the movie Wings Of Desire. Next is "Existence", another moody track that uses Sam Riley’s voice from the Ian Curtis/Joy Division movie Control. On "A New Day Of Fear" that follows, we hear a dark track with Nick providing the vocals but also using television clips from news reports of the Chernobyl disaster in 1986. The next track "Cold" is a dark post-punk track with a bold rhythm section featuring once again Nick on vocals and instruments.

Halfway through we have the atmospheric "The Maker Of My Own Evil" where we hear actor Isabelle Adjani’s troubled voice from the 1981 movie Possession merged with analogue synths and a Joy Division drum sample. While on "Day Of Wrath", we hear Richard Burton’s voice from The War of the Worlds on top of the music of the famous 13th century Latin Catholic hymn, "Dies Irae". "Amazing Phenomenon" that follows, has a more sci-fi feel with dialogue from the 1951 movie The Day The Earth Stood Still used as vocals on top of a Kraftwerk beat. Next is "Secrets" that is inspired from various vampire movies. A doom-laden epic track with thumping drums and Gregorian chants. "Treasure" is a tribute to the Cocteau Twins, where all the samples are taken from various songs from the bands work and for vocals the voice of Elizabeth Fraser has been taken from various interviews. The album closes with "Man Of Sorrow", another epic track that covers the last days of the Christian Messiah.

An interesting group of songs in general, that although they contain many samples (some of which are know from their original source), Das Noir manages to incorporate them in his arrangements in a unique way creating something completely new.

















Review: Rise&Fall

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The new album by Ataraxia is a 7 (very long) tracks concept album, referring to the Holy number of 7, like the colours of the rainbow or of the Archangels of the Ortodox doctrine.

Every track of the album is dedicated το an Archangel and to his  correspondent etheric energy. The aim of this music is to create with the vibration of the notes a spiritual path toward Knowledge and the Divine, both the one dwelling above and the divine sparkle within us, that for syncronicity is going to be published in those hard days that will shape a new future.

"Iniziazione" has a mystic-alchemic atmosphere that with the music that reminds of progressive, and the voice of Francesca Nicoli, that ranges from angelic-like highs to a summoning like spoking calling of Gabriel, the archangel from which is inspired this first track.

 "Nebula" has a slow, sweetly dream like bucolic music, that brings us back to the magic harmony of the lost Golden Age, outlined also by the voice of Francesca, that here sings in italian a praise to the beauty of Mother Nature. Listening to it you can feel back in Eden experiencing the bliss of the Eternal Harmony. Gabriel is the archangel of the Announcement, and I like to think that composing its song they could have imagined him to come and announce the awakening of  mankind and our awakening under a new consciousness.

"Oneness" has an epic atmosphere, like the legend of Michael, the Archangels that picked up the Sword to defeat the Dragon and save Heaven. It conveys strength and at the same time love and connection with the Divine, because warriors fight for love, and their (here ethereal) land, returns its devotion with angelic choirs praises, masterfully interpreted by Francesca.

"Sex is a prayer", is opened by the contrast between the "heavy" bassline and the sweet and seducing voice of Francesca, that sound like a representation of the male-female duality; then the music rises, like the heartbeat in a climax, to return slow and sweet again, like the moment when two lovers embrace, and join their souls in the higher communion of two souls that have experienced for a while the pleasure of returning a whole. This song is dedicated to  Chamael, the ruler of Love, and of the Quest for the Holy Graal, because what else could be in that divine Chalice if not Love in its purest, deepest form?

"Radiance" is an hypnotic track, that gives a divine vertigo, taking us in a sort of Elevation - vertigo. The mystical side is out stands in the repeated OM, on which Francesca sings with a voice ranging from high to deeply evocative words that might be inspired by both Buddhism and the iconology of  Jehudiel, because when  our awareness is enlightened by a higher radiance, names and doctrines doesn't matter any more, as we witness the nameless essence of the Truth.

"The timeless" brings us back to a blissful atmosphere, but this track, instead of the Harmony with the material Nature, makes me think more about the journey of a soul back to the Source of everything. The echoes of the voice at the beginning make me thing about the dismay at the Gate where immensity becomes Infinite, and time becomes time-less, because it loses its meaning into Eternity, then, note after note, line after line, the music, the voice of Francesca succeed in the ultimate Transmutation of the White Opera: the Return, after being purified by  Tdzadkiel's flame.

