DieSeele

It was a great night. Saturday 11 November 2017 took place DeathDisco's MiniFest v1 a mini festival featuring 3 bands for the first time ever in Greece: "iamtheshadow" from Portugal, "Hante." from France, and "Pink Turns Blue" from Germany. Due to early presale and good promotion, the show had already sold out resulting to no tickets available at the door.


According to schedule, the show started with "iamtheshadow", who got on the stage while the venue was still half-full. The 3-member band from Lisbon, fronted by singer/guitarist/keyboard player/composer Pedro Code gave a sufficient 1h performance of their best material. Notably songs performed: "The Winter's Long", "Hurts and Takes", "Everything in this Nothingness", "Tongueless" and at the end "There is Nothing More to See". Their show was mainly built on their frontman, leaving the other two band members to a subsidiary role. In fact, the bass player was set rather far away on stage, giving the impression of being unconnected with the rest of the band. Musically speaking, the band captured their sound relied heavily on Pedro's characteristic voice, a steady ponderous commanding voice that easily drives us to the band's musical universe. Available for purchase on the upstairs spacious merchandising section were: This year's "All Our Demons" gatefold vinyl album and last year's "Everything in this Nothingness" debut cd album.


While the venue started to get fully crowded, Hélène de Thoury (aka "Hante.") appeared on stage, casually dressed in black and feeling rather comfortable upon our inspecting eyes. She gave her show exposing her inner emotions, sometimes sensitive other times outbreaking, singing her emotional lyrics and playing her expressive synth tunes. Strangely enough, she quickly managed to capture our full attention all by herself, filling the stage with her presence and lovingly french finesse. Many songs performed, including my favourite "Éternité" (...je t’aimerai toujours...) a very representative song of Hante's repertoire. Available on the merchandising section were: This year's "Between Hope & Danger" album on both cd and vinyl format, as well as last year's "No Hard Feelings" 12" vinyl EP.



Finally, it was time for "Pink Turns Blue" to enter the stage and continue the show. A band from Germany, with quite a history and discography on their back which sadly I'm not familiar with. Set as a trio, the band gave a solid compact post-punk sound, based on well played live drums, accompanied by compact skillfully executed bass guitar playing, coupled with accurate passionate vocals and guitars. The band performed their songs almost without gaps in between, resulting in a condensed satisfying show, followed by an even more sufficient encore. After all these years, the band proved to be in excellent shape, as anticipated by their Greek loyal fans.



Soon afterwards, the night continued with the familiar DeathDisco dj programme, giving the opportunity for the bands to sign their merchandise and have a drink, while watching the crowded dancefloor. Also worth to mention, is that after the stage was gear-cleared, a birthday party took place there, with a large double birthday cake offered to selected regular DeathDisco fans. As already said, it was a great night and we 're now looking forward to MiniFest v2!

Review by Stefan Stavrides
Photos by Nick Drivas
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The new Antipole's album is an anthology that collects all the former digital tracks along with six new tracks, all fruit of the collaboration among the historical nucleus formed by Karl Morten Dahl and Anne-Christel Gullikstad with Paris Alexander and Eirene, that despite they appear as "featuring" they are likely part of this group, that seems to have finally found, after some collaborations, a stable singer for its music distinguished by the emotional guitars emotional full of reverbs, that swing among shoegaze and the most introspective tracks by The Cure.


