DieSeele


Siberia are an English goth rock band formed by Matt Wyatt on vocals and Dave Drum on guitars and all other instruments. They were both formerly together in the 90s gothic rock band Vendemmian. As Siberia, they released their debut album "Turning Back Tides" in 2017 and have played live around England and in Germany, Greece and Italy. I then had the opportunity of seeing them live when they played at club Death Disco in Athens together with the local bands Drama Queen and Mosquito and witnessed first hand how this band perform perfectly its emotional tunes on stage.

Exactly two years after their debut, the band have managed to release their second album "The God Complex" again on the Swiss Dark Nights label. On this new offering, the band follows the same path as on their first album. Gothic rock that is enhanced with Matt’s emotional vocals and Dave’s great trademark atmospheric guitars. Something that is immediately noticed with the opening track "Sleepwalking". Things start to get more dynamic with the next song "Lone Star State of Mind" that is more of a rocker and surely stands out. On "Walk Through Walls" we get a heartbroken track of a relationship gone bad while on "Crows" the mood lightens up a bit. Midway we get "The Way Of The World" where to beat drops and they explore ones inner struggle of life’s burdens.

The second part of the album starts with the upbeat "Starting Fires" that states a feeling of longing and regret. Then we have a change in mood with "Walking In A Dead Man's Shoes". A slow track driven by bass and drum machine with the guitars swirling in the back setting a dark bleak landscape. Next is "Memphis" a classic Siberia track, one that could be a single with its memorable chorus before they launch into the darker "Blackwater", a song about belief with some religious references. The album finishes with the short ballad "Sims Song", ending the record on a sweeter tone.

With this album, Siberia have managed once again to deliver a very emotional intense moody piece of work. One that really makes an enjoyable listen. It’s one of those records that you can really get into especially when listening alone, paying attention to every sound and being sucked in to its vortex. All ten tracks are really good and have a great flow making it hard to choose only one or two favorites.
  

Review by Nick Drivas



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Malefixio are a Deathrock, sinister dark post-punk band from Barcelona, Spain. The trio consists of Eva LadyStardust (vox, lyrics), Jordi Nozin (guitar) and Mauricio (bass/drum programming). Since forming in 2016 they have released the album "Culto a lo Invisible" in 2018.


We see that the band formed in Barcelona in 2016. By February 2017 you had released a demo on Bandcamp with 2 songs that started to make Malefixio known. Tell us how about the first years and how it was starting afresh again, having in mind that Eva was previously in the goth rock band La Peste Negra?

Eva wanted to sing in a band again, a new different band. So we joined at first to play a cover and see if the feeling flowed between us. We prepared a cover, "Trivialita" by Madre del Vizio and after that we began to rehearsal 2 times per week and ok, here we are. 


What was the reaction after the release of your first demo? Did you get a lot of positive feedback that helped you continue in what you were doing?

Yes, we had a positive feedback about it. People liked our 2 songs a lot. We even had some record proposals from different labels. In that time we had 3 songs more and we thought to release an EP, but after we wait a little more and we decided to released our first album. 
 
All through the years, there was always a small deathrock scene around the world. Small and cult one might say. How do you see things today for a band that follows this genre?

It’s a very strange global world nowadays. It’s that moment in the history when we have more easy access to information but at the same time people are very lazy. I remember in the 90s we discovered bands when they had split up. We had fanzines and people really involved in the scene, parties were full of young people and we used to change cassettes/cds between us with new bands. Nowadays we discover bands just by their first song, it’s amazing. For us it’s really good and we buy music directly from the bands. Even we play with a lot of new and incredible bands of that moment: Date at Midnight, Ötzi, Second Still, Chain Cult, Jackaline... Things changed but now there are a lot of new people that like darkwave/deathrock/postpunk bands and this is really good. 
We are lucky, people come to our concerts and we are very grateful about it. We think it is a good moment to create a band. 


Last year in 2018 Malefixio released their first album called "Culto a lo Invisible" via Fairy Dust Records, a label from Helsinki. How was the process in making your debut? Did the band have any help or was it the traditional DIY effort?

We recorded "Culto a lo Invisible" in our friend’s studio. Satantoni is a diy studio by My Own Burial band creator. We stayed several months to record it during winter/spring 2018.
The cover is a collage made by Eva of Viridiana, a movie by Spanish surrealistic master Luis Buñuel. The symbols is a defixio, part of our name. A defixio was a Mediterranean curse, before Christ era, written on the graves for wish the worst luck to enemies even after death. This way the enemies didn’t come back for revenge.


