Ēirikura is a collaborative project. Among the participants are members of Sunset Wings, Romowe Rikoito, Āustras Laīwan and their friends from Prussia as well as poetess Johanna Doyle from Ireland. Along with Johanna’s poems, the group uses a short poem by Christina Rossetti and a historical poem in Gaeilge (by Pádraig Mac Piarais) with guest Josephine. The Prussian lyrics are by Niktorius and Āulaukis. The CD 'Reflection of a Higher Realm' is their first release produced by  Wrotycz Rec. On this album you will find a variant of emotional  songs in neofolk, ethereal and neoclassical style. Highly recommended to all atmospheric neofolk listeners.

You can listen to some tracks from the album here: https://soundcloud.com/eirikura

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On Saturday 22 April (just one week after Easter) Selofan gave their much anticipated annual show in Athens, presenting their brand new album "Cine Romance". As expected, the band performed in a full house with Kaelan Mikla opening the gig.
Much like their previous concert a year before, Selofan separated their show into two parts, joined by a small "closed curtains" interval in between. They performed songs from their previous albums as well as the new album, in an almost 2 hours substantial set.

Again, the duet gave great care in visualising the songs onstage, with the aid of a crow-masked fake violinist, a muted plastic sex doll dressed in black trash bag (like the singer Joanna), a trash bag containing fake human body parts, the well known fake snake, a human-like candlestick skull, a red balloon released to reach the venue's ceiling, and a burning orthodox church censer at the start. Two baskets of "kollyva" sachets (Orthodox Christian candy offered in memory of the deceased) were handed to the crowd during the show, whereas a basket full of red roses distributed hand in hand by Joanna herself at the end.

Musically, the duet gave their well-established perfomance: Joanna singing and dancing, while Dimitris accordingly plays the bass, the synths, the saxophone, or even hammering a huge metal plate (that was a new challenge!) and then Dimitris taking over the main vocals, while Joanna focuses on the synths.

Best moments of the concert were mainly the perfomance of the new songs, especially the commanding yet mincing "La Industria Del Sexo" sung in spanish, or "Cellophane" a sad discomforting song (as Joanna correctly admitted), performed at the very end, but also "Alone" accompanied by an infuriated intense perfomance by Dimitris.
In conclusion, watching Selofan live is always a thrilling experience, because they manage to perform a show full of interesting wide-ranged elements, both musically and visually, which apart from being memorable, really add up to the band's whole artistic output.


But what also made this night truly unforgettable, was Kaelan Mikla, the female band originating from Iceland and part of the Fabrika Records family, who opened the gig.

First time appearing in front of the greek audience, Kaelan Mikla did really well and confirmed that they are talented and special. Even when some unexpected sound problems occured at the very start of my personal favorite "Synir", the band managed to smoothly overcome the problem with great calmness and concentration, which must be rightfully recognized.

The three young girls manage to create a whole icy atmosphere onstage, aided by the blue lighting and Soffia's vocal treatments and hypnotic body moves. Their heavy depressive sound owes big to Margret's bass sounding, who really dominates the stage set, a perfect counterpart to the little, fragile yet threatening Soffia, who performs in a very self-expressive way, barefoot and always standing on her toes while singing. Finally, all sounds and effects come from mastermind Solveig in the synth section, who was dressed in a pink eye-catching outfit for the show.

Kaelan Mikla did an almost 1 hour set, performing songs from their only self-titled album released on Fabrika Records last year, including favorites like "Synir", "Kalt", "Myrkridkallar", and the magnificent "Glimmer & Aska", but also some new ones. Definitely a band to watch out in the future!

Enjoy some videos from the gig:


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Die Zwei (german for “The Two”) is a new music project from Italy, an “electronic art music manifesto” as they call themselves, formed by Laura Agerli and Roberto Melle. Their music is electronic, with female vocals and guitar provided by Laura and electronic tribal percussion played by Roberto, assisted by an extra bass guitarist during live shows. The duet have just released their first album “Eins” (german for “One”) in digital format through Bandcamp, also available on limited cd format by the band themselves.

