The gig started with the appearance of the greek duet Rattler Proxy(Gerard Papasimakopoylos,Lukas Savvidis),one of the most interesting cases for years here in Greece.I missed the previous appearance supporting ‘Soviet Soviet’ at Death Disco in October and as I had informed about their worth,I was very interested in them.Well,they presented a "dirty" analog sound of repetitive rhythms,heavy beats, industrial sounds and screams that refers to New York side and the best moments of their big love,the legendary band SUICIDE. Although,I  expected them with more energy and intensity,I found the whole performance interesting.

The KVB ,the audio/visual project of London youngsters Nicholas Wood & Kat Day,appeared on stage. They  came for the third time in Greece having their baggage valued their new ep 'Out of Body'.This album was recorded in "roof" of Anton Newcombe (Brian Jonestown Massacre),in collaboration with Joe Dilworth on drums (Stereolab) and has gained highly praise the world's music press so far. The full  of people Death Disco club proved the progress of the group.

Everyone came to DEATH DISCO (and they were a lot) had the opportunity to attend  an interesting gig.Introspective lyrics are suspended in dream like melodies, dipped in reverbs shoegaze, further expanding upon the duo’s hypnotic  aesthetic which they explore both sonically and visually on stage.In more details, the sound characterized by reverb heavy wall of sound guitars, minimal haunting strings and grinding bass synths, messed up motorik drum machine beats and delay drenched vocals with a backdrop of imagery to accompany the symphony melodies- strongly evocative in Joy Division and Jesus and mary chain.The best moments of the concert were  ‘hands’,’never enough’,’shadows’.They played a little more than 1 hour without any encore and the audience was satisfied looking forward to their next visit to Athens in the future.

  photoshooting by Marilia Fotopoulou

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Last year we met Kriistal Ann with her first solo album ‘refraction’ and since then she remains  a favourite artist for me and DIESEELE RADIO.She is also known as the lead vocalist of the minimal synth project ‘PARADOX OBSCUR’ and the older darkwave electrogoth project ‘RESISTANCEOF INDEPENDENT MUSIC’.

A few months ago I had the chance to  listen exclusively  to the new track ‘she walks in beauty’ which would join the forthcoming album. It was a very good omen for the forthcoming album.This song has joined exclusively  ‘TRANSMISSION RADIOSHOW’ playlist for 2 times so far . After several collaborations with some interesting musicians  in the dark electronic / minimal synth scene(mortal boy,hjordis britt astrom, Jan Vinoelst,, Zoltan Freitag, Aidan Casserly, Ferdinand Cärclash e.t.c) Kriistal Ann returns with the new solo album ‘Delirious Skies’  about  3 weeks ago(2-11-14) under  the greek label werkstatt recordings.

In my opinion,the new album has progressed to the best .Although it  doesn’t  continue  on the same platform traced by ‘refraction’as it is more in minimal style,it doesn’t  miss  the shades of dark wave and atmospheric style. Ann’s harmonious voice opposes with cold synth tunes and the result is  great.An elegant mix of minimal cold sounds(‘fright’,’punisher’)  and dark pop with emotional moments (‘she walks in beauty’,’remembrance’).
The best moments of the album is  the poetic‘’she walks in beauty’ and ‘remembrance’ . To adopt a more general term I think that her music is “existential”, in the manner expressed by a romanticism ,refinement but also aggression ,talking about her melancholic imagination and emotional anguish .Lyrically there is  some poetry set to music of Euripides (‘fortune of medea’), Lord Byron(‘she walks in beauty’), and Shakespeare(‘with a kiss I die’). As well as some of her own poems. The song ‘’ashes of hope’’is  interpreted in the Greek language.
In conclusion, 'delirious skies' lead our senses into a reverie of  different emotions and drives us to the dark paths of the soul.Highly recommended to all dark synth lovers.

We are looking forward to the new ‘PARADOX OBCUR’ album and of course Kriistal Ann’s  forthcoming collaborations.

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An atmospheric blend of electronic cold wave and synth pop sounds is what the italian band HIDDEN PLACE delivers to listeners. The music written and arranged by the four original members, SaraLux, Fabio Vitelli, Antonio Losenno, Giampiero Di Barbaro.We are looking forward to the new album 'RETROSPETTIVA VOL.2' that is coming out soon.Let’s have a talk with HP.. 

1.How did you choose the name of your band?Tell us about the driving force behind it. 

HP: the name of the band has born casually and spontaneously. It's just the "Hidden Place" where we want  to live,a place far from the material world.It 's a sort of eden, a pure paradise.

2.Ηow do you started your music career?

