The Greek project created in 1994 by Spyros Giasafakis and Evi Stergiou that play Ancient Greek Music with the instruments from this era, mixed with neoclassic, gothic and folk influences, performed last night at club Gagarin in Athens Greece. Since their relocation to London, Daemonia Nymphe hadn’t preformed in Greece for ten years! So the anticipation was very big. Something that showed from the moment we arrived at the venue where there was a huge queue outside for people waiting to get their ticket. Their performance started at exactly 10:00 pm in front of a well packed venue. With a deep droning sound, Spyros Giasafakis appeared on stage holding a lyre with singer Victoria Cooper at his side. Then Evi Stergeiou joined them banging on a drum. From the first minute they created a mystic, magical mood, captivating the audience with their hair-raising music. Then Evi Stergiou took to center stage with the backing singers on her left and right. Behind them stood Spyros Giasafakis with the rest of the musicians. In total the ensemble, consisted of seven musicians and two dancers.

For the next two hours, the band gave us a taste of their ethereal world music, using reproductions of ancient Greek instruments on many of the songs. While the band where playing, the two dancers gave a spectacular show, moving amongst the musicians. In many cases they gave fire dances that suited the mood of the music giving it that ritual taste. Their set had something from all their discography. I personally was overwhelmed by the beautiful ethereal vocals on "Enchanting Oneiro" and "Politeia of the unnamed" that featured the talented Victoria Cooper with her heavenly voice. Other standouts where "Thracian Gaia" and "Psychostasia". In the middle of the set they played two ancient Greek pieces, one being the "Seikilos epitaph", the only surviving score in its whole.

During the second hour, as things started to heat up and the audience was getting really into it cheering and clapping during the songs to the beat, we heard some of their older classics like "Hymn to Bacchus" and "Dance Of The Satyrs". They closed the set with the Greek traditional pagan song "Anastenarides". After all the musicians and dancers gave their final bow and left the stage, they returned after the tremendous enthusiastic demand of the crowd for an two song encore ending with "Thracian Gaia" played once again.

Review : Nick Drivas
Photos : Marilia Fotopoulou
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Last Saturday turned out to be a truly great Gothic Rock night at club Death Disco in Athens. Three bands shared the stage in front of a passionate and thirsty audience. The line-up consisted of the unknown London/Berlin based Das Fluff, German goth rockers Still Patient? and the legendary pagan goth band Inkubus Sukkubus from Gloucestershire, UK.

As soon as I entered the club Das Fluff where already on stage. The three-piece categorize their music as post-punk electro filth and that’s what they brought to their act. Frontwoman Dawn Lintern with her cyber goth hair extensions stood out as she performed quite wild, at times just singing, other times playing guitar as well engaging with the crowd. At one point she stepped down from the stage and ended up laying on the floor amongst the crowd. The other members where more laidback providing Theremin and fuzzy guitar. Their live sound was harsher compared to their recoded material. They played newer songs at the start like "Obey", "Love and Peace", "Bleed Me Dry", "Bom Bom", "Love Bites", "Lost In The Sky", "Millennial" and they closed their set with the older track "Rage" from their 2013 debut album "Meditation and Violence".

Next up where the most anticipated Still Patient?. This was their first time in Greece and both, their fans and the band, where in a good vibe. They began with an intro that was actually a portion of their most known older track "Shadow Of The Empire" turning the crowd wild from the very beginning before it transcended into "Mascara Osiris". They continued very dynamic, playing a great mixture of songs from all their albums, old and newer from their 2013 reformation and after. Their set-list included "The Ghosts of Tides", "Breathe", "Impact", "Seconds Of Fame", "Gods And Satan", "My Darkness Divine", "Drag Me Down", "Metropolis", "The Last Chime" and "Chameleon". Singer Andy Koa provided great vocals and was very easygoing with the crowd, talkative and showing, just as the rest of the band, that they were enjoying every minute of their performance. Guitarist Marcus and Pogue-o with Guido on bass where bashing away the riffs of every track moving around on stage pairing themselves together in true rock spirit. The crowd was going wild especially in the mosh pit where their hardcore fanbase was. They also made the traditional "human tower" at one point giving that extra spice to top the gothic rock evening in the right way. They ended their set with two of their classics, "Anavryn" and "Agoraphobia" before ending with "Sweet Messiah", an old song they hadn’t played in 25 years!