"Beyondness" is the ultimate step of this journey, and to me is like an artistic door opening on the mindset of of an Initiated: people whose sight and mind stretch beyond the appearance of a moment or of a situation to reach the deep reason and meaning of life and whatever happens during it. For this reason the song, dedicated to Uriel, the ruler of extrasensorial gifts, has a transcendent aura, a sense of duality, of being "here" and somewhere else at the same time.



Review by Lory Dusk



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The darkwave project Iamtheshadow from Lisbon, Portugal began in 2015 by Pedro Code (previously in the bands The Dream Collision and Rainy Days Factory). Now with the lineup consisting of Pedro Code (voices, guitar, synthesizers, programming), Vitor J. Moreira (synthesizers) and Herr G (bass), they have just released their fourth album "Pitchblack" on the German Cold Transmission label. The band from the very moment, when they released their stunning debut "Everything In This Nothingness" back in 2016, attracted a massive amount of attention from the dark scene. They have also proven to be a very productive unit, having released an album every year.

The opener "Lifeless" is a more electronic track, where Pedro’s amazing deep voice dominates and sets the atmosphere. On "Always" that follows, we have a lovely dark melodic tune. Next is the title-track "Pitchblack", a pulsing darkwave track with cold synths spread through it. In similar vein we have "The Days", a bleaker track and the more melodic "Higher Than The Soul". Then we have "Awake & Asleep" that features the familiar voice of Diego Merletto from The Frozen Autumn. A great track with deep melodic bassline and some uplifting synths in the chorus.

Halfway through we hear "Shivers", a song that surely standout, a classic example of Pedro’s songwriting. Electronic drumming, deep basslines, icy synths, melancholy guitar riffs, topped with Pedro’s emotional vocals. We have a shift in style on the track "Ouroboros" that features on vocals Kadri Sammel from Bedless Bones. A rhythmic tune that exchanges the male and female vocals between Pedro and Kadri nicely. On "Grace" they return to Iamtheshadow’s familiar sound, while on the slower "Rise", featuring Yvette Winkler from Vaselyne, we have yet another male-female duet. As we reach towards the end, we have the darker "To Last", a down beat song with a shoegaze feel. The album closes with melodic "Undress", a song that sums up all the general sound of the whole album.

A beautiful album, and it keeps the atmosphere from their last album "Embracing The Fall" from 2018. Again, we hear their artistic influences that vary and navigate from the blackest and sharpest sounds of the 80s. Their modern touch of dark romance, where melody and words touch deeply have managed to make them loved by an ever-growing audience.



Review by Nick Drivas


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The legendary Berlin band Einstürzende Neubauten have returned after more than 12 years with their long-awaited new studio album "Alles In Allem" It contains ten songs that explore the German capital city that has been home to the band for the past four decades. "Alles In Allem" is the first proper Einstürzende Neubauten album following "The Jewells" in 2008, however, the band did release the World War I concept album "Lament" in 2014.

The official promotion synopsis for the album read “An extremely cynical reflection of the state of the capital, which has become a song, did not make it onto the album, leaving a hole around which there were far more differentiated debates with Berlin. So Blixa Bargeld wanders through memories, through dreams, assembles fragments – and yet it is always about the presence of this intangible city”.

Their 40th anniversary album begins with the first single, the moody and jazzy percussive "Ten Grand Goldie". A typical Neubauten song, with its characteristic custom-made percussive sounds with various materials. The second track "Am Landwehrkanal" has a more traditional feel, like a song from older days, with its singalong style and accordion. Things get more ‘metallic’ with "Möbliertes Lied", although the tempo is kept low. On top of a metallic percussion and Blixa’s spoken word a beautiful keyboard brings to it a great atmosphere. The haunting "Zivilisatorisches Missgeschick" follows, a unique track filled with both quiet passages and screaming siren outbursts. "Taschen" that follows is a beautiful low-key piece with melancholy strings. In the same vein we have "Seven Screws".