The album is opened by "October Novel", where the initial bass line fades into the echoes of the guitars and a duet singing that sounds like the invocation of a deep desire.
"Shadow lover" it is a track full of romantic love, where you will point out the contrast between the words of love and the malinonia of the music, as if the affective  legacy brings a light that shines in the darkness, a sweetness that succeeds in painting a smile in a tenebrous heart. In "Dans the entrée" the guitars become faster compulsive, with the voice that at first appearstimidly  then it's exalted in the central part of the track, and it becomes like the call of siren in the end.
"Summer never ends" is embellished by the contrast among the danceable rhythmic base, the very dark guitar and the almost industrial effects that give to the whole r a sense of dynamism, of movement toward something warm, as precious as a ray of sun in the norther lands.
"Reflected in you" has some riffles that remind of "Faith" without having its gloom; as if this song's faith would be in an almost symbiotic creature and not an abstract belief; the piece has a sweet atmosphere, amplified by the voice that almost obsessively repeats "I see myself reflected in you."
"Magnolia skies" is opened by the voice of Eirene that repeats "catch me" and the guitars that play a crescendo that summons the vision of a run loaded of expectations and dreams toward that call.
"All alone" swings between goth and a rock ballad, with some subliminal reminders to a lot of faces of dark music.
"Le Châtelet" it is one of the tracks closer to the melancholy instrumentals of the band's debut; here the production is light and the intimate guitar  stays in the foreground accompanied by a deep voice that amplifies the pathos.
In "Someday 45" the guitars serve as counterpart to a strong rhyth line that gives a halo of tension to the track, becoming almost close to EBM in the central part.
"Narcissus" is dark and deep, as an exploration of theunconscious  at rhythm of the bassline and of scratching sound of the guitar.
"Distant fall" has deep new wave sound , with bass and guitar parts that pass from a crescendo to a fading sound, embellished by a cold synth that starts from the initial background to become the only instrumen of the last seconds; as if it would represent a fall in an abyss of ice.
"Closer" it has a rythmics base that sounds like an heartbeat, accopained by the guitar and the voice of Eirene are inserted, sweet and distant, like the one of a fairy that talks from an onyric universe
"Please let me sleep" has a rarifed atmospheres created both by the reverberated guitar and from the remote voice that give a dreamy halo to the track.

The intense instrumental cover of "Insight" closes this album, as to remember us that music doesn't need words to express feelings.




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On Wednesday 18 October took place the first concert of Whispering Sons in Athens-Greece, supported by local band Anima Triste. One would expect that Whispering Sons would be tired and exhausted on their last gig of their 26-date autumn european tour, but... no! One would expect that Whispering Sons would be shy and uncomfortable first time in front of the ever demanding greek audience, but... no! Whispering Sons, the 5-member young band from Belgium gave an excellent perfomance, playing all their songs and even exhausting their full setlist on their greatly urged encore.
 The band begun their show practically doing a soundcheck, then suddenly stopped to properly restart later, giving the impression of a band performing in private and not in public. However, as the setlist proceeded, pure magic happened: The band's female singer (Fenne) started gradually transforming from a sweet harmless girl to an unpredictable menacing young woman, moving and jumping all over the stage, even violently knocking down the microphone. But what really the pure magic is about, is that Fenne constantly reacts to the music produced by the rest of the band, making her self-expressive unique moves, dancing and vibrating to the rhythm, and finally succeeding in drifting the hypnotized audience along the music. There were moments that I personally felt intoxicated by the energy released, forgetting about where I was and what I was listening. Pure magic! Whispering Sons have their own distintive sound that manages to stand out: Great dominating melodic guitar, built upon a solid electronic drum pad sound, coupled with firm discreet bass, accompanied by female low-ranged emotional vocals by "Miss White Shoes" Fenne.
Best songs performed were "Strange Identities", the band's well known video single, "Perfomance" and "White Noise", the band's vinyl singles, but also my favourite "Time" from their debut album entitled "Endless Party". At the end, the band seemed very satisfied and thankfully promised to return soon! We'll be waiting!