After a short break Inkubus Sukkubus took to the stage Celebrating their 30 years and gave a really great set of songs. This was their third time in Greece so their following new what to expect. The bands core Tony McKormack and Candia Ridley with Roland Link on bass started off with "Vampire Queen" from their latest album of the same name. Then, they plunged into a nonstop pagan goth frenzy with "Lose Yourself at the Nymphaeum", their classic cover version of "Paint It Black", "Night Angel", "Vampyre Erotica", "City Of The Dead" and "Heart Of Lilith" where by hearing  Candia sing “She's a witch, a siren, and a vampire” it couldn’t describe her in a better way. She was radiant, her voice in top shape and captivating and as always was wearing a wreath with white flowers. The set continued with "The Goat" where Candia did the known choreography with the devil sign, "Queen of Heaven Queen of Hell", the mega hit "Belladonna & Aconite", "Angel of Lust", "Away With The Faeries", "Messalina" closing with another old favorite the oldschool goth rocker "Wytches" that climaxed with characteristic vocal lines “Isis Astarte Diana Hectate Demeter Kali Inanna”. After the crowd cheered them on, they returned playing once again "Vampyre Erotica" as an encore.


Review + Photos : Nick Drivas
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Friday January 18th was a special night for DeathDisco's live stage: A music concert/recital by classical trained musicians with adaptations based on well-known songs of various aspects of the dark alternative scene (darkwave, postpunk, gothic rock, neofolk).
DeathDisco's stage was decorated accordingly: royal carpet covering the floor, plenty of pillar candles giving a warm atmosphere, a grand piano dominating the set, along with beautiful antique victorian style armchairs, as well as a stylish cello. The whole stage resembled a cabaret lounge. Upon arrival, everyone was handed a well designed printed programme, containing the setlist and credits. So, as everything seemed to have been prepared in great detail, my initial skepticism about the whole project quickly transformed into curiosity and anticipation.

The concert, executed in two parts with an intermission in-between, was arranged and directed by baritone/pianist Constantine K. ("El Fantasma"), aided by cello player Elli Filippou and female guest vocalist Elisabeth (En Garde). As was prologued, this project was actually based on an idea that was on Constantine's mind for about 15 years, waiting for the right time to be accomplished.
20 songs in total were performed, notably from classic bands like Dead Can Dance, Sopor Aeternus, Nick Cave and the Bad Seeds, Bauhaus, Sisters of Mercy, Clan of Xymox and even Depeche Mode and David Bowie! Watching and listening to all these beloved songs by all these beloved artists, arranged and adapted for piano/cello and performed in opera-like baritone vocals, was quite an experience. It was very interesting to see and realise that each song has a soul of its own, and that soul can be transmitted with an alternate form of musical execution. Of course, trying to distinguish which songs were performed best and which weren't, is a totally subjective matter.

What matters instead, is that the three musicians offered us a passionate, emotional, well-organised and successful entertaining show, based on a concept never seen before. Many congratulations should also be given to DeathDisco, for undertaking and nicely delivering such a special event!

Review : Stefanos Stavrides
Photos : John Kokkonakis
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The Greek darkwave post-punk band Ghostland finally released their debut LP "Dances On Walls" on French label Manic Depression Records. The album has been released on vinyl and digitally. Although they have been active, playing live since 2015 (we saw them opening for She Past Away in December 2017 at Death Disco, Athens), they still hadn’t released any material till this day. As a four piece, with Makrina: vocals, Argyris: guitar, Nikos: bass, Stavros: keyboards, the band present us with what one could say oldschool post-punk/goth rock but with a freshness that makes them sound very relevant to the scene of today.