What subject matters do your song’s lyrics have? What are your major influences and what inspires you in general?

In general life. Specific Mediterranean/Persian mythology, paganism, witchcraft, ancient civilitations...


We see that you like playing live and that you have shared the stage with bands like The Beauty of Gemina, Ötzi, Chain Cult from Greece, Second Still, Fangs On Fur and Date At Midnight to name a few. How is it for you to appeared on stage and perform before an audience? Any memorable moments from playing live?

Playing in front of an audience is a theatrical way to show your music. We don’t just play, we would like to make the public travel to our world. 
Every concert have memorable things for sure. 


Except playing live in Spain, you have travelled also to France and Germany. Are Malefixio a band that would like to play all over the world? Any place in particular that you would like to play?

Yes of course, we love to play live. We would love to play in every city in the world. We are open to all promoters, they can write to us. 
About playing in special places...We would love to play in ruins, castles, temples... any special place full of telluric energy.


What are you plans for the future? Will we be having a new album from you anytime soon?

We are working on new songs. We would like to release an Ep for 2020.

Interview by Nick Drivas.





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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 16 April , 2019

A DieSeele radio production

Production,Editing: Nikos Katsigialos

Photography,Graphic Design: Marilia Fotopoulou


© 2019 All Music Copyrights belong to the bands



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Anima Triste are a darkwave / post-punk / goth rock band, based in Athens Greece. They started in 2014 and after performing many live shows they released their debut self-titled album "Anima Triste" in 2016. Having supported acts like Garden Of Delight and Whispering Sons, the band now is ready to release its second album "Humanity" next month in May 2019.


Having listened to your debut album, we see that the band manages nicely to balance between darkwave and post-punk. What is your approach when songwriting and what are your major influences?

Greg DiRt: First I would like to thank you guys for this interview. It's our first in English so...
To me as a songwriter is always interesting crossing genres regarding writing songs for Anima Triste and especially for the magical voice of Mad Sad, trust me when I say it's very challenging. Take as an example the song “Stars”.
It starts like a common pop song, then the drums with the bass gives the beat and it climaxes to the main riff of the song which is obviously a standard “rock guitar riff”. Then it suddenly changes with that huge bass riff in the 1rst verse, then the main riff again and changes again at the 2nd verse with that change in the guitar. Then there is the “punk” bridge and then a completely different chorus that sounds like a ska band... It’s kind of crazy but it worked because it happens for me to work with very talented musicians.
All this process happens mostly in the rehearsing studio and most of our songs, at least in the first album, developed in the studio and our fixation was to record our debut album as it is, raw. And the sound you get in the debut album is the mixture of musical minds playing live at gig somewhere. That was the purpose and I think we managed to do it.
For me at least, I don't have a special genre that I worship and it's kind of liberating when writing music. I grew up in the Greek countryside in the late 80s and 90s and listened to all the music that my friends gave me in mix tapes in cassettes. I still have stored somewhere in my apartment. You know, all that KWOBHM bands, American Heavy Metal, English Pop and new wave on the radio, Greek rock and punk bands of that time, all that stuff. And because I was a child of a low class family, raised in the Greek countryside I sucked all the music that could reach my attention. And finally became what I am today.


You’re a band with the classic 4-member line-up consisting of Mad Sad (vocals), Greg Dirt (guitar), Gus Black (bass) and Jimmy C (drums). We have seen that you have sometimes had a keyboard player with you on stage. Will he be a permanent fixture in the future? And are you seeking to expand you sound?

Greg DiRt: Well... There is always the need to expand the sound. A little time before the debut album came out we were whiting the material for the 2nd album. As a songwriter I wanted the 2nd album to be completely different than the first album.
That was mostly because of my state of mind regarding to my troubled marriage and the inevitable divorce that is the “Humanity” album, at least for me. That's why the majority of this album is so emotional and so dark. I used synths, sound effects, extra guitars, 12sttring acoustic guitars, theremin and different arrangements in the production and went straight black in this album. That's how I felt at that time. I'm very proud of this work because as a musician I managed to grow to the songwriter I always wanted to be.
It's true that Corvus Necro played with us a few gigs after the debut album came out and he was a member of Anima Triste for a brief time but it didn't work out for us.
Even though our paths didn't meet after all, you can hear his keyboards and his voice in “UOY”, the synth in “Almost There” in the single version. As long as the keyboard riff in “Hades” in our second album.