Anima Triste were undoubtedly the perfect match to introduce Whispering Sons to the greek audience. With many similarities in their sound, the 4-member greek band gave one of their most accurate perfomances so far. Driven by their expressive passionate singer, Anima Triste performed many songs off their last year's self-titled debut album, as well as new songs waiting to be recorded for their upcoming second one.
Best moments were "All of You", the band's most well known song, "Hades" a new song played in a new way that I really enjoyed, "Idiocracy" one of my personal favourites, and finally "Believe in Nothing", the song they chose for the ending, with a great perfomance by the singer MadSad, accurately delivering the peculiar dialogue-style vocal treatments at the beginning of the song, as well as a great guitar effect treatment by the guitarist Greg Dirt at the end. Anima Triste confirmed once more that they are in excellent shape, ready for their next big step: a second album with everything and everyone included to be much much better!

photos by Nick Drivas
review by Stefan Stavrides
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photo by Moon Dust

How does a dreamer, a dream chaser feels across the time? From the days when she-he had a blind faith in them, until the days she-he discovers that they don't come always true? Floating in a melancholical atmosphere, rarefied and ethereal, as the matter of dreams and of the immensity of the Universe is, like the music of this track and of these words; where the awareness of disillusion didn't casts away the dreams, but gives them a renoved, never ending time into Eternity. Because maybe dreams are too perfect for life, but they are waiting for us in Heaven, or maybe just because dreamers will never stop to dream, as dreams are like the fairy tales: we know that they are not true but we still love and find them beautiful.

in Onyria's dream

you were for so long in Onyria's dream
in all her thoughts flowing like a stream
when she plunged in a state of trance
and her mind was floating in a dance
when she flied away from the world
and her innermost desires unfurled
up in the sky, away from ordinary life
where fantasy and happyness are a rife

you never saw behind Onyria's eyelids
her secrets laying in these remote islands
you never sailed on the sea of her eyes
towards a place where love is the prize
towards a shelter kept jealously apart
to awaken the sweetness of her heart
to paint on her face a smile full of bliss
whispering promises inside one kiss

Now you have crossed Onyria's eyes
looking sad in a prison of mist and ice
now she's too afraid to ask you to stay
time has dyed all her dreams of grey
if you could steal for her the Rainbow
hold her in a hug that melts the snow
comfort her when the day is fading
suggest her that Heaven is still waiting

Please sing a lullaby for Onyria tonight
the story of one princess and one knight
and after take her sweetly by the hand
to bring her back home to Dreamland
if you don't know the way to go there
just close your eyes and lie beside her
she will open the door of that kingdom
where you will find love and freedom



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Driven by Alessandra Gismondi (vocals, bass) and Luca Bandini (guitar, synthesizers and drum machine), the Italian duo Schonwald has already became one of the 'hot' names  in the European dark underground scene.Their fourth  album 'Night Idyll' contains ten songs and released on Manic Depression Records in 1st of June in vinyl, CD and digital format.

The new album follows the same path with the previous albums. Minimalist, synthetic  and hypnotic atmospheres reminding legendary bands like ‘Cocteau Twins’ ('sleepy destiny' ,'austral') , ‘Jesus and Mary Chain’(‘love Collides’), 'Suicide'('a secret') evoking the spirit of the 80s but also bands of today like : Soft Moon , Kvb e.t.c. There is a perfect balance  between dream pop , shoegaze  and post punk carried by sonic guitars , driving beats usually with danceable tempo and the sensual  sometimes ethereal ,sometimes childish vocals of Alessandra.

This  album reveals an impressive number of great songs talking about  love-passion lasting over time. My favourites:  The bright 'Austral' with the great basslines, the melancholic and hypnotic 'Sleepy Destiny' that gives an ethereal swirly feel , the first single 'Love Collides' with the beautiful video, the blissful 'Oceans' with the great dreamy vocals and the closing song  'temple'  a perfect blend of  cold electronic sounds riddled with hypnotic vocals.
In conclusion , Night Idyll is a carefully chiseled piece of dark pop that sounds really fascinating everywhere,in the club, in the car, in home . As a pure listening experience, Night Idyll, like all of the Schonwald albums, delivers a lot of musical ideas in a modern way. Highly recommended to all shoegaze, dreampop,postpunk listeners.




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EDEN was an historical name of the '90s wave, so we'd like that you make us a small history of the band for those who are too young to have known you in those days?