HP: In 2004,we started writing our first demo cd-r "Weather Station" that has been reprinted by Twilight Records.Before this, we started in 2002 with the neofolk martial project Lupi Gladius.After 10 years we are back under the name LG and we are so satisfied for the album "Veritas".

3.What have been your musical influences?What are you listening nowdays?

HP: We always had 80' s influences from bands like early Clan Of Xymox and other 4AD's 80's bands.Kraftwerk, Ultravox , New Order have been also important for our music. Nowdays we can say that we always listen to old bands and some new bands that are really interesting.

4.how do you describe your project?

HP: Instinctive,spontaneous,futurist...

5.Have you had any other collaborations over these years?
HP: We had great collaborations, with Froxeanne and Diego Merletto from The Frozen Autumn,Handful of Snowdrops, Patenbrigade: Wolff etc

6.Tell us about the forthcoming album

HP: The new album "Retrospettiva vol.2" will be out soon , released by british label Peripheral Minimal. The album contains 2 new tracks plus 6 new remakes of our old songs. After the great success of vol.1.We wanted something exclusive and the vol. 2 will have 8 unreleased tracks.

7.What is your creative process to compose you music?

HP: When we compose everything borns spontaneously. Sometimes we start from synths or from rythms.After it ,Sara Lux completes with her voice the composition.

8.Tell me a few words about the underground scene in Italy

HP: In Italy there are really interesting bands and the good thing is that all are different each other.We think the italian scene is very good and it deserves a good audience. We are glad that outside Italy, our scene is appreciated.

9.Nowdays , many bands promote their music just uploading it on websites like youtube,soundcloud etc. Which are the advantages and the disadvantages? Tell us your opinion.

HP: Ιt's a good way to promote your music but it is very important also supporting bands and buying CDs, vinyls and cassettes.We are old fashioned for this.

10.Can you tell me your 10 more favorite albums?

HP: This is a hard question but we'll do our best to answer.. Unknown Pleasures -Joy Division ,The Man Machine - Kraftwerk, Rage in Eden - Ultravox ,Nada - Death in June, Clan of Xymox - 1st album ,The Frozen Autumn - Pale Awakening, Souvlaki - Slowdive ,Virus Meadow - And also the Trees ,Script of the Bridge - The Chameleons ,Treasure - Cocteau Twins .We are quite sure we missed in this list so many great albums.

11.Do you enjoy live performances?Tell me which of your live performances has remained unforgettable
HP: Performing live gigs is always pleasant and every concert gives you a great memory and emotion.

12.On a worldwide level how is the feedback to your music?
HP: We have a good audience. Sales are going well, considering also the current period of underground scene.We can say that we  are really satisfied with the reactions of our followers.
13.What are some of your non musical interests?
HP: Art, photography,literature,history, philosophy ..
14.What about your future plans?
HP: For now we are waiting for the release of "Retrospettiva vol.2" and we are preparing our future live performances.

Fantasia Meccanica (HellektroEmpire) 2007
Punto Luce (Twilight Records) 2009
Weather Station early works (Twilight Records) 2011
Fantasia Meccanica - reprint (Twilight Records) 2011
Novecento (Calembour Records) 2012
Retrospettiva 2004 -2014 (Peripheral Minimal) 2014



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The show started with the country acoustic melodies by the greek duo MANOS SIX AND THE MUDDY DEVIL.The covers from NICK CAVE and OF THE WAND AND THE MOON their best moments.

Next, SIEBEN on stage! SIEBEN is Matt Howden and his violin . He is a highly appreciated violinist in the underground scene with a lot of collaborations such as : Sol Invictus, Sonne Hagal, Spiritual Front, While Angels Watch,of the wand and the moon,chris eckman..As I missed the other  two concerts  that he played in Greece , I was too  interested in his performance. The point that makes Sieben so special is that the man is looping himself and his violin plays continuously, placing one melody layer over another. It is really exciting how his violin can turn into drums or emerging other unusual sounds.  So the last night, we watched Matt swirling across the stage playing violin, recording different loops ,struming the instrument like a guitar, scratching it with his chin stubble to provide a percussive sound, using it like a bass and finally playing it as its designed to be with hands that are a blur. And the excited audience was celebrating the show until the last second when he closed his show with an interesting cover of JOY DIVISION'S 'transmission'.

