DieSeele

It’s always great being able to see new bands perform live. We had the chance to see on Saturday two new bands. The American band Second Still that has become widely known worldwide after the release of their debut album and the opening act Data Fragments.




  

The trio Data Fragments took to the stage and performed a half hour set. With Panos Dedepsidis on guitar, Stathis Leontiadis on bass and Panos Dimopoulos on synths, they gave us some really original new wave, post-punk sounding tracks, true to the 80’s spirit. Although this was their first live performance the played really well and tight. Two of their members have a history in the scene since Panos Dedepsidis previously played for the band Κωμωδία Θανάτου (Komodia Thanatou) and Stathis Leontiadis for the band Human Puppets and his solo act Doric. Out of the 7 tracks they played, one could say that the two already known from their demo "Falsifies The Facts" and "Nothing There" which was their closing track stood out.
  

  

  

Next on stage where Second Still, the post-punk / coldwave band from Los Angeles. This band has managed to make a name for itself in such a short time. This is because with their debut eponymous album released in 2017 they stood out immediately with their sound that was reminiscent of older days such as Siouxsie And The Banshees and early era 4AD bands such as the Cocteau Twins. Also a trio, with Ryan (guitar), Alex (bass) and Suki (vocals), Second Still delivered a nicely balanced set with songs from their up till now discography. This was also their final date of their European Tour having also performed at Wave-Gotik-Treffen in Leipzig. They performed their latest EP "Equals" in its entirely, with the tracks "Opening", "Automata", "Walls", "Altar", "Ashes", "In Order" and a selections from their debut "Try Not To Hide", "Strangers", "Judgment" and one of my personal favorites "Sleep". The crowd was taken by their performance and showed their appreciation. The sound was great and the band really kicked it with Ryan’s great guitar work and Alex’s brooding bass lines topped with Suki’s almost ethereal vocal. A really great gig in general with two promising bands that surely deserve our attention.

Review : Nick Drivas
Photos : Marilia Fotopoulou
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'Stimmen Der Seele' is a compilation created by DIE SEELE radio-webzine, featuring underground and some unsigned artists from dark alternative scene ,carefully selected to amaze the listener with authentically inspired music.
credits
released 2 May , 2018

A DieSeele radio production

Production,Editing: Nikos Katsigialos

Photography,Graphic Design: Marilia Fotopoulou


© 2018 All Music Copyrights belong to the bands



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How about we begin by talking about introducing yourselves and letting us know how and when was the band formed, the music production and the lyrics

The band took form as a duo in 2014 with Nick Drivas on guitar, bass, programming and Marily Kitsiona on vocals and piano. We had collaborated together in previous bands (Starblind, Soho 6) during the 90s and 00s and after a long absence from the scene we decided to do something new again. It all started when I finally recorded a song I had in mind for at least 25 years! Even back then when I wrote the song I knew it was destined for a duo with female vocals. So it was just the right time now that we decided to form the band just the two of us. Nick usually records the songs first and then Marily adds the vocals and melodies to lyrics written by both.

Do you consider your music to be part of the current ethereal/dream pop scene, or any scene? Defining one's sound by genre can be tiresome, but do you feel that the band identifies closely with any genre? How do you feel about genres in music, in a general sense?

We are not aware of any current ethereal/dream pop scene, although we do see a lot of new music made by bands of the genre from America mostly. I think our sound does define our music as ethereal/dream pop. We also tend to have a darkwave direction as well since one can say that that’s where Nick’s music origins lay. Marily has a more indie background.

What do you think of modern ethereal/dream pop artists, any favorites?

I really like the latest album "The Edge of Winter" by the Australian band Eden. Also we found the new single "Undone" by Californian shoegaze band Soft Science to be very good. It’s nice seeing great music of this genre still being made. You can discover something new every day.

Listening to your music, Cocteau Twins or Sarah records style come to my mind. What artists (musicians or otherwise) have most influenced your work?