“Eins” runs 50 minutes and contains 11 songs, sung mainly in Italian and English language. Die Zwei deliver a very artistic electronic sound, based primarily on Laura’s distinctive vocals, accompanied by industrial rhythms, electronic tribal drums and sound effects that stand out. Very powerful and melodic, the band manages to create dark atmospheric soundscapes that constantly change according to Laura’s vocal attitude and performance. Dominant and emotional, Laura’s singing easily changes from low-tuned narration to dynamic high-tuned shouting, beautifully switching between Italian or English language accordingly.

Best songs of the album are: “Majorana”, the album’s starter (named after the Italian 20th century physicist), very powerful and moody. “Gurdjieff” (named after the Armenian 20th century mystic philosopher) one of the band’s best efforts. “Anthropos” filled with hypnotic, haunting vocal treatments. “None” with lyrics in English, filled with pain, anxiety and despair. “Reve Industriel” sung in French, full of pure emotion, probably one of my favorites. “Sexure” comes with a very nice 80s dark italo disco sounding style. “Schonheit” partly sung in German language, provides an interesting oldschool ebm twist. “Buono Legnani” (named after a theatrical character) resembles an enigmatic soundtrack filled with a strong passionate Italian temperament. Other songs like “Lili”, the piano based “1906” and the album’s ending “Yugen” have a slight different style, not so powerful and industrial, but more melodic and atmospheric.

On their debut album “Eins”, Die Zwei have managed to conquer a fresh sound that stands out, producing an impressive artistic result, accompanied by a powerful graphic design and a mystical visual appearance onstage. Well done!

Review by Stefan Stavrides
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Strangely soothing: The piano of Oneechan Nanashi is out of tune and broken, and if you have a look at the title of her debut album, you might wonder whether her instrument fell out of a container ship into the water to the bottom of the sea where she decided to record 10 instrumental tracks that don’t need any singing: Ghost Ship Cargo. Nanashi adds post rock guitars and occasional violins to create a lo-fi version of modern classical music that sounds like a slowed down walk through an enchanted, yet destroyed Atlantis where the poor souls of a dozen of sunken passenger ships wander about trying to find a home. These 40 minutes are accompanied by gloomy sprinkles of sound, tape hiss (or waves?), creaking wood, a love for the sea which is mostly dark and mysterious. This ghost feels very much alive. Portal opens the second half like bubbles are longing for the surface of the sea. Nanashi even dances a little waltz with a creature from the sea only to lose her partner to the promising beacon in the distance which turns out to be nothing but a hallucination. You are stuck here on the open water - which turns out to be an open grave. 

Tags: Modern Classical/Ambient/Postrock
FFO: Grouper, From The Mouth Of The Sun, Sigur Rós
Releases: 14 April 2017 Formats: CD, cassette, download
Personnel: Oneechan Nanashi
Label: Blackjack Illuminist Records Label
contact: blackjackilluminist-records@gmx.de
Homepage: blackjackilluministrecords.bandcamp.com
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With Dyatlov Sana Obruent made a concept album about the mysterious deaths of nine experienced ski hikers in the northern Ural Mountains on February 2, 1959. During the night something made them rip their tents from within and flee the campsite inadequately dressed in heavy snowfall and sub-zero temperatures. Sana Obruent from California manages to create a menacing atmosphere that perfectly fits to the mystery. When the crackling noise of the 15-minute opener The Preparation sets in, you can almost smell the snow, while the hint of instrumentation coming from the top of the mountains disturbs from the start. For the unexperienced listener The Departure may be the best track to access the world of Dyatlov, it’s also the one that comes closest to Sana Obruent’s classic Prince Of The Air which seems like bright daylight compared to the heavy darkness of Dyatlov which crawls under your skin. It’s like the moment you recognize that the suppressed thought you fear the most has suddenly found a way to get inside your mind permanently. After the first listen it may be a challenging album for some, but once you let it sink it’s highly addictive and you begin to long for the melodies that you can find underneath the veil of terror. With Dyatlov Sana Obruent is on top of the game. Take The Journey for example which involves arrangements of classical music, but buries it under a haze of drone, nightmare, and interfering sound sources. In the beginning parts of it may even sound peaceful, then again the increasing and decreasing volume with its variety of noises that resemble Geiger counters, the howling of animals and scraping of metal make you realize that at some point you didn’t recognize that the avalanche is not approaching, you are waking up recognizing you have already been buried under it and are now unable to escape. When you find yourself at the bottom of this black hole that is Dyatlov, the closer End is no knockout, moreover it’s the aftermath of a disaster that already happened. The stuck loop feels like brain damage, and the crackling snow noise makes it clear: we’ve come full circle, and you’ve reached the verge of insanity. Dyatlov does harm in the most brilliant way.