Finally,TONY WAKEFORD and CLIVE GIBLIN on stage. Tony, as an English artist that is active in music for over 30 years, is the stable member of  SOL INVICTUS.He has also involed with CRISIS and  DEATH IN JUNE in the 80’s and later with a lot of other projects (Triple Tree,Orchestra Noir,Duo Noir ,HaWthorn,e.t..c) .Unfortunately I missed  the great  SOL INVICTUS  concert in Greece(2000) so I was too excited for this gig.Well,two raw edgy guitars and some samplings created the ideal neo-folk atmosphere. I was surprised that they didn’t present the last SOL INVICTUS album (‘once upon a time’) and later TONY explained that he prefers playing songs from the last album when the full SOL INVICTUS band is performing.That was not problem as they played favourite songs from SOL INVICTUS past(english garden,killing tide,lex talionis,english murder e.t.c) even from DEATH IN JUNE past(all alone in her nirvana).Although the stage precence was static,Tony’s voice and the playlist left a taste of satisfaction to all of us..


  photos by Marilia Fotopoulou

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The last season I discovered the music of ’DAY BEFORE US’and I was impressed ,especially by the last album ‘child of a new light’.In 12/05/14 the song ‘blood out of a mother’s breast’ featured ‘TRANSMISSION' radioshow.According to the band’s official page it's a microtonal,lyrical and dark ambient music project coming from old Europe.     

Philippe M. Blanche(instruments,electronics), Effrosyni Papamichalopoyloy(vocals,lyrics).                       

Welcome to the world of 'DAY BEFORE US’…  a discussion with Philippe is always interesting ..

Can you tell us a few things about the selection of the name DAY BEFORE US and the idea of the band?

Philippe: The origin of the band’s name comes from an old poem by the romantical female author Flower Adams. I’m sensitive to it because it draws a spiritual connotative meaning I was looking for to translate in words my aesthetic sensibility and the musical journey I want to express, a world made of ghostly evocations, a mythical time, the fundamental silence and a poetical dialectic around human finitude and its transcendence. The project was born in 2012. I previously made a few appearances in a collective work (based on avant-garde experiments), in the LP This crying era (from Nimh). I’ve decided to explore my own compositions to answer one question: how to use a musical language which could approach through melancholic imagination the primordial needs of the soul ?

Can you tell me a few words about your profil and especially for your music backround?How did Effrosyni and Philippe met each other?

Philippe: I’ve been initially trained in classical music, from (post) romanticism era (Rachmaninov…) to modern impressionism from Debussy, Satie and a few others. This is the reason why most of the pieces conceived for the project turn around the grand piano technique and narratives. I’m occasionally using various keyboards (synth, organ), samples, field recordings and effects to consolidate the musical architecture. This project was firstly designed in the continuation of traditional-neoclassical instrumental music. I rarely incorporated vocal elements (except some recitatives in my conceptual album “Autumnal Wandering” and in one title on “Misty shroud of regrets). With Effrosyni we at first step organized experiments based on materials I was working on at the moment (back in early 2013), I’ve rapidly felt seduced and convinced by her singing qualities and the emotional strength she develops…then the compositional alchemy worked naturally. We met online then a few times in real life.

Have you you collaborated with other bands and projects over these years?

Philippe: The historical course of this project is fundamentally articulated around exchanges with artists from various horizons. My first collaboration was with Nimh for a work produced by Rage in Eden. Giuseppe Verticchio encouraged me to explore this creative direction…I’m truly grateful to him because he was the first to believe in my potential and to adopt a real supportive attitude, still valuable along the years. I cooperated with a British duo (6&8) the past year for an album around sound poetries and glitch ambient, it was a nice experience, more electronic-tinged as well. Otherwise I can notice the presence of a few guest artists such as the minimal synth performer Oksana Rodionova (Xiu) or the sound lyricist Markus Pape.  

I think  there is a cinematographic atmosphere in your work. Are you in any other way related to the art of cinema?

Philippe: Art-cinema or what we commonly name the cinema of poetry has an enormous influence in my musical trajectory. I’m totally enthralled by the passionate mystical heroism we can detect in the work of Tarkovski, Vlacil, Parajanov or in the existential animation films of someone like Piotr Dumala. For soundtracks I’ve been working with the surreal painter Jana Brike for a couple of animation films. I feel an intimate relationship with this art form and the way it communicates originally to the heart and mind. 
I want you to describe with 2-3 words each one of your albums

Philippe: “Under Mournful Horizons” (2012) is a radically dark ambient musical inferno with some discreet neoclassical elements and bleak noisy touches. “Autumnal wandering (2013) is a more bucolic and dark romanticist soundtrack, purely acoustic with a few add of synthesized textures. This is a conceptual album about the German poetical weltschmerz. “Misty shroud of regrets” (2013) is the finest example of my music considered in its instrumental properties, long and languorous plaintive chants around the piano, field recordings and processed sound forms.  “Child of a new light” (2014) is the first album to introduce full vocal parts and lyrical ingredients. The aesthetic imagination of this last is turned to dream like scenes, enchantment and nature rituals. 