We see that you as a band deliver very passionately on stage, especially your singer Mad Sad. What does playing live mean to you?  Are you a band that seeks to step up on stage at every opportunity?

Greg DiRt: Hell yeah we go crazy on stage, every time we go on stage it's like we're going to war or something... Performing live is (and trust me) better than sex sometimes! It's that mystical chemistry between us combined with the crowd, the loud music, the smoke machine, the lights, Jimmy behind his drums, Gus playing his bass, me delivering the proper notes with my guitar and then.. that beast that is Mad Sad, surfing the stage, looking everyone in the eye, tearing himself in shreds for everyone to see... Mad Sad is one of the best front man/vocalists/performers out there even he will never admit it to anyone.
As a band we want to play live when there's something for us to “say”. We don't care gigging around playing the same material over and over again. Of course there are some songs we enjoy playing in every gig, we have some covers from our favorite bands to go with and we think that every live gig is a party. A feast of friends if you want.


What is it that Anima Triste want to express?  What sort of message do you want to deliver to your listeners?

Greg DiRt: I will speak for myself here, I write music and lyrics because I feel to it, if there's a single soul that would like what we do, or more, so be it. I'm a happy man with only that. For me music can manifest in various ways, some fans may like it, some may don't. It's just how things work. We are not politicians, we are musicians for f*ck sake. My personal message is that shit happens all the time, don't be a bitch about it, embrace the shit. It's yours after all....


How is it for you, as individuals, to be in rock band in today’s society? Is your involvement strictly for you pleasure only or is it an urge to release the pressures of everyday and making a statement?

Greg DiRt: Being in a band is awesome. I absolutely love it. Of course it takes time to make music, to practice, rehearsals, live shows etc. etc. Sometimes it gets frustrating because we don't make a living from our music, so our day jobs are essential. To me music is all the above at your question and more. I can't imagine a version of me without music in my life.
As a statement, a message If you want, is to never give up on your dreams because it will give up on you. So... try your best no matter the outcome.

Do you think the underground scene in Athens is thriving due to the artistic boom caused by the economic crisis or is this just a fake image? What’s your opinion of the dark scene in Greece? Compared to other countries, the scene here looks strong, with many bands, clubs and concerts.

Greg DiRt: It sure is because of the crisis in economy. The whole structure of our society crashed down, we lost the middle class, numerous job positions lost, most of small businesses went out of business and most of the people I know had to change their lifestyle because of it. It was (and still is) a very hard time for everyone in our country. I strongly believe that this was the reason that the Greek Underground Scene is so big these days. There are so many great bands playing almost every night that is impossible to keep track.
The Greek Dark scene in our case is no different from the other music genres. There are so many good bands, with great arrangements in their music and sometimes I find myself thinking… “Damn. I wish I had written this one”. And all these bands are nailing that sweet 80s-90s sound but with a fresh look. And the funniest part is that most of these people are young in age. To me is very satisfying to hear great music with these references in their music at the age of 25-35. That's because (and I'll use a quote of a friend of mine) “real goths are old”.
Comparing to the rest of Europe, the underground scene here is very strong and surly thriving. Record companies from all over the world (no joke) are making record deals with Greek bands and artists. I believe that these are the best days of the Greek Dark Scene. Not only because of the bands alone. There are places now like clubs, bars, live stages you can go to a theme night at that club or the other. Imagine in the 90s to tell someone that it will be a time that some clubs   are playing post punk or goth music all night and people actually show up... He could die laughing.


Your second album is set to be released soon. What should we expect from your second full length effort?

Greg DiRt: As I said earlier, in “Humanity” we followed a different path than the first album. We recorded in different studios, different days, I added extra guitars, synths, special effects and theremin to the arrangements. It was a bet to myself I made, to make a record with the band and put all this emotional mentality I had at that time on record. My guys gave me absolute freedom to go nuts with this album, so I did. I think that as a band we performed great in the recordings, the production is way huge, better than the first album and pretty much that's it. I hope for a review if you want to.
What goals does the band have now? What would you like to achieve that will make you feel fulfilled?