EDEN is a Darkwave band that formed in Melbourne,Australia in 1988 by singer-songwriter Sean  Bowley and Multi Instrumentalist Pieter Bourke.  EDEN’s debut performance was at the Baden Powell Hotel, Prahran. The band quickly established a local following that saw them perform regularly as a fixture in Melbourne's burgeoning alternative music scene.
EDEN’s initial 12 inch EP ‘The Light Between Worlds’ was released in 1990 on Nightshift Records, Scotland.  The EP caught the attention of BBC Radio's John Peel who featured tracks on his show, resulting in rapid support of EDEN by The Alternative Press Magazine in the USA.  A 7” single version of the track ‘Searching for Angel’s Hands’ was released by Ultimate Records Australia the same year, broadening EDEN’s supporter base through a live appearance on Australia’s national pop music TV series Countdown Revolution.
In 1991 EDEN moved to London based label Third Mind Records who continued to grow the band’s profile in Europe and the USA through the 1992 release of their first full length CD ‘Gateway to the Mysteries’ (released in Australia under Elysium/Shock Records). The album was described by the music press as sounding akin to 'the Cocteau Twins had they existed in the 1890's. In 1993 EDEN joined the roster of Projekt Records, USA releasing the ‘Healingbow’ EP.
In 1993, the band established a new lineup, Bourke departing as drummer Peter Barrett, keyboardist Paul Machlis and bassist Ewan McArthur joined Bowley for ‘Fire and Rain’ - EDEN’s second studio album under the Projekt label (1994). Allmusic'sNed Raggett found the new lineup's music to be "an intriguing sonic palette, extending the goth/psych tendencies of Bowley's particular muse to their logical conclusions”. The same year Eden released a CD of remixes and rarities titled ‘Earthbound’. The ‘Stone Cat’ mini-album was released in 1997.
In live performance EDEN have shared the stage in Australia and overseas withRowland S. Howard, These Immortal Souls, Underground Lovers, Lycia, Love Spirals Downward, Attrition, Heligoland, Ostia and countless others. EDEN undertook a promotional visit to the UK (1990) and an extensive tour of live dates in the USA (1996).


What lead you to leave the music scene and what pushed you to return after many years?

Life simply had other plans for me and for a time I headed off to explore other life experiences. I did in fact leave the live music scene but did not stop writing music. I moved to the country and built a home studio and found that I was happy enough to sit at home and write music rather than perform it. I was living remotely and cut off from the resources a city has to offer for performance of live music or engaging with the music world.

Could you explain to us why do you chose EDEN as band name?

Back in 1988 the original members of EDEN spent two or three days writing lists of potential band names. Somehow and for no apparent reason we settled upon the name EDEN.


Eden line up had several changes but your music has kept the original style, so I guess it's connected with how you chose the band members?

Yes indeed it is very much linked to the style and musical personality of each player in EDEN. Its actually reasonably difficult, if not a reasonably unlikely prospect, to find band members who posses the right playing style or finesse to assist with creating the EDEN sound, though by no means impossible. EDEN currently consists of Andrew Kutzer on 12 String guitar. I have known Andrew since the 1980s and have been working with him since January 2000. He is a player with unique styling and finesse - a mighty fine rhythm guitarist. On bass guitar, keyboards and drum machine we have Matthew Sigley. I have known Matthew since the mid 1990s. We used to hang around in a common circle of friends back then and we were both playing in bands. Matthew first played with EDEN in 2014 and has remained ever since. He is gifted bassist and keyboardist who has a flair for writing beautiful simplistic riffs and melodies. Of course at the heart of the history and sound you have my input and song writing. I drive the musical personality and maintain the EDEN vision. I have been involved in creating the EDEN sound and guided the evolution of EDEN’s sound since 1988. So I guess I am the key. Without me there’s no door to unlock, no interest in walking through the door and no journey into the creative space that is EDEN.



There is a concept you develop in any single album or single or each track has its own story?