The album’s eponymous opening track "Dances On Walls", is an moody instrumental one minute track that serves as an intro, preparing for what will follow with "Leave Behind (Hollow Moon)". A classic post-punk track with a very tight rhythm section with brooding bass and crisp drum machine topped with distorted guitar outbursts. Makrina delivers her vocals in a laid back but passionate way giving an atmospheric tone to the songs. On the third track the mood changes with the slower track "Wind Of Knives". From the first thumping of the drums and hearing the baseline one can see the connection with The Cure’s "The Figurehead" from their ultimate dark masterpiece "Pornography". It stands as an instant classic, darkwave at its best, that surely makes it an album standout! Next, they turn up the beat with "Don’t Wait" that stands out with its bouncy synth line but still retains the atmosphere of the rest of the tracks, something that the keyboards and neat guitar work provide. The first side closes with "Sway", another moody haunting track that contains all the elements mentioned above, but here the vocals are even more spread out making them even more atmospheric.

Side two of the album kicks off with the dynamic "The Dancing Crowd" with its very emotional vocal. An instant hit that will surely be heard and danced in clubs all around the globe. One gets stuck by its pace, its guitar riffs and of cause by the heartbroken vocal. The tone grows darker on the following "Ice Song". A sparse arrangement that gives it that icy feel, leaving plenty of space for Makrina’s vocal to echo, through its cavernous structure. The track "Lifeblood", that was released a video prior to the album and could be regarded as a single, shows the band at its best and more powerful. Musically the track is a driving force, with all instruments equally giving it everything it needs to set a desolate landscape for the vocals and lyrics to deliver a cry of despair and painstaking loneliness. After left breathtaking, "Against The Light" follows and closes the album. Another sparse track filled with dark stabs of bass and an icy snare, that slightly climaxes with guitar.

Overall, a great debut album by a very promising band. An album that seems to grow on you the more you listen to it. Dynamic, passionate and atmospheric at the same time, it makes it an enjoyable listen. So, for the lovers of post-punk / darkwave, this is it! Enter the world of Ghostland and find the soundtrack you were looking for.

Review by Nick Drivas

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Remain In Light from the northern town of Thessaloniki, Greece, released their third album in October 2018 on the Brazilian label Deepland records. The band has worked hard these last years to establish themselves on the local and global scene. Always trying to release new material and playing live, like opening for And Also The Trees in their hometown. Since forming in 2010 they have managed very well indeed, having released three albums and two singles. The recordings for their latest album took place during the summer of 2016 and then again in summer of 2017. It took a year for them to eventually have it out officially on Deepland.

Here with their third effort "The Sentinel Diaries", the band presents us with 10 new tracks. All tracks were recorded live with some overdubs added later. Something that gives the songs a more live sound and band like quality. By listening to it one can see that all the songs have a cold wave, dark punk, dark wave, gothic rock, post-punk, alternative rock direction. It’s not easy to describe their sound without listings all those tags since it is a mixture of them all. Surely their love for early 80s goth cannot be hidden.

Opener "Green Book" kicks off in a dynamic way, setting the pace for the rest of the album. Immediately one is taken by Y’s guitars that shimmer the melodic lines above the rhythm section by Constantine (bass) and Ghoul (drums) while the synth work by Joseph D' Anjou adds the final touches to the whole atmosphere. Atop we have Elder K with his characteristic, high pitched vocals, spitting out the lyrics with determination and passion. "Sons Of Terra" that follows is a great piece that has all the elements of the golden era of early goth. On "Hollow Mountain" the tempo speeds up to a more punky groove. The next tracks "The Core/The Void", "Sailing Through Empty Skies" and "One Believer" continue in the same vein more or less offering something different to the whole, with the two later ones having a slower tempo. Prior to the album "The Kiss" was also released as a digital single remixed by DJ Cruel Britannia, but here we have a different mix. The danceable new waver "Urban Traitor" has some early Cure guitar and is one of the catchy songs of the album, while "Mercury Walk" differs with its grand rhythmic stoner style and is also another album standout. The album closes with the two minute instrumental track "Brilliant Blue", a calm atmospheric piece of melodic guitar and synth.

