Music creates feelings that never existed.
It seems that everything comes from childhood, though I can’t remember my very own childhood feelings well enough. Looks like it all begins while you are sixteen or seventeen and by the time you are thirty it is completely formed. But these are things which are the most difficult to be described on paper – feelings and sensations.
I know for certain that I do love my daughter, I do love my mother – it’s something that we originally have inside. But how could you possibly describe love itself? In Russian word “lyubov” (which is “love” in English) originally was in ancient Russian language and means “Lyudi Bogov Vedayut” (which is “People Wis the Gods).
Could it be that music is Love? In that case it should be ethereal, Empyreal Love. Perhaps...
I remember the moments when I listen “Halo” of Depeche Mode...it feels like “piercing” me, “turns me inside out”, while some songs throw me into melancholy – “Je Te Rends Ton Amour” by Mylene Farmer makes me to pipe my eye. And the voice of Lisa Gerrard of Dead Can Dance brings me to heavens and makes me fly above the clouds, I close my eyes and her godlike voice takes me to unknown places. Lots of examples, their list is endless...
Perhaps, music is Gods, and Gods are Love for certain, while Love is Life itself. However, I delude myself by saying that “music creates feelings that never existed”.
There is me, and there is life, and I can feel this life, I’ve experienced the love to woman... Looks like music is life itself, as for me and for many people like me.

By Serge from WANT/ed

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LAST LEAF DOWN, a Swiss outfit, have been on the scene for over a decade now, but their debut album ‘Fake Lights’ was released only last year. The album soon became popular and became one of my favourite albums of last year (#7 @DieSeele’s top 25 albums for 2014). It's time to get to know this band better.

How do you describe Last Leaf Down’s sound? Which bands have affected your music?
In general, I would say we produce a melancholic, dreamy sound with influences of Shoegaze, Post-Punk, Ambient and Gothic-Metal.  We have drawn comparisons to the likes of Katatonia, Anathema, Slowdive, late Harold Budd, Blake Neely, Feeder, Saybia and even Deafheaven.

What does inspire you most?
The things that happen in our personal lives, special moods and situations.

Last Leaf Down have been around for quite some time [since 2003], and over the last few years you took a turn in your music from doom and dark-driven to more dreamy and ethereal, shoegaze melodies. What was the driving force for this change?
Well, I was always listening to Post-Rock and Shoegaze, but in 2007, following the change of two Band members, we chose to develop a more ethereal sound

You label your music very specifically as "Shoegaze from the Woods", and your videos and the cover of the album show images of woods. We wonder how you conceived this aesthetic -- how does nature or environment affect your music?
The pictures and videos are taken were we live -- in the woods ;). I always liked the aesthetic of Post / Depressive Black-Metal, and wanted to create a softer, dreamier version for our sound. I think the place where you live will always affect your music. For us, the woods inspire the more ambient, dark and mystic side of shoegaze.
Could you tell us about the concept behind ‘Fake Lights’?
It's not a classical concept-album, but all of the lyrics represent a certain desire. It’s about the "unlived lives", and the things that only exist in our minds and dreams. These elements can bring great strength and influence to us if they unfold, yet on the other hand they can also lead to disappointment—as is the case when you realise your illusion was just a "fake light".

On a worldwide level how has the feedback been to your music?
Most of the reviews were very good, and our fans are really enjoying the album. So we are very happy with the reception.
What about the Swiss music scene? Have you any recommendations?
Fans of us should listen to Nyctalgia.  Nyctalgia is an ethereal, ambient act out of Basel.

Which other musicians/bands do you admire?
In addition to the ones I already mentioned as influences, I’m also a fan of Petter Carlsen, An Autumn for Crippled Children, Daughter, and Alcest.

And what about the shoegaze scene nowadays?  Are there any new bands that have caught your attention?
I would recommend seasurfer from Germany.

What about your future plans? Are you preparing any new releases?

We have already written some new songs and are always writing music, but it's too early to discuss a new release date.

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 In early July 1991 I was driving back from Los Angeles, through the desert towards Phoenix. After nearly a decade of being involved in music I had just finished the mix of Lycia’s first official release Ionia. It was a major thing for me, it was something that I dreamed of for years, and something that always seemed so distant, and maybe even unattainable.

