Sadaemon presents on premiere for Die Seele the tvideo of the title track of his last album "The inner sky" fruit of the collaboration of this colombian musician, the brazilian singer Camilla Sombrio and the italian lyricist Lory Fayer.
The video of this instrumental track shows wonderful skies fulls of clouds,, nothern lights and stars, to suggest the intimate, but often forgotten link between humanking and the energies and laws that dwell in the Universe.
The whole album is downloadable for free on bandcamp:

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We made an interwiew with Gianni  Caldararo, the singer of Vestfalia's Peace, the band that has been  the 2017 revelation of the italian scene, despite their beginnings root back in the '90s with some demo tapes and a  cover of "Scythe & Spade" on "Beyond the Horizon", a compilation tribute to And Also The Trees, but Gianni will explain everything better than me.

Despite your debut cd has been published in 2017  the band's story roots back in the '90; can you tell us something of that far away beginning?

Well, the story is about four friends who shared a passion for music since their childhood. We know each other since we were children and we had been living our lives in a tiny village in the centre-south of Italy before moving towards great industrial italian cities, in our 20s. We started playing at a very young age the music we liked, like goth and new wave from The Cure to Joy Division.

What pushed you to reform the band in 2015?

As I said before, we currently live in four different cities, between Turin and Rome and we rarely met during the last ten years. We used to meet at our native village, in the countryside, only in special occasions such as Christmas or in the summer holidays. We spoke about a possible gig in a local club in 2012 (due to a friend who pushed us to meet and play again a reunion gig) and we did it in december of that year. We felt that it was the right moment to begin playing again more music and to record a whole album with new and old songs.

Time changes us and our lives; do you think that it has changed also your approach to music?

Sometimes I look back at my life and I can see it flowing like in an oil painting or like in an old 50s italian film set in the countryside. This is my first approach to music: remembering memories and put them into melodies that can call back stories from the past. It hasn't change very much and I always try to be honest with myself and mix things I liked when I was younger with my last listenings from the present: so, I think my approach to music hasn't really changed that much. I'm only aware that there is so much new music in the present and that it would be stupid to ignore it.

Is it hard to keep on playing having replaced in different towns?

It's not easy because of the time of our lives before the distance itself. Today you can easily take a train and meet somehow, even if you are very distant from each other. During the year, for example, we use to meet and make rehersals in Florence, that is an equidistant point from where we live, but actually, time is our worst enemy.

Do you think that your origins in a small southern italian town have influenced somehow your music and the subjects of the lyrics?

The fact that we came from an unknown part of Italy (even for italians) is something that many people can't understand. Our whole region is only 300.000 inhabitants, like a district in Rome or Milan and our little town is only 800. When we came back home for holidays it seems almost like we've travelled through ages. The air that we breath, the simplicity of the people and the marvellous view of the surroundings has always filled our spirit with inspiration.

The nostalgia for your birth town seems to come back also in some of your tracks.

I'm glad you noticed it. It's not a nostalgia for the place in itself but for the simple life we used to have until we lived all together. I remember nostalgically when I could close the door of my home and meet with each other. We didn't need a smartphone, skype or any other technological stuff to talk and laugh together. This could sound nostalgic, but maybe it's true: I am very nostalgic.

Why do you chose Vesfalia's Peace as band's name?

This is an odd story. At school, I used to take notes in italian and english while studying History and sometimes there were weird names coming out from my personal copybook. We had another name at the time and it was “Carestia” (Famine in english) but it was really heavy to carry on with, so one day we decided to change it with a temporary one in order to find the final name. We picked it up from my history copybook and we never changed it (even if it's not correct grammatically, but we decided to leave it as it was).

What are your inspirations when you compose a new track?

Books, dreams and the places I've visited are great source of inspiration.
In music, I try not to sound like anyone I like: it could be strange but that's how it is. I try to be Gianni while singing even if I'd like to be Scott Walker or Charles Aznavour, but they are way better than me, so why I should try to imitate them?