The artwork done by graphic artist why9.gr. is yet another fab example of great aesthetics that adorn their covers. A mixture of early 80’s goth and that of the 23 Envelope graphics group of 4AD fame. The booklet also contains lyrics, credits, info and photos of the band. 

Review by Nick Drivas

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A little before the year’s end, we attended a new festival that took place at Death Disco club in Athens. The lineup consisted of three bands, Meat Injection, Grey Gallows and newcomers Peachblow. It was a good opportunity to check out upcoming bands of the local dark alternative scene.

 Peachblow formed as a trio in the spring of 2018. They create dreamlike atmospheres that combine ambient guitars and synths with acoustic instruments and ethereal vocals. This was their first time on stage. The trio, Tonia Ralli (vocals / keys / guitar), Eleni Liora (violin / vocals / guitar) and Thanos Antonopoulos (electric guitar / effects / loops), played their own kind of dark folk and dream pop in a delicate way. They covered the Cocteau Twins track “Ivo” with Tonia delivering the vocal part very satisfactory. A sure standout moment by a promising band that we will be keeping an eye on in the future.

The dark wave duo Grey Gallows from the town of Patras Greece, formed in 2016, returned once again to the friendly stage of Death Disco. As always with Konstantin (vocals / keys) and Dionisis (guitar / bass) they played what one could say a greatest hits set. Their songs where mostly from their debut album "Tears" that was released on cassette and digitally by Peruvian InClub Records. They started with "Where Joy Hides", "In My Time Of Sorrow", "Grey Gallow" and their digital single "Autumn Leaf". A good mixture of melodic darkwave with goth elements backed by Konstantin’s deep vocal. The continued with the new track "Fuel For Rage", the old school goth rocker "Pure Lust" before they played their cover of "Jasmine And Rose" by Clan Of Xymox. They ended their set with "Ice" and "Under The Grey Sky" as they do lately. A song that has a more electro beat, bringing to mind Anne Clark.

Last up on the bill where Meat Injection,a darkwave synthwave band formed in 2016. They have released 2 EPs and are currently composing their first album ''System Anomaly''. This was the first time I was seeing them as trio, The band consisted of new singer Cleopatra Kaido (ex- Drama Queen), J.Fishbone (Dimitris Katsikadis) on guitars and Giannis Christidis on live drums. They kicked off with an instrumental track “Poison Time”. With live guitar and drums their sound was more alternative rock orientated compared to their more electronic studio recordings. On the second track Cleopatra joined the others on stage and together they played “CockRoaches”, “Death For Fun”, “Hang Me” and their Wipers cover of “Window Shop For Love”. The band gave an very energetic performance with Cleopatra dancing all through their upbeat set. Guitarist J.Fishbone then switched to bass and they played their newer tracks “Dead Santa”, “Lust”, “System Anomaly” ending with “Black Out”.

Review / photos: Nick Drivas

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Kriistal Ann has already established a well known name in the modern coldwave scene, through her notable collaborations with various artists/bands from all over the world, as well as with her participation in Paradox Obscur and of course with her various solo albums.
"Touched on the Raw" should be regarded as her fourth proper solo album, leaving aside the album "Muse" (a collaboration with Aidan Casserly, in a more jazz oriented direction) and the very limited mini-album "For the Sake of Thee", both released in 2015.
Kriistal Ann, a very prolific and active music artist, manages to deliver her best and certainly most sophisticated work to date. Combining elements of minimal synth, modern coldwave and darkwave, along with saxophone and harmonica sounds in a more classical song instrumentation, under a floating dark ambient atmosphere, Kriistal Ann uses simple melodies in crystal clear fresh electronic sounds that match perfectly with her expressive vocal style.
"Touched on the Raw" is an album that doesn't limit itself in a specific music genre, instead it expands towards a very personal unique style, a true characteristic trademark sound one should say. The album consists of 9 songs plus 2 bonus remixes, running total about 46 minutes. Available in numbered limited edition digipak CD, as well as limited edition vinyl (omitting the 2 bonus remixes), the album comes with nice artwork, featuring top style black and white self-portrait photography and contains the lyrics to all the songs.