Greg DiRt: The goal has always been the same, to play our music, to as many people is possible, to reach out and to be heard and finally to make a living out of it. I know that this is very hard but that's the dream. And you can't be false to your dreams. Thank you.


Interview by Nick Drivas.


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The 90’s gothic rock band Children On Stun split up while in the process of recording their follow-up album, to be named "Prostitute Malfunction", after their last album "Mondo Weird" released in 1997. After a long hiatus, the band reformed in 2015. Since then, things weren’t so easy for the band. Their guitarist Simon Manning passed away shortly after the reunion and was replaced by Stuart Harper for the following live appearances. With the lineup now featuring old members Neil Ash (vocals) and Kyle Whipp (bass) and new recruit Stuart Harper (guitar), they began recording new material. While things were looking promising, they called it quits leaving fans in the cold again.

Then in 2018 they started up again with a new guitarist, Gord Young (previously of Pretentious Moi?, Seraphin Twin, The Dream Disciples) and finished recording their new songs. In March 2019 they finally released the EP "Echoes" with 5 new tracks on the UK independent label Armalyte Industries.

The new CD begins with the title track "Echoes". A classic single in my opinion. An upbeat track with a catchy chorus. Here we find the band in their familiar turf, delivering straightforward speedy goth rock with a pop approach and with Neil Ash delivering a great passionate vocal. The thing I always loved about this band was that they write songs with pop tendencies not being trapped only in the doom and gloom of goth. One could say they're just an alternative band with a dark twist. Although we do get the trademark gothic rock recipe, with drum machine and classic guitar riffs, the band has a feel-good let’s have fun vibe. Next track "All The Pain Of Love", the tempo drops a bit revealing a nice mid-tempo song with nice bass and guitar parts. While on the slower "Signs" that follows, we have another emotional vocal from Neil. This track, a sort of ballad, was already known by their fans, since it has been played live prior to this release. After a few piano motifs, things speed up again on "Another Love Another Beginning" reminding us of the classic Stun songwriting of their earlier days. The EP ends with "Echo", that is a remake of the title track. Here in another stripped down mix with only atmospheric keyboards and vocals. In general, we have a very descent release, that sounds fresh but still holds all the elements that made this band loved throughout the years.



Reviewed by Nick Drivas.


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The Icelandic darkwave trio Kaelan Mikla from Reykjavík have made a name for themselves these last few years. Everything started in 2016 when they released their self titled debut on Fabrika records. Since then they have performed live in many countries and were personally picked by The Cure’s frontman Robert Smith to play at the 2018 Meltdown festival in London. This all led up to the release of "Mánadans" that included all their first recordings of what was supposed to be their initial first album. Then they were more of a deathrock/punk/no-wave band with Sólveig Matthildur still on drums before switching to keyboards.

In November 2018, they released their proper second album "Nótt eftir nótt" on the Toronto-based electronic label Artoffact and finds the band at its most confident. The album begins with "Gandreið" a creepy, dark ethereal intro. But things really kick in with the second track "Nornalagið". Here we have one of their characteristic compositions that feature nice synthlines by Sólveig Matthildur on keys, on top of the dark rhythm section provided by Margrét Rósa on bass and their drum machine, while Laufey Soffía on vocals completes the picture with her dark exotic witchlike singing. This is showcased even better on the next track, the wonderfully delightful "Hvernig kemst ég upp?" that is one of the albums standouts. On "Skuggadans" that follows, Sólveig plays keys as if playing the guitar, making it one of the more post-punk tracks of the record. The rhythmic "Draumadís", which also serves as the lead single with its great surreal dark fantasy video clip directed by Logi Hilmarsson, shows how the trio are capable of making great memorable dark atmospheric tunes that can transfer the listener to desolate landscapes. Another song that stands out is "Næturblóm" with Margrét’s bassline paving the way for the nicely textured atmospheric synths and Laufey’s delicate vocal. Whereas on "Andvaka" we get a powerful dark track, full of minimalistic drumming, aggressive bass and vocals of despair. Things slow down on the title track "Nótt eftir nótt", a dark elegy that is produced by the popular Icelandic electronic wizard Bang Gang. The album ends with the atmospheric song "Dáið er allt án drauma" ending this Nordic journey in the North Atlantic, a place defined by its dramatic landscape with volcanoes, geysers, hot springs, lava fields and massive glaciers.