The Cocteau Twins are a definite influence. The whole idea and structure of the band revolves around them one might say. By having female vocals up to using a drum machine. But we also have a more pop side in the likes of bands such as Lush, which we are very fond of. But we don’t tend to just try and just copy bands such as these. We just let the music evolve on its own. You never know how a song will turn out in the end. Usually we have different a picture of the song at the beginning, when it is first recoded by Nick, but when the vocals are added later by Marily things change a lot from the original idea. The writing process is the most rewarding part for us.

What do you think about advances in recording technology as you don’t have to hire a pricey studio in order to produce something?

In our case it is a really big advantage. Because of our personal commitments, work, family, etc. we don’t have a lot of time. So now that we can record and demo the songs at home, it makes us able to write material and have the band. Otherwise it wouldn’t be possible. But we do go to a professional studio to record the vocals and do the final mix. We want at least the final result to the best possible.

The internet has obviously opened things up massively .What do you think about the new forms of spreading music?

It’s great. Now with a band page and some uploaded songs or videos you can have your music listened by people all over the world. That’s fantastic. The only thing is, is that there is so much out there, it take some digging to actually find it. But many good bands surface in one way or another, as with various digital compilations. I think the "Stimmen Der Seele" compilation series by Die Seele do a fine job in that sense.

Your songs take part in several compilations. Can you tell us what the band has been working on and what you've got forthcoming in the near future (new songs, any physical releases, live performances, etc.)?

We released a 7" split single that featured our debut song "Grey Skies April Skies" with the band Remain In Light back in 2016. Since then we have participated in the Paul Roland tribute "Alice’s Curiosities" with our dream pop cover "Alice’s House" and the "Stimmen Der Seele" compilation series with the tracks "Shadows Fade To Light" and our latest "Drown In Shallow Ground". At the moment we are in the progress of writing new material for our first full length album. We have finally reached a good amount of songs to achieve this and there’s always a new idea popping up. So it’s just a matter of time to finalize them so as to have something to release. We are thinking of releasing the album in some sort of physical form. We like having physical releases. Although if until then we are offered to participate in another compilation we will be glad to do so. It’s a nice way to put yourself out there and motive us to do something. As for live appearances, well that’s not something we have in mind at the moment. Our goal is to prepare the material. If in the future an opportunity turns up and we feel up to it, it might happen.



Photos by Marilia Fotopoulou



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What a night !! Friday 11 May and the 3 big names of Fabrika records (selofan, she past away, lebanon hanover) in the same gig and  Gagarin music space full of people.






Selofan opened the gig giving their annual show in Athens.The duet for one more time gave a well-established perfomance presenting their new album 'Vitrioli' and a selection of previous albums. Oldschool ebm energy , coldwave melancholy , batcave and postpunk sometimes retro sometimes ritual atmosphere.Joanna and Dimitris as usually manage to perform a show full of interesting wide-ranged elements, musically, theatrically and visually.


After Selofan , She Past Away on stage. The Turkish duo gave another live performance for the Athenian audience-the second in a year as their  popularity in Greece is growing . Catchy synth loops, solid drum machine and guitar and somber vocals making everyone to dance . As i have seen them on stage two times before , I think that it was their best live performance.Those who were in this gig defininetely enjoyed the new stuff presaging a great upcoming album.





Last on stage Lebanon Hanover. Larissa Iceglass and William Maybelline gave another great performance  built up in emotional vocals, liquid chords, dramatic keys, and distorted digital waves where the duo recalls the sounds of industrial and post punk of the 80's. They presented their new album 'Let Them Be Alien' ('alien' ,'petals' , 'my favourite black cat' ) and songs from their previous albums.

In conclusion, Fabrika festival was succesful and the 1000+ people who enjoyed the gig were very satisfied in the end .Thank you guys for the beautiful night and see you in the next gig :)


Photos : Marilia Fotopoulou
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When Berlin-based Vlimmer released his first two EPs,”I” and “II”, in winter 2015 DIE SEELE described them as "two impressive releases" and “really original”.
They marked the opening of an 18-EP journey which awaits his 10th edition on 4 May. Besides the ever remaining atmospherical character of the music which is loosely based in the post-punk, shoegaze, kraut and darkwave genres, change has always been the constant.