The second single, the title track "Alles In Allem" meaning All In All, was released during the Corona-virus pandemic quarantine. A stylish and cinematically moody piece, is surely a standout, featuring crooning surreal lyrics with Blixa’s baritone voice. The album continues in a quite tone with "Grazer Damm" and "Wedding" that slightly climaxes with the repeatedly singing of the of the song’s name, a district of the city of Berlin. The album closes with "Tempelhof", another a district of Berlin and name of its old airport. Again, we have a gentle piece of music, almost cinematic, with more strings, harps and Blixa’s almost whispering vocals.

The unique sound and textual landscapes of the band reveal the timelessness that members Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit and Rudolph Moser have continuously maintained. Their ongoing sound research, combining edgy sound with sophisticated poetry, through experimental approaches to songwriting, has provided us with yet another great piece of work, mature as the band itself has matured gracefully.

Review by Nick Drivas


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'Stimmen Der Seele' is a cold, dark, experimental compilation created by DIE SEELE radio-webzine, featuring underground, unsigned artists carefully selected to amaze the listener with authentically inspired music. 



released April 14, 2020


A DieSeele radio production 


Production,Editing : Nikos Katsigialos 
www.facebook.com/nikosriseandfall 


Album Photo : Marilia Fotopoulou 
www.instagram.com/marilia.fotografia/ 


Artwork Design : Υοrgos Panteleon 



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The Black Capes are a Greek gothic rock band formed in 2016. They first released their debut album "All These Monsters" in 2017. Now they return with their second album "Lullabies For The Dead" in April 2020, on the German Dark Tunes label.

The album begins in a very dynamic way with "And I Wait". A classic goth rocker, with very powerful guitars and a catchy chorus line. The video, directed by Sergio Ko and Please Insert Coin, depicts the band performing in a dim lite room. The track "Sprinkle Your Sand Morpheus" follows. Here things get darker, with singer Alexander S Wamp providing some deep vocals, while guitarist Thanos Jan follows providing the guitar riffs. Next up is their cover of The Cult’s classic song "Rain". A very fine cover indeed, where the band has managed to incorporate the song into their own style without altering the original elements of this timeless classic. Major difference is Ian Astbury’s characteristic Cherokee style has been replace with o more monolithic vocal. Things get more melodic with the guitar driven "The Blood Is The Life", where Alexander’s partially harsh vocal is almost spoken word. The song is also enhanced sonically with some theremin.

The album continues in the same vein but maybe with a more hark rock vibe, like on the tracks "From Beyond The Grave", "A Dream Of The Tower" and "The Gun Of Love" which has some nice piano touches to it. Their influences, bands such as Type o Negative, The 69 Eyes, The Sisters Of Mercy, Fields Of The Nephilim and The Mission can all be heard here in these songs, like "Welcome To The Necroclub" and "Gotham" that have a bit of all. The album closes with slower "War Is Where You Make It", the longest track of the record. Here, the band offer a dark epic track with a more doom atmosphere.

In general, the band, consisting of Alexander S Wamp on vocals, Thanos Jan on guitar, Dorian Gates on bass and Christos Grekas on drums, deliver us some really fine guitar driven groove goth rock with some nice growls. The album was very finely produced by Peter Rutch (known for his work with acts such as Parkway Drive, Deez Nuts, Falling In Reverse etc) who had also worked on the band’s debut. The artwork is by Angry Blue (of Guns & Roses, Iggy Pop, Faith No More, Slayer and Melvins fame).



Review by Nick Drivas



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The legendary Greek band Lefki Symphonia Λευκή Συμφωνία, who had reunited in 2017, have returned with their new fifth album titled "Σαν Τον Ήλιο / Like The Sun". Their last album was released way back in 1996. The 10 new tracks perfectly serve the band's dark wave / post-punk style in a very contemporary way. The band has stated that they have incorporated melancholic and atmospheric soundscapes with psychedelic and progressive colors. It is a release that stands without any effort, right next to the group's previous gems, which were so decisive for the Greek independent and dark scene. Original members Theodoros Dimitriou (vocals) and Diogenis Chatzistefanidis (bass) are now backed by Kostas Mihalos (guitar) and Vangelis Tsimplakis (drums).