Tell us a few things about your new album. What is the prevailing theme?

Philippe: Conceptually this album is trying to make a bridge between Ancient Greece mytho-poetical world and the Western romantical exaltation. Both movements are aspiring to connect the human creature to the revelation of an ideal where the great Nature is at the same time a source of ecstasy and metaphysical fear. Musically speaking it will reveal new ideas with an inclination for dark ambient music, ritualistic in its form with neoclassical melodic idioms and a slight taste for the Ethereal wave. The album is in production. If nothing wrong it should be available very soon.

Nowadays with the spread of technology that has made the music production easier, a lot of groups are coming out..which are the ingredients that make your project unique?

Philippe: I’ve never been dependant to technologies in the compositional process. I would even prefer to compose and record only with a single voice and a piano. Technologies facilitate things, but these are optional and non essential. It scares me to think that many emerging bands are only creating albums based on softwares without using any real instrumental basis. For my humble opinion music should stay a craft based-artisanal thing based on self-discipline, devoted practice and intuitive imagination. Anyway those technologies can not restitute the delicate timbres and the varied tone colors of an acoustic instrument…even someone like Brian Eno develops a relative skeptical position about technological tools. I think that in a musical industry severely dominated by labels and subgenre categories, the stylistic autonomy is the best way to make one path durable, in stillness.

Nowdays , many bands promote their music  just uploading it on websites like youtube,soundcloud etc. Which are the advantages and  the disadvantages? Tell us your opinion.

Philippe: Hard to escape to networks and to those channels of communication when the musical creation is now completely globalized and flowing through spaces, just like capitals, ideas and other cultural products. Conceived as an instrument those one can be useful and a real chance for artists to enable their music to be listened by many and by a larger audience. On this side I’m an iconoclast, I don’t pay more attention to a top celebrity than to an unknown artist…renown and fame are a matter of visibility and opportunity, not based on an objective judgment. Thanks to those networks I discover plenty interesting bands and projects which are sometimes totally outside of the music business, deliberately. The bad let’s say effect is that the quantity of production which is now massive tend to “standardize” the sensibilities, tends to kill the appreciation and pleasure we have to generate a certain apathy. 
Any plans for gigs?A live performance requires more energy and stage presence.Is an ambient project  suitable for live performances?

Philippe: At the moment we don’t have any gigs plans. I’m not writing albums having those objectives in mind. After the launch of our upcoming release we are opened to suggestions if the context, environment and disposals to play are adequate to this type of music which is mostly suitable for “home listening” experience. Festivals and private live concerts may be two prior options.

Most influential bands-musicians?

Philippe: I’m  profoundly moved by musicians who have the capability to enlighten the depth of    our soul with mysteriously evocative and religious sound forms…I’m notably thinking about    representative figures of the holy / mystical minimalism like Arvo Part, Valentyn Sylvestrov, Henrik Gorecki, Erkki Salmenhara and a few finish composers from the Sibelius Academia. With respective cultural heritages their music is of great significance to understand the spirituality and the intangible in our problematic (post) modern times. I’m marginally inspired by other musical genres, from dark ambient, neofolk, to martial industrial music by Loki Foundation, Malignant Records (…)

What is the source of your creativity?

Philippe: I’m taking my creativity from “rimbaldian” visions, from the revolt of the soul, the oppressed secret world, any reflective experience which has the vocation to liberate us (metaphorically / symbolically) from the heaviness of our daily routine.  Art is one of the keys to renew with unity and with the secret self.

Tastes in art and literature?

Philippe: Anything related to the true, urgent and integral forms of poetical effervescence, from the Russian poets of the silver age (Alexander Blok…) to the federative and frenetic community of the “poètes maudits” from everywhere (Corbière, Chatterton, De Nerval, Trakl, Graneli, Campana, Kariotakis, Polydouri…). I cultivate also an interest for classical goth novelists (Ann Radcliffe, Matthew Gregory Lewis….) personalities of the philosophical anthropology despite that is not an unified school of thought (Klages, Scheler, Evola…) or from the philosophical skepticism (Leopardi…). Otherwise the list can go on regarding visual art matter, from early experiments in pictorialism art photography to poetical animation cinema.

Studio albums:
Under mournful horizons (2012)
Autumnal wandering (2013)
Misty shroud of regrets (2013)
Crystal sighs of a broken universe (2014)
Child of a new light (2014)


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