 I lived in Tempe, Arizona. And Tempe, Arizona was not New York or London. The type of music that I listened to, and strived to make, didn’t go over too well in my home town. I was always on the outside...but not looking in. I was comfortable being on the outside because I was passionate about the music I loved. So playing in bands during this time meant my ideas were often overlooked, or just plain dismissed. I began to hoard my better ideas and I worked on them alone at home, in a makeshift studio, recording cheap demos that only I listened to. For years. This was the foundation of Lycia. This was the beginning of Lycia. But it seemed such a stretch to go from the rough muddy recordings that I was making then to actually recording a releasable and solid album. But now it was happening. The mix was done. The cover was designed and it was ready to be sent off to the plant. And there I was driving through the desert late at night, listening to a cassette of the just completed mix.

  I felt horrible. I didn’t like what I was hearing. It was different than I expected. I was disappointed. I felt as though I had failed. I still saw and heard Lycia as it was in the 80s. Lycia still felt to me, at that moment, like it had always felt throughout the 80s. But the cassette sounded, and felt, different. It seemed a bit foreign. It wasn’t radically different from what I had envisioned Ionia to be while writing and recording it. In fact it was only slightly different in retrospect. But that difference felt uncomfortable to me. Very uncomfortable. I was clearly in a very new place as I was absorbing everything during that late night drive, listening to the final mix.

 Tired from the long day of mixing and driving, and a bit disoriented from a growing musical self doubt, I pulled off at a rest stop. It was a completely stoic and isolated place in the flat western Arizona desert. It was late at night and I was the only one there. I just needed a brief break and a couple of cigarettes. I sat outside on a bench smoking in that hot middle of the summer desert air. It smelled like summer. It reminded me of previous late night walks along the canal that cut through my old neighborhood in east Tempe, back when I was first envisioning what I wanted to do with music. It seemed so peaceful, so balanced. For the first time in hours I felt relaxed. The tension and self doubt about the Ionia mix temporarily faded. I looked off to the far eastern horizon and I could see the sky and clouds flashing on and off as a distant monsoon storm was raging. It hit me then of the irony of the situation of that immediate time and place. There I was, in a sense living out the major themes of the album I just mixed. I was staring off toward a Distant Eastern Glare. I was fixated with the Monsoon storms off to the east. I was in the comforting escape of the Desert, proceeded during my drive by the lonely isolation of it. I sat out for a short while longer and absorbed it all a bit more, and then I got back in my car and headed home.

 I’ve thought back to that evening quite a bit over the years. In retrospect I realize what an important transitional moment it really was. That was the night that the Lycia that was ended, and the Lycia that most people know now formed. I no longer hate that mix of Ionia. In fact I like It and I am quite proud of it now. I think that Sam Rosenthal and I captured it almost exactly the way it needed to be. Looking back it seems as though that night, and that drive, was the break point. At the time it was just the moment I was in, but looking back things really changed. My perception changed. The musical style of Lycia moved in a new direction. My friends and collaborators drifted away, and some just started to get old. I moved on initially alone but soon I was headed in a completely new direction, with a new group of friends and a new set of collaborators. It was the beginning of Lycia as Lycia is now known. Only months before I felt old and left behind, and I felt as though my music life was coming to the end after nearly a decade of obscurity.

 Quite a number of A Day In The Stark Corner songs were written then, and you can feel an ‘ending’ in the flow and mood of the music and lyrics. But a few months later I was headed in a new direction. There were still flashbacks of course (and they continue to this day)...but for the most part it was like looking towards the glaring rising sun on a new and fresh day. Lycia’s rebirth, a new start, the beginning of what Lycia still is.

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The B.H.D. “The black Hotel’s Doorkeepers” is a project from Nimes in France and their music is in the new wave / cold wave vein of Joy Division, but there are also some goth rock influences . On September 2014,The B.H.D. released their first album “Nothing is Colder than You”via the German label “Cold Insanity Music” and it caused my attention with their Joy Division influence. Early 2015, The B.H.D. released their second album “Dancing in the shadow’’ via  the French label “Manic Depression records”.
Since 2012, David Droz has twisted his personal demons into songs, quietly breathing new life into post-punk. On his new album he pushes his foreboding post punk even further.The last album “Dancing in the shadow’’  has a strong 80’s wave feeling to it carrying the  melancholy and dust of 80’s post punk and coldwave music. It is a lot in the Joy Division and Siglo XX vein.
The most captivating song is ‘"The stranger in the garden", the piece that opens this album. Moody bass, elegant synths  and crisp drum machine accompanying with  Droz’s  baritone voice,a song that coming close to ‘the Cure'. Another great moments are: the emotional "Nothing More To Give" with a haunting synth melody for intro , the most joy-division influenced songs  "Into the Shadow" and ‘Too Many People’ where  David's urgent vocals collide with the nervous guitar rythm, creating music that draws on eighties post punk and the soaked of darkness and torments  ‘Requiem’.