The opening track "Μέχρι Τον Θάνατο/Until Death" was the first of the 2 digital singles that had been widely accepted by their fans prior to the album’s release. A great track that combines all those elements that made this band loved. Nice melodic guitar riffs over sturdy basslines with esoteric poetic lyrics. They are one of the rare cases where a Greek alternative band sung in Greek. The second track "Με Μία Κραυγή/With A Scream" instantly grabs your attention from the very first blast of the thumping drums and bass. A brutal memorable dark composition that is characterized by its dark 80s bassline sound and its alt.rock guitar outbursts. They continue with another dynamic driven track "Μαύρο Φως/Black Light" that’s laid with varied guitar arpeggios, rock riffs and solos. Things get dreamy with "Όνειρο Μέσα Σε Όνειρο/Dream Within A Dream" where for the lyrics, poetry of Edgar Allan Poe has been used. The atmosphere is kept calm also on the moody "Σβήσε Τα Ίχνη/Erase The Signs". Despite the calmness, the track has a dynamic to it. The bass and drums have a great live sound to them, offering a perfect ground for the guitars to lay over their themes.

On the second digital single "Σαν Τον Ήλιο/Like The Sun" that follows, singer and lyricist Theodoros has also incorporated poetry of Romos Filiras. This is a perfect example of their epic pop rock songwriting. Its full of an 80’s feel that’s fits well with Theodoros melancholy vocals. Whereas, on "Χρόνια Σιωπηλά/Silent Years" we have a more melodic post-punk / darkwave track, that apart from the two singles is surely a standout. On "Μήνυμα/Message" the band heads for more psychedelic landscapes with the help of slide guitar, especially at the intro. As the song evolves it steps into their familiar ground, as does the next song "Δάκρυ/Tear", that of a alt.rock with 80’s and 90’s elements. The album closes with the emotional ballad "Εκεί Που Ο Άνεμος Ρωτάει Για Εσένα/There Where The Wind Is Asking For You" that as it proceeds it reaches a climax.

The album has been released by Labyrinth Of Thoughts records in association with The Lab records on March 27th digitally and in 3 physical editions: 200 copies in silver vinyl, 300 copies in black vinyl and 200 copies on digipack cd. All editions are accompanied by extensive inlays with lyrics in Greek and English.



Review by Nick Drivas


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The Greek new wave/minimal synth band Convex Model released today, March 28th, their second album "Quantity Of Motion" on the German label Kernkrach. The project started in 2017 by Nick K. Maldoror (a.k.a. Nick Kapantzakis, member of Human Puppets, Plexiglas and Dislocation Genders). The sound landscapes of Convex Model are created by analogue equipment, instruments and plastic toys. Their self-released debut album "Life In A Glass Cube" was released in 2018.

The band from the northern city of Thesaloniki, Greece, have a love for 80's new wave, minimal synth and early post-punk. From the begging of the album, with "Sightless Open Door", we are introduced to their poppier side, a kind of nostalgic pop that has a slight melancholy feel. It’s the kind of music that seems appropriate for cloudy grey days. Following in the same footsteps we have "Distant Call", that’s a bit more minimal and then the darker "Hollow Inside". The first side of this limited edition vinyl LP ends with "Night Visit", a more up-tempo track that’s still haunting with its icy synths. What is evident by listening to this first side is the use of live drums, compared to the drum machine used on their first release. This has changed the sound of the band, making them sound more organic, as they do when performing live.

The second side opens with the punkier track "Politics Of Lust". Here, the lyrics are more political as the title suggests. We hear Nick singing “You don’t know how many tried surviving today, You don’t care how many died on this day, You don’t know how many were sent away, You don’t care how many cities were burnt away… Politics of lust they bring to you with glowing gold in their hands”. The melodic "Strange Machine" follows, characteristic of their minimal approach, with the melodies played on the keyboards standing out and Nick’s voice hovering in the distance. The tempo steps up on "Cracks In The Ceiling" where the rhythm section come to the foreground. Their dreamy "Illusions Made Of Solid Ice", sounds as if it came straight from the early 80’s, with its melodic bassline and retro synth sounds. A real trip down memory lane, with the words going “Walking down these corridors so long this line of sight, Looking back with eyes that hurt from artificial light”. The album ends with the more experimental piece "Almost A Song". The tone here is darker, with a dominating bass that thuds like a stressful heartbeat