Review by Nick Drivas

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"Rio Lapis", Spettro Family's latest release, is actually a 4 song EP that was released back in 2012 in a limited edition cassette format only. Now, this work is re-released and re-invented in cd format, with new artwork and 2 bonus tracks, making itself accessible to a wider audience. In fact, this mini album is the first ever Spettro Family release in cd! All their previous works were released in limited 7'' vinyl and cassette formats, some of which are long sold out.
To those familiar with Spettro Family's musical style, this re-release is a pure eye candy, aesthetically very pleasing and satisfying. Visually, the 4 panel digipack comes with a folded 4 page insert, both featuring well designed artwork based on real model photography. Also included, are extensive liner notes by the artist himself, regarding album's initial conception and making. It is revealed that "Rio Lapis" was actually the name of an existing abandoned hotel somewhere in seaside Italy, that inspired and motivated Steve Spettro (the man behind Spettro Family) to create this album.
Musically, the album runs about 28 minutes, which surprisingly are sufficient to fully absorb the listener to Spettro Family's universe: A musical journey to a mysterious haunted place, full of melodies and sampled sounds, which blend together and seem frightening but also beguiling. A soundtrack to a mystery horror film that makes you travel in time and in your imagination, bringing up old memories and dreams. There you can find many things: weird sound effects, piano melodies, modern synths, children's voices, old italian chants, cinematic soundscapes. I think it's a shame that Spettro Family hasn't done any film soundtracks so far.
Although this album should be listened as a whole, the tracks that stand out are: "Rio Lapis" the album's main track that nicely incorporates all of Spettro Family's elements, "Villa Sarina" a track to be found also on Spettro Family's "Glow in the Dark" LP vinyl album and "Magnetofono" one of the two bonus tracks, that really sounds creepy, like a haunted self-driven tape recorder.
"Rio Lapis’’ is availiable from the american label ANNIHILVS and also directly from Spettro Family. Looking forward to similar cd re-releases in the future!



Review by Stefan Stavrides
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In March 2019, Geheimnis Records released on vinyl the debut self tiled album from Data Fragments, a new wave band from Athens, Greece. The bands members have a history on the local scene. Singer and guitarist Panos Dedepsidis and Panos Dimopoulos on synths, used to be together previously in the band Κωμωδία Θανάτου, while on bass we find Stathis Leontiadis, known from his other projects Doric and Human Puppets.

From the opening track "Grown Men", the listener is immediately introduced to their characteristic sound. Reminiscent of all those early 80s underground new wave bands with the DIY attitude that flooded the European scene back then. Next, we get one of the highlights of the album with the frantic "Falsifies The Facts". A great track that stands out with its tight rhythm section of brooding bass and drum machine, topped with nice razor sharp guitar riffs. The mid temp track "Drawing Lines" that follows showcases a darker atmosphere where the synths are given space to expand their melodic textures. On "No Sign Of Life", singer Panos delivers a very good melancholic vocal. Something that really adds to the whole feel of the album, that of the cold wave / cold war era. The same can be said for "Distant Lies", where all colors are shades of grey. The other highlight of the album is "Walking In The Rain". Here the band are more melodic but moody at the same time. A bleak setting but with a touch of warmth, a composition with a nostalgic dramatic tone “A mellow silence breaks like glass, like statues standing, gazing in the dark…”. The closing track "Nothing There" was one of their already known songs, since it was on their demo. Here they speed up the pace ending the album in a more dynamic way with the guitars screaming in full feedback.

The album comes on black and transparent cyan blue vinyl. The artwork, by Alexandra Karagiannidou, fits perfectly with the music, transferring us to an age where the new wave was at its peak and responsible for some of the decade’s masterpieces. I think this album deserves the attention from all those who love the classic new wave sound. The band have created an authentic mix of songs that make the album a very enjoyable listen in its whole, without becoming at all tiring since it only has 7 tracks.



Review by: Nick Drivas.







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On Saturday, March 30th, we witnessed a very special show at Death Disco in Athens. The project Hackedepicciotto that consist of Alexander Hacke (of Einstürzende Neubauten) and Danielle De Picciotto (of Space Cowboys) performed as a duo their unique music. The support band chosen for this event was The Man & His Failures, side project of Manos K. from Mani Deum.