In conclusion,this album may be excessively morbid and dark for some tastes, but it's a darkness that feels honest. Those that have listened to Joy Division's  material will know what to expect going in. Sometimes soul-crushing and sometimes nervous rythmic post punk melodies. Among the list of bands being inspired by the early years of POST PUNK, ‘’The B.H.D’’ is one of the few that comes that close to the real and original spirit of that legendary decade. This is a very good work in the genre and I sincerely hope that this band will get a deserved and wider recognition.

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It’s the fourth time that Lebanon Hanover performed in Athens.The band is composed of a couple: Larissa Iceglass on vocals, guitars and synths and William Maybelline on vocals, bass and synths,two musicians that are not like others as they don't like the star system and they give priority to their integrity and authenticity, a kind of modern age romantics. Last night Lebanon Hanover presented "Besides the abyss", their 4th regular album(the first Lebanon Hanover album to be recorded in a professional studio ever)  on the stage of a full of people DEATH DISCO. The duet had no difficulties creating gloomy romantic atmosphere and  awakening  the emotions of the audience. Inner and romantic rhythm melodies driven by the melancholic voice of Larissa Iceglass, elegant  guitar parts, sad and slow  basslines ,icy synths, poetic  lyrics , all parts of a unique  presentation and a  perfect combination to express the poetry of emotionalism, detachment, longing, love, melancholy. They played the last album and some favourite tracks from previous works(gallowdance) for a little more than an hour (with the encore).Best moment ,in my opinion, was the last song ‘sunderland’ which closed the encore and the gig and  which larissa and William performed theatrically ,saying goodbye to us in the best way. Well,they are already famous here ,larissa and William love Athens so I think we will enjoy them again soon.


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In 2009 we released “The stones of Naples”. It was a very productive year for the band.
We went for a concert in a very small town in Germany called Nordhofen. It was a very long trip. We rent a car at the Frankfurt airport and we still had 400 kilometers to run. After 150 kilometers our percussionist, Francesco Manna, said: "hey guys, can you stop the car, please? I'm not sure I took my riq. I am afraid I left it at the car parking of the airport". (the riq is an egyptian frame drum). We were all disappointed, but the driver (Alfredo Notarloberti, our  violinist) stopped the car. Francesco checked everywhere and the riq was not in the car! So Francesco said: "please, I must go back to the airport's parking because I want to try to look for hoping to find it, I just bough it in Egypt, I can't miss this special instrument!" It was around midnight, we all started to keep Francesco on his leg and to blame him for his lack of attention. it's been three hours since we leaved and we were sure that the riq would not be there any more! Simply impossible.
We went back at the parking area and the riq was still there instead! We were very surprised, also because it was a public parking, so we could not believe it!
We arrived at our hotel in Nordhofen extremely late. The town was so small, but pretty. The day after we reached the venue. It was a beautiful church, quite far from the town. I was really worried about the audience because the ticket was quite expensive. Moreover the place seemed quite isolated and last but not least it was the first time we played in Germany. But all at once many people crowd into the church. It was a very unusual sensation for me to hear the public applausing just any time onee note was silent. I had performances in other countries before, but the German audience really impressed me for its attention.
I guessed that we were transmitting our mediterranean feeling to them. They have always appreciated our culture and things have not changed. By the way, I remembered what Johan Wolfgang von Goethe said about Naples: he was deeply impressed and shocked  by a so different world, but at the same time, there was something attractive to him ("forgive those who loose their minds in Naples" he wrote in 1787).
 We went to Nordhofen with two important singers of our band: Annalisa Madonna and Claudia Sorvillo. I can vividly remember pleasant moments of friendship and energy. I should still have a recording of an improvisation we made after the concert, with Edo at the piano and Claudia and Annalisa singing.
After the concert I realized that Germany was one of the best music audience I had ever played in front of, and every time we perform there, I believe it again.


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Adàn Ilse is a synth project signed by USHERsan (ex-Norma Loy, Die Puppe, currently in command of the Black Egg), Pedro Peñas Robles (HIV + , Fluxus) and Peter Rainman (People Theatre). Pedro runs the french label Unknown Pleasures Records. A discussion with Pedro,Peter and Usher is always interesting.

What does the name of the band mean?
Pedro : It was a private joke between Usher and me. When we started the band we were a duo, Adan (me) and Ilse (him). We made Space Factory (french techno label) believe that we were two homosexual lovers and they signed us on their catalog for the release of our first EPFrom The Waves » in 2013.
Peter : When this all started we were named Adan & Ilse feat. Peter, because i joined the team few weeks after they created the band. David Carretta suggested we removed the « feat. Peter » bit because it was too long. I'm supposed to be the « & » now, hehe.