Convex Model for these recordings are Nick Kapantzakis (synths/voice), Stavroula Tsiara (lyrics/visuals), Eleni Tzouna (synths), Kyriakos Tsakalidis. (drums) and George Papadopoulos (bass). The very striking cover design, which is very appropriate to the music it holds within, is designed by Manolis Nikitianos. The album is a limited edition release of 350, pressed in 180gr black vinyl, with added printed lyrics vinyl insert.


Review by Nick Drivas


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KalteNacht (Cold Night) are a minimal/dark synth duet that has emerged from the Athenian underground the last couple of years. Their first self-titled full-length LP "Kalte Nacht" was released on March 12, 2020 amidst the outbreak of the coronavirus epidemic and the lockdown of everything. Composer Nikos Konstantinidis and singer Myrto Stylou have revealed all their sins and inner thoughts through the eight tracks that make up this 80’s inspired sounding album.

Opener is "GhostDance", a dark track with Myrto’s deep vocal dominating over the synthetic sounds and beats. While on "Humans Are Mistakes" we have a pure minimal track that also has some synthwave passages. Things get more rhythmic on "Sanctum", that builds a nice atmosphere with Myrto providing one of the best and more soulful vocals of the album. The first side ends with "Inmost Desire?" where the pace quickens A kind of punky minimal synth track with sharp abrupt sung vocals that sit perfectly on the rhythm.

The second side begins with "Nychta Skia" (Night Shadow), the first of two songs sung in Greek. This can be considered the single of the album, and as such, a video clip was made for it directed by Nikos Chatzis (of Press Eject and Give me the Tape productions). Like the whole album, the themes lyrically and sonically here rotate around the night, something that conjures up visions of urban night scenes. This is also very evident on the next track "A Rare Obsession" where the beat calms down and which also differs with its distinctive bass played by Nikos. The next track "Voices In Silence" is not new to us here at Die Seele, since it was on our "Stimmen Der Seele Vol. 3" compilation two years ago. But here on the album version, Myrto’s vocals have been added over. The album closes with the short two minute "Kalte Nächte", a spoken word piece in Greek filled with sounds and noises as if from a movie soundtrack.

All songs where written and performed by Kalte Nacht, with Nikos Konstantinidis on synths, bass, backing vocals and Myrto Stylou on lead vocals. The guitars on tracks "Inmost Desire?" and "Kalte Nächte" where provided by Panagiotis Dedepsidis (of the post-punk band Data Fragments). The album was engineered and mixed by Nikos Triantafyllou at Sonic Playground and mastered by Iraklis Vlachakis. The cool minimal artwork that fits perfectly with the music was done by Danai Margariti. The album has been released by Geheimnis Records in 300 copies, half of them on black and half on yellow vinyl.



Review by Nick Drivas


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The Swedish post-punk band Isolated Youth returned with their second EP "Iris" released on Fabrika records, a year after their debut EP "Warfare". Since then, they have only released the digital single "Voodoo" released in December 2019. With this second extended play, they present us with 5 new stunning tracks.

First track is "Iris", a song that follows in the footsteps of the debut EP "Warfare" and reaches ever deeper into the fatalistic world of the band. Again, we get those forceful guitars, hunting basslines, thumping drums and Axel’s sentimental unique voice. The video for "Iris" was created by guitarist William Mårdberg, showing cold evening landscapes and some nightlife snapshots besides the band. The track "ICT (Instalment Credit Transaction)" that follows, was the first sample we heard from the EP, released on Youtube a month earlier. A track in which we see that they still retain those ritual and tribal aspects of their older songs "Oath" and "Safety". Also, they still manage to have their distinctive post-punk sonic aesthetic, with sparkling jangling guitar melodies, melancholic rhythms, that exude raw and heartfelt emotions with a voice that seems so fragile and human.