Never has Vlimmer opened an EP in a catchier way than on the upcoming “X”:“Nachwehen” has a deep post-punk bass, a slowed down drum loop and forlorn synths. Alexander Leonard Donat sounds like a fucked-up Robert Smith who’s backed by the sound of rattling bones. With the additional glockenspiel and the piano it’s a mid-tempo song of morbid beauty that states that getting closer to the sky doesn’t necessarily make earthly problems go away.

The 30 minutes of “X” will be available on CD, cassette and as download soon.

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The Chameleons were an English post-punk band formed in Middleton, six miles north of Manchester in 1981. Known for their atmospheric, guitar-based sound and passionate lyrics, the Chameleons are regarded as one of the most underrated Manchester bands of the 1980s. Under the moniker The ChameleonsVox, they were formed by Mark Burgess (singer and bassist) of the band after The Chameleons disbanded.

With this outfit Mark Burgess preformed and brought back to life the sound and the magic of the classic songs of The Chameleons at club Death Disco in Athens last Saturday, April 21st. The gig was sold out and the venue was at its full capacity. The band played a full two hour set with all their classics, playing something from all their albums. As soon as they stepped onto the stage they launched into "Don't Fall" followed by "Here Today" and "Monkeyland" from their debut album the legendary "Script Of The Bridge" released in 1983, making the crowd go wild. The sound was terrific and the band played very well delivering the songs in the way they ought to. Songs loved and cherished by all music lovers of the new wave genre.




"Looking Inwardly" and "Perfume Garden" (another standout) from their second album "What Does Anything Mean? Basically" followed. Mark was in great shape and was very passionate, delivering hit after hit. Nearly all the hits and fan favorites were played, such as "Less Than Human". But it was the songs from their third album "Strange Times" that took up most of the set, with "Tears", "Mad Jack", "Soul In Isolation", "In Answer", "I'll Remember" and "Second Skin". The main part of their set closed with "Singing Rule Britannia". After a small break the band returned to the stage and preformed firstly "Caution" and "Swamp Thing" from "Strange Times" (which was almost played in its entirely) and their first single "In Shreds".



Review by Nick Drivas


Photos by Marilia Fotopoulou
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The Italian darkwave outfit Ash Code stepped onto the stage of Death Disco club for the second time. Since their first visit here in Athens, the band from Naples has released two albums and many singles, so they returned with a much richer setlist this time. The trio took to the stage a bit after 11:00 and after a small intro they began with "Nite Rite" from their second album "Posthuman". The fairly new project that started out in 2014 by Alessandro Belluccio (voice, programming), Claudia Nottebella (synthesizers, voice) and Adriano Belluccio (bass VI), have managed in this short time to have a significant discography and make their own signature style. Moving in the likes of new wave, darkwave, cold wave and synth-pop styles.
 

They continued their set with some of their better known songs such as "Empty Room" and "Oblivion". But also, they played the b-side "Rivers" from their latest single "Icy Cold", sung by Claudia bringing a more atmospheric and feminine feel. In the center of their set they played their cover of The Sound’s classic "I Can’t Escape Myself". The pace of their set was well thought of, with the crowd getting more and more into them as the concert progressed and the more diehard fans started to dance. They ended with their fist single "Dry Your Eyes", which they dedicated to Panos Dread of Geheimnis Records who was the first person that gave them opportunity to release their debute single. After a small break and the cheering of the crowd they played another three songs as encore.