The album starts with "Lost in Frame", a perfect starter featuring Kriistal Ann singing in great mood and full welcoming confidence from the start. Then comes "Silver Rain", a more minimal synth oriented track containing saxophone and piano tunes, establishing a sweet nostalgic positive atmosphere. Next follows "Black Art", one of the best and most representative songs of the album. A song easily recognisable from the first listen, mainly because of Kriistal Ann's repetitive chorus lyrics. Soon after comes "Talking to the Beast", having possibly the best tune and lyric line of the whole album, this is probably the album's finest. Next comes "Solemn Disguise" a personal favorite of mine, a very smooth track featuring whispered vocals and trembling saxophone, producing such a great shivering atmosphere.
Then follows a very dynamic track called  "A Hundred Miles", based on a poem by 19th century Scottish writer Robert Louis Stevenson, featuring Kriistal Ann's singing in full vocal range and secondary guest vocals by members of Italian band Spiritual Front, as well as notable saxophone solo parts by Dimitris Akrivoulis. Next comes "Going Back" a bittersweet song with a retrospective feeling and regretful lyrics. Then follows "Touched on the Raw" a track lyrically based on a quote by the famous American poet Sylvia Plath, acting more as a balance on the album's entity. Finally, the album ends with "Secret Shore" a spectacular track, starting shyly to later blossom beautifully into pure magic, featuring incomprehensible sampled vocals over irregular saxophone tunes. A perfect ending for sure!
The CD version concludes with 2 longer and well-made remixes of "Black Art" and "Talking to the Beast", that fit nicely without affecting the album's balance and atmosphere.
 Overall, "Touched on the Raw" is an album where the music gets the main role, leaving the vocals and vocal effects to a subsidiary role. Music is enriched with new layers of sounds, saxophone and harmonica, based on musical compositions that evolve and grow flowing beautifully. All songs are perfectly blended together, making a solid well-balanced album that won't tire you even after repetitive listening.

Review : Stefanos Stavrides
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Last night was a great opportunity for fans of the new darkwave scene to attend an interesting gig at club Death Disco in Athens, to witness 3 promising acts of the genre. It was also a special Saturday night for the bands as well since it was the last date of their European tour together.

 Box And The Twins from Cologne, Germany came up first on the bill. They appeared as a duo, with Box von Dü on vocals and Mike Reichel on guitar. It was nice seeing a band that plays darkwave in a shoegaze, dreampop feel. They created a very dreamy atmosphere playing songs from their album "Everywhere I Go Is Silence" with standout for me the better known track "This Place Called Nowhere". Box, the singer, was very emotional and esoteric, moving around singing in a trance like state with Mike on the right side of the stage picking classic ethereal tunes on his guitar. At one point he switched to bass giving a more 80’s tone in the vein of older The Cure.

 Next up was Buzz Kull, a one man act. Marc Dwyer from Sydney, Australia took us by surprise with his electro tunes. This was his first time in Greece and he seemed very happy to be here and it showed since he gave his best on stage. His sound is described as a cinematic blaze of industrial darkwave, minimal synth and post punk. From the beginning he attracted everyone’s attention with his great blasting oldschool beats, dynamic vocals and flashing projections on the stage backdrop. He played a great set with tracks like the newer "New Kind Of Cross" but also from his first album "Chroma" the songs "We Were Lovers" and "Into The Void" with which he ended his set with.

Third and final act was Hante. from Paris, France. This was Hélène de Thoury second appearance at Death Disco. She had visited the venue a year before in November 2017 so she had already created a fan base here. As soon as she took her place on stage she welcomed us to her world and began her journey with minimal synth tracks such as "Le Point De Non-Retour", "This Morning Of September", "Empty Space", "The Storm" and "Noir", ''Il n'y a qu'n pas'', something from all her releases. Hélène was very radiant singing her sighful minimal melodic tunes from behind her control board with projections constantly changing in the back. She created a very captivating atmosphere with her music and she visually gave the right touch of calm moves that the music required. On the track "Living In A French Movie" she took hold of the microphone and moved in front of the stage singingright in front of the audiance. She ended her set with a new song that she told us will be her new single, due to be released in a few weeks.You can enjoy this song and the best moments of the gig in the following videos.