With "Humanoid" things get even more melodic with Axel singing even more emotional and fragile. The song gives you the feeling that the band members have let themselves get carried away by the music, like as if playing in a long emotional jam. Their melodic songwriting is also found on "1984", that also has a nice 80’s indie vibe. It’s as if we have the perfect mix of Morrissey and Brian Molko of Placebo in the same song. By saying this, I don’t want to underestimate Axel’s vocal performance. His singing is unique, full of his own personality. It’s just to give the reader a quick understanding of this upcoming band’s sound. The EP ends with the more energetic and jumpier "Ferris Wheel". Here we have more dynamic drums and guitars strumming with more nerve but still retaining the overall mood of the other songs.



Review by Nick Drivas.


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“Loveless Adventures” is the third full length album and the most ambitious artistic output in Neon Lies’ discography, which will be released April 20th on multiple formats. Wave Tension Records, Cut Surface, Cosmic Brood and Black Verb Records teamed up for the 12” vinyl, while cd and tape are released on Periphylla and Mental Healing, respectively.

Neon Lies started as a synth wave bedroom one man project in late 2015 by Goran Lautar while he was still singing and playing guitar in Modern Delusion and The Celetoids, prominent bands from Zagreb D.I.Y. punk and post punk scene gathered around label Doomtown Records. Soon after that initial period, the project already became a full time one man band adventure. Since then, Neon Lies toured and played shows endlessly, releasing two albums (“Neon Lies” and “II”) on Black Verb Records and Cosmic Brood Records. Also some limited lathe cut 7"singles for Vinylograph and tracks on numerous compilations, including couple of digital only EP's for Balkan Veliki and Detonic Records have been released.

“Loveless Adventures” with its 9 tracks is a result of one year making and relentless touring and it's a perfect blend of minimalistic lo-fi darkwave sound of Neon Lies’ early stages when Goran was revisiting his teenage crush for early minimal synth punk and proto-industrial, and the second album, when he was more into exploring experimentation with repetition, noise, electro and up to date sounds and ideas from European underground dance floors. This album, recorded and mixed, as always, directly on tape by the man himself, finally brings all of this together in one deeply moving and authentic intimate disclosure of personal loss and gain, euphoria, happiness and sadness. But no matter how much this journey was loveless, it was profoundly lovefull. Dedicated to all the loners and their dealers.


Artwork for “Loveless Adventures” created by Sven Sorić, audio mastered for vinyl by Ruud Lekx.


                                                    Release Data
              Labels                                                                           Format
Wave Tension Records (NL)                                           LP/Tape/CD/Digital
Cut Surface (AT)
Cosmic Brood (HR)
Black Verb Records (DE)                                        Release Date : Apr 20th , 2020
Mental Healing (US)
Periphylla (ES)

                                                      Websites
            Labels                                                                               Band
wavetensionrecords.bandcamp.com                            www.facebook.com/neon-lies
cutsurface.bandcamp.com                                           neonlies.bandcamp.com/

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Lupe is a solo project that was created when the album "Burn" happened to be born. The album is the outcome of many strange, unusual days, based on improvisation, spontaneity and pure expression of thoughts and feelings. The man behind this is Michalis Latousakis, lead singer of the Greek gothic rock band Mosquito. He describes his music here on his first solo attempt as gothspel.

The nice thing about solo projects is that the artist is freer to improvise and not getting trapped in the usual norm of a band or some genre stereotype. The album begins with the instrumental piano piece "The Door", serving as an introduction to his music. While with the next track "Burn My Desire" we get to hear Lupe’s voice that sounds very haunting. His deep vocals in general sound spooky with his characteristic vibrato. The song "Why" could have been a theme from a dark (goth) rock opera. The piano in the intro sounds like it’s from and empty mansion. The guitars and bass where provided here with the help of his fellow band mates from Mosquito, James and Jare. In the same tone we have "Dedicated Rain" that as it  gradually grows, it reaches a peak.