There is a track that has a particular meaning for you?

There are two songs, “The Peasant” and “Wet Ferns Shine” that really touch me. Those songs were composed in 2003 and I have good memories of that period in my life. Something was still magical and pristine.

There are feelings or visions that you'd like that the public would have thanks to your music?

I really hope so. But it's something only listeners can feel.

If you should make a balance after almost one year from the issue of "Loneliness" what would you say?

“Loneliness” has been released in March 2017 and nowadays I can't really understand if people had listened and liked it or not. I found mixed opinions about it and I'd like to receive more feedbacks about it.

For you is important to play live?

The live gig is something any band should experience. Recording  is still a mechanical process and the songs can sound a bit artefact because of the overdubs you can add to the tracks while mixing. It's only on stage that you can understand if all the work you made is working. 

What do you feel in front of an audience?

I personally try my best to perform without singing out of tune or hit the wrong note while playing. I feel that this may compromise a bit the fact that I should be more relaxed and maybe let myself go with the audience. 

Do you have any plans for the future?

At the moment we're going to play some live show in Europe and we hope to start recording new songs as soon as possible. As I said before, time is our worst enemy and to make thing well means to take a lot of time for making. We have a bunch of new songs and we hope to record them on the same session and not individually. And, most important, we'd like to find a stronger musical dimension in terms of resulting fresh and new at the same time.

Gianni, I know that you have also another project called "La pietra lunare"; do you want to tell us also something about this?

La Pietra Lunare (The Moonstone in english) is a side-project born after the split with Vestfalia's Peace, in 2006. Duccio and I decided to record an album inspired by italian literature and italian music (the name is taken from a novel by the italian writer Tommaso Landolfi). So we had surrounded ourselves with many classical musicians and we recorded the first full length album between 2009 and 2014, working at the distance. It has been influenced by a lot of songwriters and folk music and the result is a kind of neoclassical / folk music with dark attitude. The record has been printed in 2015 by Lichterklang and it has been reprinted in April 2017 by SPQR label.

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On the last Friday of the year, the Turkish dark wave, post-punk, goth band She Past Away gave another live performance for the Greek audience. This was their third time in Athens, playing once again at club Death Disco. Their popularity in Greece is growing every year, resulting to it being a sold out gig. Another reason for them being so well known in Greece is that their 2 albums "Belirdi Gece" and "Narin Yalnızlık" have been released by the Greek label Fabrika records.
The support act chosen was the relative new band Ghostland. Although they have been active, playing live since 2015, they still have not released any material. They have recorded material for an album and from what we learnt they are in the process of putting the final touches. Hopefully in the New Year will have something released by this promising band. As a four piece (vocals, guitar, bass, keyboards), Ghostland took to the stage and presented a 45 minute set. In that time they presented many of their own songs, giving us a first taste of what to expect by them in a future release. One could say oldschool post punk, goth rock. A nice rhythm section with brooding bass and drum machine topped with atmospheric vocals and guitar. They also played two covers, The Cure’s "The Hanging Garden" and The Sisters Of Mercy’s "Heartland".

Next up on stage after a small break, the curtain opened for the much anticipated She Past Away, since the venue was well packed to full capacity. Frontman Volkan Caner (vacals, guitar) and Doruk Öztürkcan (keyboards, percussion) took their positions on stage and launched into their set playing a variety of songs from their two up to now albums. Most notable, were the favorites "Kasvetli Kutlama", "Sanri" and "Katarsis" just to name a few. Its remarkable how this band has made a name for its self being the first act of its kind to breakthrough their homeland Turkey. Considering that they sing in their native language. Possibly this and the fact that they make great music is what made it possible. They have managed by sounding like something between The Sisters Of Mercy and The Cure to create their own distinctive sound. The crowd was very responsive, dancing and cheering all through their set. Especially at the end where they cheered them on to play another three songs at the encore, showing their thirst for more.

The next day She Past Away played with the Greek act and labelmates Selofan in the town of Thessaloniki.