Tell us a few words about ‘Adan & Ilse ‘ start . At what point did you get attracted to music? How do you meet each other and if there is someone that helped you in the beginning.
Usher : I'm attracted to music since I'm born. After my birth my “third uncle” gave me a small toy guitar with a sticker of the Beatles on it as a present; and I’ve never stopped having music in my head since that.
Pedro and I met via FB a few years ago. He saw me when I was in Norma Loy and he asked me about a Suicide cover. I don’t why I agreed and recorded “I Remember” on which he sang before, and we started doing things together. “I Remember” was on our first “Ushersan+HIV+” record on the Black Monolith EP.
Pedro : Adan & Ilse was born from the musical encounter between Usher and me in 2012. The arrival of Peter allowed us to have a new way of working on arrangements and mixes, o make them sound more modern and technical. Peter enables our recordings to sound cleaner because Usher and me in the studio are two old punks torturing analog machines without trying to please. In our band mainly I am the singer & performer but I always give precise musical direction to Peter because he didn't have exactly the same musical and cultural roots that us.
Peter : Yep, i'm not from the underground world, basically, though I tend to go darker and darker nowadays. The guys had marvelous songs but everything was disynchronised and required strong knowledge in mixing, because these machines we use need to be precise and respectful. They have soul, you see.

As you are three members, how does it work and which is everyone's participation in the project? Since you have other projects, what determines when the time is right to return to Adan & Ilse?
Usher : Generally I compose the music, the general idea of the song, sometimes its together with Peter and then Peter did the arrangements and mastering process, and Pedro and I put the lyrics and vocal on the music. But we had some exceptions, the process is not always the same.
What determines it will be an A&I track? Hard to say. Some tracks are more Adan & Ilse than Black Egg (my other project) for example (less dark, less industrial) and so the destination is here!
Pedro : I do lyrics and counter ténor backing voices with more darks vocals, Usher also sings with a cold wave crooner voice. Sometimes I do also the mixing of our songs as on "Sadisco R3mix3d". I also propose the names of remixers, external musicians collaborators & ideas of our artworks.
Peter : There isn't any classical recipe, no habit, actually. Sometimes Pedro comes with an idea, we make it real working together. But most of the time it comes from Usher. Then we use to play some kind of musical ping pong, exchanging mp3s all the time. When we three are crying on the result, we know it's a good song we shouldn't touch anymore. I bring ideas too, especially tips on the production and mix. The new thing, since the third album is we built Usher and I a kind of laboratory to create sounds that will be included in the songs. “Boys in eyeliner” and “Failures” for instance started that way. That's for the irrationnal side. The more rationnal one comes from Pedro : he brings time schedule, photos, ideas and songs he's heard. He's very good at motivating us, trying to catch what we are reluctant to show sometimes.

What is your creative process to compose you music? Can you explain what ‘Adan &Ilse’ is all about?
Usher : I don’t know. Its things I hear in my head, it comes from the inside.Adan & Ilse is about pleasure, loss and knowledge.
Peter : It's hard to explain actually. The more we work and exchange together, the more we think as a trio, capturing each other's feelings. That is an inspiration. But most of all that band is a kind of alchemy no one can change. Separated, we work and sound differently. United it gives those special sounds, atmospheres... Magical... Dark magic, I would say.

As I see some great artists have collaborated with you (Gabi Delgado from D.A.F.) and some others have remixed your songs (David Carretta, John Lord Fonda, Motor, Haujobb) so I think the feedback from the other artists has been very good so far. From the audience side, on a worldwide level how has the feedback been to your music?
Peter : We could say we had very positive responses from serious and real artist. Now it's easier. In the beginning, we were totally knew to the audience a lot of pros even didn't replied to mails we sent. Later they recognised they were jealous or didn't realised what it was all about. Too late guys ! We always work with people that say “yes” from the very start. David Carretta has the guts to sign what he likes and not what should be signed to please some people in the little world of music. Usher, Pedro and I have strong connections with talented artists, and they give us the best of them (Thanks John Lord Fonda, Melanoboy or Daniel Meyer!!), but for others, though we were totally unknown, they said yes just because they listened and liked our work. Gabi Delgado was the perfect example, and so did Oly from band Motor.