 Review : Nick Drivas
Photos +Videos : Nick Drivas / Rise&Fall

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Floating from one state to another: Vlimmer’s upcoming double EP “XI/XII” (out November 23) depicts the event of falling out of a perfect, yet delusional place into the terror of reality which, then again, is the gateway for something even more frightening: an out-of-body experience in which the protagonist repeatedly switches bodies with a deer he had hit in a nightly car accident. The concrete of the street serves as a death blanket, but it’s the rain that pours down with all its brutality and takes him back from his animal grave into his human body.
Regen” (German for “rain”) is said gateway. Listen to the melancholic, dreamy vocals of Alexander Leonard Donat floating on depressing darkwave synths which, occasionally, provide brief moments of blaze, while the lethargic and dull drum loop is heavily pushing the song, like a dying deer mechanically dragging itself across a rural road until there’s no power left in its body.
XI” and “XII” are going to be released on November 23 via Blackjack Illuminist Records:

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The electronic pioneer and founding father of synthpop, Gary Numan, celebrates his 40th anniversary as recording artist. During these 40 years, Numan’s impact made itself felt; his dark, paranoid vision, theatrically icy alien persona, and clinical, robotic sound were echoed strongly in the work of many goth rock, wave and industrial artists. Twenty-one years after the Numan's tribute album "Random" on Beggar’s Banquet, Dutch label Wave Tension Records releases a Gary Numan tribute album by contemporary dark wave, gothic and dream pop artists. The album contains exclusive tracks by Agent Side Grinder, Ash Code, Shad Shadows, Box and The Twins, SUIR, Synths Versus Me and Then Comes Silence. The release will be a limited edition of 250 copies on black vinyl, as well as digital formats. Artwork for the release by Abdel Ouchene.
In this song premiere, Synths Versus Me turns Numan’s monster hit “Are Friends Electric?” into a fresh synthpop & EBM take with Art of Noise-esque vocals. Big, bold and simply inspired.

Release Data
Label : Wave Tension Records
Format : LP/Digital
Release Date : December 15th 2018



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And Also The Trees are no strangers to the Greek audience. Throughout the years they have performed live in Greece many times. Last night was their second appearance at Death Disco club and as the first time the show was once again sold out! This was also a very special show for the band since it was their 500th gig.Opening act was the darkwave synth duo from Houston Texas, Tearful Moon, who are touring Europe at the moment.

The duo Tearful Moon stepped onto the stage at 10:00pm and played a 40 minute set with Manuel Lozano on electronics and Sky Lesco on vocals. An interesting act that’s starting to make a name for itself with its dark synth compositions. Singer Sky Lesco stood out with her cabaret style blonde bob haircut. Her deep voice and her slow moves where quit captivating. They closed their set with the track "Set Me Free" that was featured on the "Stimmen Der Seele" compilation by DieSeele.

After a short break, while intro music prepared us, And Also The Trees walked through the crowd and took to the stage at 11:00pm. As always, elegantly dressed, the band took their positions and started off in the best of ways with "Slow Pulse Boy". And as if things couldn't get any better "Dialogue" was played second. This band has through the years showcased a rare quality. Away from trends and the mainstream spotlight they have managed to gain a loving and loyal following. Brothers Simon and Justin Jones always know how to deliver on stage. Together with the new members, they performed as they always do with passion. Just to name a few tracks since one tends to get lost in the moment, they played "Your Guess", "Untangled Man" the older "Wallpaper Dying" was a pleasant surprise and "Gone..Like The Swallows" sounded majestic as ever. After leaving the stage, they returned for an encore with the classic "Virus Meadow" leaving the crowd clapping and cheering for more.

Review + photos: Nick Drivas
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