"Have You Ever" was accompanied by a very professional video directed by Domniki Kastanaki. Showing urban scenes of decay, displacement and the main figure feeling unoriented in its surroundings. Lupe’s vocals here are even more passionate and distressful. While on "Cold Surrender" the crisp beat of the drum machine is accompanied by strings giving it a more dark romantic tone. The next song "Timeless" is another piano piece that has Lupe’s deep baritone voice that later transcends into a more synth track with some really high pitched vocals. On "She'll Burn The Dawn" things get a bit more classical. The same could be said for "Till That Day" that also features guitars by Kastan (George Kastanakis) who is also responsible for the artwork. The last track "Burned Down" due to the piano, synths and strings, make it sound so neoclassical in style.

In general, we find here many elements of electronic rock, dark cabaret, darkwave, gothic with a dramatic, almost theatrical and cinematic feel. The album was released on digipak CD in October 2019 by Alcyone Records, from Thessaloniki, Greece. The booklet inside contains all the lyrics of the songs.


Review by Nick Drivas

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The Australian band Eden, with the release of "East Of The Stars", celebrate the 30th anniversary of the band’s first release "The Light Between Worlds". This album contains all new recordings of Eden material - classic and rare material from Eden's legacy and new tracks written and recorded in the past year. The band is also getting ready for their forthcoming European Tour with dates in the Netherlands, Germany and Greece already confirmed.

The album begins with the instrumental "Choral Matins". A fine example of Eden’s ethereal sound with lush guitars. While on "Searching for Angel's Hands" that follows, a song that was originally released as a single back in 1990, we have Sean Bowley’s characteristic imposing vocal. The second new composition we find is "Guardian". A great song with nice moody guitars melodies. Next, we have the impressive "Rain Washed" from the "Gateway To The Mysteries" debut album. The title track that follows "East Of The Stars" is the third new song here. We find here also a new take of the "All the Time In The World", a slower dreamy track that is found on their 2017 album "The Edge Of Winter". The wonderful "Hymns And Mist" from 1994’s "Earthbound" follows, filled with layers of majestic melodies. Last track is the more eastern influenced "Stone Cat" from the EP of the same name released in 1996.

As ever the bands sonic pallet ranges from coldwave, darkwave, dream pop, gothic, post-punk and shoegaze. With this release they surely combine these elements majestically, making it also a great introduction to people who are not yet familiar with their work. The personnel on this release are Sean Bowley (vocal, electric guitars) and Anthony Cornish (guitar, keyboards, drum machine). It was recorded in Fryerstown and Toyland Studios, engineered and mixed by Anthony Cornish at Horizon Sound Studios and mastered by Adam Calaitzis at Toyland Studios in Melbourne Australia. The album is pressed on 180gm coloured vinyl in two versions - a superb maroon and a green with smoke effect. The release is scheduled for release on the 11th of April 2020 and is strictly limited to 150 copies. The pre orders have begun.


Review by Nick Drivas.

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The 200 people that gathered at Temple Athens on Saturday 22nd of February were fortunate to witness a rare demonstration of pure gothic rock. Two bands that shared the stage, gave fantastic performances in front of a passionate crowd. I consider us Athenians to be very lucky, having been given the chance to see The Nosferatu (who reformed recently with their original founding members) perform their second only live show here in our city. The band that supported that night was none other than Opened Paradise, the leading gothic rock act in Greece.


OpenedParadise stepped onto the stage precisely at 9:30 as scheduled, starting off with "Senseless" from their debut album "Occult". With them was their new member Gregory (of post-punk / darkwave band Anima Triste) on second guitar. They continued with "Reverence" from their second album "Buried In Rain" and then with a nice selection from their discography, with "Deep Waters", "We Burn The Sky" that was played with great dynamic, "Leaving Dreamland" a personal favorite of mine and "Omega", a track from their EP "Tides". The band gave a really good performance, with great sound, delivering their heartful goth rock with singer Periklis dominating center stage delivering his passionate vocals. The songs "Sin" (a new song), "Visions Through The Circles Of Chaos" followed, closing their set with "Upon The Vast Universe".