Well, I do love the new album (‘Cold Diamonds’), it appears to be consistently good all the way through and in my opinion it is your best album to date. Do you feel the same?
Usher : “Cold Diamonds” is the most coherent and mature album we did I guess. Its also the one where our new wave roots are the most obvious. But I like the others as well. Its hard to say. I feel its different but I cant explain why. It was not something conscious.
Peter : The thing is they all sounds different from each other. The two first ones were more based on demos from Pedro & Usher, now we are first experimenting, thinking, trying, we go deeper and deeper in our soul. What is clear to me is the fourth album is the rel first of a trio, not two plus one or one plus two, etc. The best proof is I often listen to it, thinking “my Godness, how did we manage to make this bit?”and the answer is simple : we surprised each others all through the sessions.
Could you discuss about the concept behind ‘Cold Diamonds’?
Usher : In this for the first time we have integrated our gods. I mean Ian Curtis with the JD song, using his real voice, Bowie with the cover, Cure with the very“Robert Smith like” voice on Sun king, and others less obviously. The Cold Diamonds are inside the music, and its like some re-generation.
Peter : I think we now are ready to play with our icons, instead of thinking about them as the  unreachable top. It's like playing with jewels, diamonds in our hands : they show us a different image according to the move and the light.

In the last album there is a cover in ‘love with tears apart’ and also your label’s name is the name of Joy Division’ album. In addition to,the cover of ‘Cold Diamonds’ is similar to the cover of Bowie’s ‘Aladdin Sane’. What do ‘Joy Division’ and ‘Bowie’ mean to you?
Usher :Joy Division and Bowie mean a lot to me. I started to love rock music listening to Bowie (and then Iggy), he was so different, he had the perfect “sound and vision” attitude. And then with joy Division emerged the sound and soul of the generation. My inspiration is close to Joy Division’s inspiration, I mean Bowie, Iggy, Velvets.Icons.
Peter : I've never had the chance to discover them at the right moment, I guess. I'm more into electronic music, but some tracks fascinate me a lot : i'm fond of Bowie's trilogy, or “outside”. For Joy Division, it came after I bought some early New Order tracks. Anyway, what i'm looking for, whatever the style, is SOUL. And no one can say Bowie or JD don't have.
The last album brings me a nostalgic new romantic feeling.Is your music looking back to the past?
Usher :Well I think that actually the music of today is the music of the past, less the spirit. We put the spirit in again, and try to change something from the inside.
Peter : We have to look on what' been done in the past to understand how and why they created such songs. On the other hand, the most important for me is to have tools that “talk” to us and inspire us, whetever the tool is old or brand new.

Having been in the industry for sometime, what’s your reaction to how it’s changed, and what about the Internet and file sharing activity?
Usher :Yeah it changes a lot with the FSA : people who never met can do music together, that was totally impossible before. And it goes faster as well.
Peter : Good thing is we can communicate easily. Bad thing is lots of people are pretending, acting, but lie and just duplicate what they see or hear.

Could you mention some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
Pedro : early Depeche Mode, Fad Gadget, Kraftwerk, Coil, Yazoo, Klaus Nomi, Suicide, Joy Division, The Cure, Liaisons Dangereuses, DAF, Nitzer Ebb, Norma Loy, Trisomie 21, Ultravox, Mute Records,  Internatioanl Deejay Gigolo, and more electro clash, ebm, synth pop, dream pop, cold wave, dark techno...
Usher: Bowie, Iggy, stooges, Beatles, Throbbing gristle, Coil, suicide, Joy Division, PIL, Velvet Underground, Mùm.
Peter : without Vince Clarke, Alan Wilder and Kraftwerk, i'd be nothing.

‘Unknown Records’ is a label that growing day by day and some interesting artists have already joined it. Tell us a few words about your label.
Pedro : Unknown Pleasures Records is a record label of passionate people for passionate people ! There's no place here for the cynicism, the cult of personality or the greed.
We seek to produce from the best possible music that we've always liked, outside scenes, musical hype. When artists like Alan Vega, David Carretta, Haujobb, The Horrorist, Dave Clarke, Dominik Nicolas or Étienne Daho support our music we know that we are on the right way.

What about your future plans with Adan & Ilse?
Pedro : I'm currently working with the label on « Chirurgie Plastique » an special remix album of songs from "Cold Diamonds" with amazing versions by PSYCHE (« Boys In Eyeliner »), HAUJOBB (« Sun King »), NEON ELECTRONICS (« LosT Overdrive »), IN DEATH IT ENDS (« Red Star »), ELECTROSEXUAL (« Like Me »), MATERIA SUSPIRIA VISION (« Stardust ») and more remixes by THEREMYNT, DIMEUHDUZEN, JAPAN SUICIDE, LAAG, MELANOBOY, WATERWALLS, PHLLOX.
Peter : We already are trying new tools and ideas, but i'm also packing things in order to be ready  for some eventual dates and tours.


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