Each track has its own story and each song becomes a chapter in the book that is an EDEN album. The songs are reflective of my life journey. They are written when the right conditions are met that enable me to write. Inspiration can be a delicate quality. I cant exactly define what my life circumstances need to be in order to right but the underlining qualities would have to be passion, inspiration and the ability to become lost in the creative state.


What are your sources of inspiration?

Life! The big things that happen to me and the often obtuse but beautiful things that I enjoy and experience in this world. There a things that directly inspire my creativity and things that indirectly assist simply by being something that I love.
Your music sounds dreamy. Which role do dreams, fantasy and emotion have in EDEN?

Emotion is the prime driver. Feeling is the flint that strikes the stone of creativity. Each spark shoots into the night and potentially lights the fire of a new creation. Creating is a thoughtless state where melodies and words flow from an inner well of creative potential. By the side of that well sits the muse and she is the key directing the opening of the door into the real of limitless creative potential that lies beyond.
Dreams, creative vision and emotion are all central to EDEN’S music. As is faith in limitless potential even if that be the denial of limitation via working within or with what you have. There are worlds within worlds and there is every conceivable way of breaking, ignoring or redefining any barrier or limit. These are rather bold statements but who cares because to care is to create. You have to be able to care to have the ability to create. To care is to believe that it is possible to follow your heart or souls desire to create something beautiful and change the world. It makes little difference if that change lasts for a moment or makes a difference to ten or ten million lives. The fact that you have been fortunate enough to exist in the creative state and be involved in creating something that makes a difference to the world beyond the machinations of your own ego is a huge achievement and likely to be the most precious thing that you achieve in life in addition to learning to love.


Despite the long lasting stand by of EDEN your new album is coherent with the '90s ones, and in my experience it's not so common as I came across several reunited bands that kept few more than the ancient name; how do you kept this coherence through your artistical path?

EDEN is an evolving musical journey. At its core is a very clearly defined concept and sound. I think every truly great musical artist shares this very circumstance. The sound may evolve as the artist grows but essentially there is something in the personality of the sound which makes you recognise who you are listening to even if it be a track you have never heard before. Many musicians have a distinct sound and singers each have a unique personality in their voice. My singing and guitar playing have evolved over the years but I have always sounded distinctly like myself. An EDEN song is pretty easy to recognise when you hear it. Over the years listeners have said that we have a very familiar sound that reminds them of something or several someones. Usually they cant quite articulate exactly who it is that EDEN’s music reminds them of. Usually at the end of the day people who enjoy the music produced by EDEN simply accept it as EDEN music. I believe that the familiar sounding quality that people hear in our work is a testimony to the quality and high calibre of our work. We sound familiar though we haven’t really been heard. I like this notion...we are simply and uniquely EDEN.


I gave a look to the lyrics of your last album, to me they seem as "snapshots" opened to interpretation, or maybe a hint to the insight to guess the feelings and histories that lay beyond...

In lyrics everything lies beyond. The words are vessels for conveying emotion. The sound of the music and my voice are also vessels for conveying mood, feeling and emotion. The songs are indeed snapshots of something I have felt or lived. The songs are never literal. Everything is unfinished and by implication. The sound of our instruments and my voice are just as important as the words. Everything ties together and amplifies the emotive effect of the music we make. When I write and sing words I keep the words sparse and simple so that the emotive tonal quality of my voice is able to play its part in EDEN’S sound. I can sing wordlessly or with words. I choose words so that i can further enhance the emotive intent by combining the sound of my voice with language that relates to the emotional setting of a given song.



You have chosen for the official launch of your album the Wave Gothic Treffen , it will be your first time in Europe, in a very important established festival. What expectations do you have from this?