Review + Photos : Nick Drivas
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The second Future Sonic Festival took place this year at club Death Disco. The lineup consisted of three bands, The CabinFever, Boxes Of Blow and newcomers Wanderlust. Each band featured an hour long set. It was remarkable that the turnout was really good, especially for a Sunday. Considering that the night before the club celebrated its 5th Birthday with a massive party that ended sometime in the morning!
First up on stage was the new alternative rock band Wanderlust. This was actually their first live appearance (Although its members have been active years in the scene since they used to be in bands such as Cloudscape, Goya’s Dream, Frequency On). They played very well, showing that they are tight outfit, delivering some very good melodic indie tunes.
Next up was the band Boxes Of Blow that’s starting to make a name for its self the past year. The post-punk band played a dynamic set with a much darker sound that also showed psychedelic, electronic, shoegaze and noise elements. They have a pretty dense sound fronted by their singer/bass player Thodoris Koutsogianni’s deep voice. He also has a side project going on, the darkwave synth driven Strange Sense. Boxes Of Blow played many of the songs that will be on their debut album that has been recorded and is due to be released sometime this year. Most notable where the tracks that have already been uploaded by the band such as "The Longest Lost Hope", "Your Presence" and "Feelings" with which they closed their performance.
Last up on the bill were The Cabin Fever. A new wave/post-punk band that goes way back. They were active in the 90’s and reformed last year after some 20 years! The band members have been in many bands in the past such as The Braindead, The Virgin Web, The Drops, Nexus and New Zero God. Last year they contributed to the compilation "Stimmen Der Seele Vol. 2" by DieSeele.net with their atmospheric instrumental track "Western Skies". Last night they opened their set with "Scream", a very melodic mid tempo new wave track. Then they performed some songs from their early days such as "Breathless", "Let Me In" and "Fear Of Truth" before giving us something new with "In Step With Time". Next they played a really good cover of The Sound’s "New Dark Age". The three piece delivered a really great sound, bringing to mind classic new wave from the 80s. Overall, an enjoyable night, with three bands that show that they have much to deliver and we will keep an eye out for them. 

Review / Photos : Nick Drivas
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Finally, after many long delays Spettro Family’s first full length album “Glow in the Dark” is available in 250 copies limited edition vinyl format. Initially the album was released in digital format in spring 2017 and was scheduled to be released in vinyl during the summer by a US label. The project was unfortunately abandoned and after many months, the album got its proper release by a UK label in January 2018.

“Glow in the Dark” comes in a transparent special green/black splattered vinyl color (looking very cool indeed), accompanied with colorful vivid graphic artwork by the artist. Musically it consists of 10 songs, 6 of which are brand new songs and 4 are songs from previous releases. So, the album could be regarded as a compilation, or at least a nice introduction to Spettro Family’s music universe. For those familiar with Spettro Family’s musical output, this album will be a nice surprise, as the new songs sound very fresh and have a synthwave direction, away from atmospheric darkness and towards an 80s nostalgia and positive mood. Nevertheless, the weird and unexpected music elements still exist (but in a less obvious way), judging from the “horror electronics” subtitle on the album cover.


The album starts with “Diapason”, a new track sounding very fresh and inviting, perfect for a starter. Next comes “The Giggler”, a new track with the same fresh sound featuring movie dialogue samples. Next comes “1978 La Fuga” one of Spettro Family’s best tunes, originally appearing in 2011 cassette album “Candelora”. Dark, moody and full of horror this two minute track is a classic! Next comes “Haunted Zurich”, a nice track from 2015 cassette album “Per Svegliare un Sonnambulo” and finally side A ends with “Brasov Black Biserica”, a reworked track from 2012 vinyl mini album “La Famiglia Spettro”, one of my favourite Spettro Family releases.

Side B starts with “Manhattan Baby”, again a well known song from 2015 cassette album “Per Svegliare un Sonnambulo” and continues with 4 new songs: “Glow in the Dark” sounding like a video game soundtrack, “Disco Sabba” featuring some treated vocals and a groovy danceable rhythm, then comes “Zordak” very melodic and nostalgic. Finally, the album ends with “Villa Sarina”, a haunted 4 minute slow paced track which might seem rather unfitting with the previous tracks, but is very characteristic of Spettro Family’s ghostly sounds and effects and makes a perfect ending to the album.


“Glow in the Dark” is Spettro Family’s first full length release and should be regarded as the band’s most accessible album, compared to their previous works released in various limited 7” vinyl and cassette formats.

Review by Stefan Stavrides
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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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