TheNosferatu, were interviewed recently by Die Seele, prior to their live appearance here, telling us about the reasons of their reformation. At exactly 10:30, punctual like true Englishmen, the four band members Louis DeWray, Vlad Janicek, Rob Leydon, Chris Clark with backing vocalist Anastasia Resurrection started slowly appearing on the candle lighted stage, taking their positions, before launching into their set with "Alone". Immediately we were transported back to the early 90’s! From that first song we knew that we would be witnessing a very long overdue show by one of the iconic gothic rock legends of the 90’s Goth scene. Before we could catch our breath, they played us their ultimate hit "Dark Angel" with its characteristic heavy guitar riff. When playing this we saw the first human tower made in the audience, a goth tradition amongst diehard fans. They continued with the slower and beautifully romantic "Crysania". Singer Louis DeWray, wearing black shades, sung perfectly with his tortured heartbroken voice, moving with gentle moves, floating to and fro on the stage covered by the smoke. His fellow band mates, Vlad Janicek on bass, in true vampiric garb, was on his right and guitarist Rob Leydon (know also from his band Red Sun Revival) was on his left.


At this point they played us some new songs like the heavy "Demonicus" and the more atmospheric "For Eternity" and "Soliloquy", a song played for the first time live. Older tracks followed, such as "Abominations" from the album "Legend" and "Rise", "Vampyres Cry", "Lament", "Siren" from their legendary debut album "Rise" released way back in 1993. The band performed the old classics as they ought to be, true to their original form, backed by the great drumming of Chris Clark and the siren like backing vocals of Anastasia. They ended their set perfectly with "Close".


After a short break, where they introduced their band members and thanked the crowd for their warm welcome reception, they played for an encore the songs "Inside The Devil", "Lucy Is Read" and "The Wiccaman" leaving their fans surely satisfied.










Review+Photos:Nick Drivas

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The Moscow based label ScentAir Records has released the CD compilation "The Lighthouse Saga", as a limited edition. The lyrics of each piece here were written by the poet Lory Fayer and set to music by groups from various countries. The lyrics tell a sort of romantic saga with the romantic protagonists par excellence, a siren and a sailor. They illustrate the love between the two, starting from the poignant call of the magical creature who seeks his sailor, while in the background enchanted shores are outlined, albeit pervaded by melancholy, to arrive, after the painful collapse of all illusions and the end of hopes, to a union of souls, the overcoming of the material world and the triumph of the dream.

It was Lory who offered the lyrics to artists she considered suitable to interpret and put them into music and the results showed the validity of her choices. First, we have the Greek vocalist Elisabeth Kotronia (known also from her previous band En Garde) who opens the compilation with her refined 'classical' piano piece "Sirens Sing For Love" that interprets the siren's yearning for love. Then, with "The Lighthouse Dream" we find a collaboration between Lory who also presents the vocal part, and Silentport (Roman Rütten solo project), who knows how to give the song the right dose of gloomy evocation while on the atmospheric and melodic "Lost Sailor" the act Winter's Course collaborates with Francesca Nicoli (of Ataraxia) on vocals, the only piece in Italian. Deus Faust (aka André Savetier and Raymond Nelson) on "Al Di La Del Mare" cover the touching words with soft scenarios and poignant piano notes. Then, with the song "Awakening" we have the collaboration between Eirene and Paris Alexander, that offers a short ethereal and spooky interlude. The act Afterglow on "From Our Prison" cloaks in darkness what has now become a prison for the soul.

Halfway through we find Cendre Froide that present a post-punk arrangement for "Mal de Mer". On the next rack "Tomorrow Became Never", Nouvelle Culture with singer Carissa Denee, sing about solitude and despair in a more electro mood. While on "A Promise Left Behind" we have a classical arranged piece set to music by the Mexican Condemnatus. Immediately after, the Portuguese act The Dreams Never End with Sandra Pereira on vocals designs the most dramatic atmosphere for "Dangerous Game". Sadaemon, places the suggestive words of "Until The End Of the Years" in a heavenly background. The Italian Vestfalia’s Peace that gives life to one of the most beautiful episodes, "The Ghosts of the Lighthouse", romantic and evocative. The sad story of the mermaid and her sailor finally comes to an end with "Play A Serenade To The Moon" arranged respectively by the melodic coldwave act Antipole (featuring Eirene and Paris Alexander) and "My Little Siren" by Silentport.



Text by Nick Drivas with reference to MRS. LOVETT Italian review for ver sacrum

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