Fortunately the organisers of WGT 2017 invited EDEN to play at the festival. So we have them to thank for bringing us to Germany to play at the most important annual music festival for our style of music. We will be releasing our new album/cd at the festival and plan to put on a high calibre performance at the Schauspiel theatre at 7.00pm on June 4. We hope to sell lots of copies of our new cd as it will become a darkwave/dreampop classic. I don’t think a high calibre album like ‘The Edge of Winter’ will go unnoticed. It’s destined to become a classic of this genre. These are my expectations. We will have some special posters available at our show on June 4 and will be signing them for audience members who would like one.
Please register your interest on our Facebook event page: https://www.facebook.com/events/1898706340413217/


Do you have any other project for the future?

EDEN will start writing new material for another release in the not distant future. Though as we all know these things can often take longer than expected :).  Nevertheless we are aiming high and dreaming up big things creatively speaking.

WWW.EDENSEANBOWLEY.COM





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"Schwarts" is a newly founded cultural club from Kassel in Germany,which has set itself the target to promote art, culture and music of underground scene. For this purpose Schwarts team  organize a series of festival with the idea to present a different country as a partner each year and to mainly take artists of this nationality into the program. This year  Schwarts chose Greece as their partner which is also the second exhibition venue of Documenta this year.


The first Schwarts festival took place in Panoptikum club from 5 to 6 May. The venue inside was decorated with dolls and gothic aesthetic  and the Schwarts team  welcomed people with black costumes. On Friday ,the program was dedicated to dj sets and art exchibitions…In various rooms  the visitors could explore photography exchibitions and other artistic projects and in the main stage the 5 djs  offered a dancing program. DieSeele (Rise&Fall-transmission) joined the party with his own set.




Saturday 6 May  was dedicated to the live performances by 4 Greek projects. First on stage the the Brussels-based personal project of the Greek musician and vocalist Eleni Nasiou  MELATONINI  accompanied by the bass player Eliza Lozovska and the intermedia artist Emmanouela Charatsi a/k/a Man.Ou.Elle. Weird rhythms and noises really produced  a dramatic effect  with  dark soundscapes and the  mystical visual appearance onstage producing an impressive artistic result .The songs : ‘poser’ and ‘separation’ delivered the band’s strongest moments. They left me an excellent impression and I think in the future they can give us quality music.

  





After a short  intermission, on stage KRIISTAL ANN-Anna’s Michailidou personal project - which also offered us about 45 min. of ethereal synth melodies .The warm and emotional voice of Ann accompanied with beautiful visuals created a poetic  and sometimes dramatic  atmosphere. We enjoyed favourite songs like: ‘fading lights’ , ‘she walks in beauty’ , ‘remembrance’ , ‘Antigone’. 






Kriistal Ann continued with the PARADOX OBSCUR – the minimal synth project from Rhodes island which she has with Toxic Razor . About 1 hour with dancy ebm and minimal synth tunes accompanied by Anna’s passionate voice and sometimes Toxic’s  deep vocals.The high tempo danceable rythms and  the  powerful visual design raised us to dance. The best moments were : ‘flesh’ , ‘dirty parades’ and a beautiful remix of ‘dark fortress’but the big surprise for all was when the Mexican guy  Rogelio Serrano(Equinoxious) went on stage and performed the song ‘cosmodromo’ with Kriistal Ann.







Finaly the live gig closed with another great performance by the Athenian dark cold wave duet SELOFAN. We enjoyed some songs from the new album  ‘Cine Romance’ but especially from the previous ones ,visualizing  the songs on stage adding  up an artistic output to the concert. Joanna and Dimitris gave their best and captivated the audience for about 1 hour.






The gig closed with another dj set by Rise&Fall( transmission/ DieSeele).


It was an unforgettable experience and I would like to thank the organizers ,the groups and anyone else  involved ,for the two beautiful  days we spent in Kassel ,two days with Greek  colour..

Enjoy the following videos:

Selofan-Orient
Paradox Obscur-Dirty Parades
Kriistal Ann+Equinoxious-Cosmodromo
Kriistal Ann-She Walks In Beauty
Kriistal Ann-Remembrance
Melatonini-Separation
Melatonini-Poser



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