The Man & His Failures played a half hour set. Frontman Manos K. appeared with a new line up of musicians at his side, with Alekos Sorros (keys), Memos Pilaftsis (guitar) and Dimitris Georgopoulos (bass). They began with tracks from his debut "Persona Non Grata" E.P. like the title track, "If Mississippi John Hurt Knew What I've Done" and "Bathed In Moonlight" showcasing his more crooning side. Second song they performed was the Mani Deum track "Love Like Berlin" and them the cover "Twist In My Sobriety" by Tanita Tikaram where things started to get more electronic. This new more electro orientated direction was also the case with the next song, a new track played for the first time live. Although the electro elements stood out they balanced well with the projects sound with the persistence of the spacey guitar riffs and bass.


Next, Alexander Hacke and Danielle De Picciotto took to the stage taking their positions, with Alexander on the left, Danielle on the right, both seated. As always Alexander was barefoot holding his six string bass. While just a foot away was Danielle with her violin and hurdy gurdy. They started with "All Are Welcome", a gentle song sung by both that proved to be a very nice introduction to their music. Next was "Dreamcatcher", also from their 2017 Hackedepicciotto album "Menetekel". On "Awake", one of the only songs I was familiar with, Alexander looped the guitar part and took to drumming and also singing with his deep droning voice. At this point, Alexander found the opportunity to tell us that he and his wife Danielle have left their physical, “architectural” home in Berlin in pursuit of a freer environment of commune away from the gentrified situation of today’s society. Something they still have not found. With this they played their next song "Long Way Home". For one and a half hours, the duo captivated the crowd that had filled the club with their splendid soundscapes. A crowd that was captivated by the droning vocals, Alexander’s improvisations on bass, with the warmth of Danielle’s violin and her spoken word poetry. As we have already mentioned, it was a unique show by two very talented artists that returned to the stage for an encore after the warm reception that was given to them by the audience.

Review + Photos: Nick Drivas

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We did an interview with Y, guitarist, composer and lyricist, of post-punk / gothic rock band Remain In Light. A band from the northern town of Thessaloniki, Greece that released their third album "The Sentinel Diaries" in October 2018 on the Brazilian label Deepland records.



We see that the band has worked hard these last years releasing new material and playing live. What is like being in a band that is based in Thessaloniki?
Thessaloniki is a city with an important local rock scene. Gothic Rock and Post Punk   though, are not very present within this scene anymore. So it feels sort of lonely as there isn't much of a crowd for this genre. Also, and that is not only a local phenomenon, other similar bands lack the sense of camaraderie and mutual support, that could enhance a scene.


How do you feel the band is positioned on the local and global scene?
Remain in Light will soon be a 10 year old monster! I think we managed to build a certain name over the years with our 3 albums. We see that after our latest release "The Sentinel Diaries" on the Brazilian label (Deepland Records), our popularity has grown a lot in South America. We also seem to have quite a few fans in Germany, England and Eastern Europe.

Since forming in 2010 you have managed very well indeed, having released three albums and two singles. Tell us something about these releases and how you ended up on Deepland?
Our first album "Introduction to a Dream" was made and produced under strange circumstances! Members came and went, lyrics were altered at the last minute, songs were sung by other singers than those scheduled to do so, some drumming was real and some programmed and the whole lot was recorded in two completely separate crazy sessions with two different line-ups! Completely frantic. Thank God the magic of our excellent producer Asklepios Zambetas unified the whole in what I consider to be one of our most passionate efforts.
Our second child, "Splinters in Arcadia" saw us mature as a very specific and cohesive band with open eyes and ears. We also gigged a lot during that period. I think it was our most productive era so far despite the fact that alterations kept on happening. At that time we were still a band with 2 bassists and a guitar. During that period only one bass remained and I had to take up guitar duties. Also during that time we met a lot of people abroad who were very supportive and helped us with remixes, promotion, interviews and lots of air play on internet radios.
The third release "The Sentinel Diaries" was a real odyssey! It took only about a couple of days in total to record, as it's a one take live recording with a few overdubs, but two whole years to release. This difficult but inevitable delay took its toll as it resulted in the departure of two members but left us with what I consider to be a very solid album.
For many months, years actually, we kept on banging on record companies doors so that this material could be released. No one really wanted to take a chance with a band from Northern Greece. Keep in mind that we do everything ourselves. Songs, music, graphics, videos, booking, moving around, recordings, everything is arranged and decided (and of course payed) by ourselves. We, like most other serious bands, cherish this artistic liberty and struggle to maintain it.
I knew Nanda from Deepland Records through the net and she was already a fan of the band. So when Mad Sad from Anima Triste, told me that they planned to release something there, I made a contact too and it was frugal. The Brazilians had already released Mosquito's first release. The whole arrangement was very fast and within a month we made our final post production and all the graphics necessary for the release. Deepland embraced us and treated us very well, allowing us to maintain all the artistic freedom we need.
It is my conviction that nowadays that the rock'n'roll dream is dead and buried, artists need to invest in real and unrestricted creativity away from demands and obligations that record companies may impose.
Anyway we do not make money from this, we never did.