Review by Nick Drivas

Photos by Marilia Photopoulou (She Past Away), Nick Drivas (Ghostland).
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Just a few days before Christmas, on Wednesday December 20, Fabrika Records presented a very special album release night, in DeathDisco, Athens, Greece. A night with Tango Mangalore performing his new album "Dear Shore", supported by Spettro Family appearing in front of the greek audience for the first time.

Tango Mangalore, already well known in the Greek underground scene, presented his new second album (first on Fabrika Records) in his established stage presence: Sailor costume, heavy eye makeup, friendly attitude towards the audience. Whether his constant blushing smiles were signs of worried embarrassment or were given intentional, is something yet to be investigated. His short screams at the beginning of each song which I enjoyed, as well as his exceptional whispering vocal effects on some songs, reminded me of ghostly Hollywood movie pirates.

Tango Mangalore's onstage perfomance ranged from minimal synth to excessive synth punk, with echo-treated vocals delivered in high speed and energy. His set consisted of the "Dear Shore" album in its entirety, plus material from his previous works and collaborations, notably his debut vinyl album "Commandante Macabro". Most notable songs performed: "Dear Shore", "Mort Marin", "Cry Madame" and the powerful "The Menagerie".
Spettro Family, the solo project of Steve Spettro, opened the gig. Judging from the already overcrowded audience, it appears that Spettro Family has many Greek fans and many people like myself were curious about the Family's show.

Originating from Italy, having strong influences by the Italian horror movies and soundtracks both musically and visually, Spettro Family creates a show full of mystery, aiming to entertain and attract interest. "We are Spettro Family and we are a rock'n'roll band" announces Steve, obviously referring to the beloved Sisters of Mercy in a dark sense of humour. Dressed in black costume with a peculiar witch hat, face full covered like a robber, big leather gloves in his hands, the menacing slow-moving figure takes his place on stage behind the synths, producing creepy synth sounds coupled with sampled scary speeches from obscure Italian movies. The figure has brought his marionette doll with him to assist him in playing the synths, then he moves towards the audience, actually sings in a tormented voice two songs over pre-recorded music (which proved to be cover versions of songs by Drab Majesty and Zola Jesus as I was told), then jumps offstage to pass the microphone to the audience in order to scream along to the successive sampled screams sounding from the speakers. Some were really shocked or taken by surprise like me, while others found the whole thing amusing and funny.

In their 45' show, Spettro Family performed songs from their various releases in an uninterrupted continuous mix with sampled vocals and sound effects. Most notably: "Brasov Black Biserica" the Family's trademark composition from the excellent 10'' vinyl "La Famiglia Spettro", "Manhattan Baby" from the casette only album "Per Svegliare un Sonnambulo", "Diapason" from the forthcoming much anticipated vinyl album "Glow in the Dark".

Lastly, it should be mentioned that great care was taken in DeathDisco's lighting section. All lights were masterfully directed to produce dramatic visual effects combined by the artificial smoke machines, thus making both artists dominating the stage with their sole presence.

Review by Stefan Stavrides
Photos by Marilia Photopoulou
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Halfway there: In 2020 Vlimmer will have completed an 18 EP journey through the gloomy genres of atmospheric music. On 1 December the German one-man project is going to release a double EP entitled “IIIIIIII” / “IIIIIIIII” (EP 8 & 9) which comprises of 10 new songs ranging from airy, haunting dream pop, catchy synth  to dense layers of sound, harsh electronic beats, sawing guitars and even a sampled Cossacks choir.    
DIE SEELE exclusively premieres the electronic dream pop-induced motoric darkwave of “Menschenschichten”. It is music for endless night drives leaving behind the bright lights of the city and the shallowness of thoughts. Digging through piles and layers of Friday night out folks the song depicts finding the one true thing in a place where you didn’t expect anything at all.

“IIIIIIII” / “IIIIIIIII” will be available as download, limited edition box set and on CDs and cassette tapes released by Blackjack Illuminist Records.

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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.


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