Do you feel more of a live band or a studio project? Any memorable moments you have encountered recording or playing live all these years?
We want to be more of a live band but so far it seems that we are more of a studio thing. I do not like the term project as it sounds very ephemeral. For various reasons it proved quite difficult to perform as often as we would like.
Yes, many memorable and often funny moments occurred during the band's life.
Our gig with And Also The Trees and Stained Veil are among the best live moments. By the way the footage for our latest video "Sons Of Terra" was shot during these gigs at the "Mavri Trypa" club.
One of the most memorable moments of the last years was when we went to Tyrnavos to record the third album. The studio was located in the middle of nowhere. Somewhere in the Thessaly prairie, in a semi-deserted area. When we arrived there, one hot midday of July in 2016, it really felt like we were somewhere in Arizona or Texas. An abandoned location, formerly a manufacture of some kind with big rusty iron gates. Scorching 45 degrees Celsius. Everything in it's big yard was in a state of decay and neglection. No one was there. We had to wait in the hot sun. When the sound people arrived, we were eager to get in, hoping for a nice air-conditioned space. Instead, when they opened the studio entrance, the whole place was reeking like an ancient tomb! It had been closed for more than 5 years at least! The place was smelling and hot, no trace of air condition… Old magazines awaited in the huge waiting room where we spent at least 4 hours before we could start playing, as everything was still disconnected and rusty…! A crazy place! The closest bar or café to get something to drink was at a 20' drive by car! We were so angry, hungry, frustrated and exhausted when we started recording… I think that if one listens to the album carefully, he will hear those particular moments of wrath and frustration… So maybe this situation, added something to our playing! LOL!


Nowadays with all this technology and computers it is easy for new artists to record music. We see that Remain In Light are more oldschool in their approach, having recorded your latest album live in the studio with only a few overdubs.
Tell us about your method/philosophy of recording?
There isn't a method to our madness. We just take what's available and best for us at a given moment. It's also necessary for the band's survival. We just cannot afford all the technological gadgets and facilities. Also as we have grown in the 80's we do not need all that stuff really… We just play music in a rather old fashioned way. Guitars, drums and vocals. Let's go…
Truth is that we could use a permanent keyboard player with some technological aces in his sleeve. LOL!


How do you see the scene today in general? We see many new dark bands popping up and various genres becoming hype (minimal wave, coldwave etc.). Do you feel that the community is strong or is there something missing?
Ok let's face it. Gothic rock and Post punk are dying. Not because there aren't new artists but mostly because there aren’t enough fans to seriously support them. I am not the only one to claim that. Promoters in the UK are desperate. People are even more than before, into fashion and showing off than going to gigs and invest in the music. Very few bands manage to still sell music in a physical format in satisfactory numbers so as to allow for the expenses of the next release. And this is also a psychological let down. When you have to pay everything from your wallet … well, at some point the wallet is empty and your enthusiasm wanes… You really have to be determined and ignore everything but your heart…
As for this latest trend for minimal wave, synth wave and colwave, well these are very old styles that were resurrected by the eternal recycling of pop culture. There are some very good acts in these genres though.
Yes, there is something missing in this egocentric planet. Solidarity.


What are your future plans? Anything on the horizon?
At the moment the band is reinventing itself. It's just me and Constantine. After Elder K abandoned the band without an explanation, we are currently working with a new singer and we are restructuring our rhythm section. It will take time. But we are in no hurry. We are producing videos for the 3rd release and writing new material. It will be something different again. And personally I am eager to see how it will evolve and what it's going to look like in the end. I am just as excited as when the band started!



Interview by Nick Drivas
Photo 1-2 : Lambros Flioukas
Photo 3 : Stacy M.




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