Tags: Dark Ambient/Drone/Neoclassical 
FFO: William Basinski, The Caretaker, Belong, Daniel Menché 
Releases: 14 April 2017 Formats: CD, cassette, download 
Personnel: Paul Lopez 
Label: Blackjack Illuminist Records Label 
contact: blackjackilluminist-records@gmx.de 
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Merry's Funeral are a promising band coming from Turkey; they have already an album out on bandcamp (of which you can find the rewiew on these pages) and are currently working on a new concept Ep.
Sharing the same passion for Joy Division and dark existentialist writers, they make a collaboration with Lory Fayer putting in music a song dedicated to the japaneese writer Osamu Dazai, who committed suicide the 13th june 1948 with his partner Tomie Yamazaki. that present on premiere on the pages of Die Seele.

Among the cherry blossoms
(13th June 1948)

They know that the joy doesn't dwell here
They leave hand in hand without any fear
To carry on their quest in a faraway place
In the most hidden corners of the Space

From a river where the waves always roar
They sail without a ship to another shore
The water might lead them to their dreams
On their sad faces a sudden smile gleams

They look at storm coming from the sea
The wild wind moves through the trees
Making the flowers fall on the bottoms
So they float among the cherry blossoms

A funeral procession of silence and scent
Without voices that criticize and dissent
Often life stifled and hindered their feeling
Death is like a charming promise of healing

Closing their eyes, they look at the eternity
Where nobody will point out their diversity
All the requests will finally shut up forever
Heaven will be the prize of their endeavour

dedicated to Osamu Dazai and Tomie Yamazaki

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"Stimmen Der Seele" is a cold, dark, experimental compilation created by DIE SEELE radio-webzine, featuring underground, unsigned artists carefully selected to amaze the listener with authentically inspired music. The second compilation features 18 new artists .

released April 6, 2017

A DieSeele radio production

Production,Editing: Nikos Katsigialos

Artwork Design: Marilia Fotopoulou

© 2017 All Music Copyrights belong to the bands
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From Turkey they come until us the notes of a handful of bands; but these few ones that succeed in crossing the Bosforo decidedly have another gear.
Merry's Funeral are a duo of Istanbul founded since some years but that only recently started to publish some tracks. Their album "Metanet", issued as digital download a couple of months ago on bandcamp will be soon published in cd by the Polish label Batcave production.
As the band's name suggests us they refer tothe most introspective and existentialist sideof the new wave, with lyrics that behind the dark appareance often use metaphors that lead to deeper interpretations for the ones who  know how to read between the lines.... mission not impossible because on their facebook page there  the translations of some of their lyrics in more than a language; the rest can be done with some curiosity and the help of an online translator.
But let's go  to the music: "Metanet" is composed by 9 tracks; the one that opens the album "Ölüm" (that means death), it is not a deathwish in the Christian Death's style  but rather an emphatize with a person who is going to finish is Earth journey, and that desires t to forget joys and affections not to suffer for the detachment. The music is driven bya bassline close to the style of Simon Gallup, but the song develops melting with mastery the references to the origins with a more modern sound; with some inserts that makes me think about a sort of contaminations used to express the tension with the sounds of notes with a "western movie style" close to the one that Ennio Morricone used to point out the climax moments of the soundtrack that he composed.
"Paranoya" has a more modern sound but always intimately dark as you can notice by the guitar chords and the voice full of emphasis and emotion of Julius Wentor  that represents well the inner tensions connected to fears and obsessions; the text is metaphoric: it talks about the fear of the shades that follow us in the emptiness of the night; are they ghosts or people empty and dreadful like a ghost?
"Katastrof 1708" has been composed in memory of the 1999 Marmara earthquake, that took the life of more than 40.000 people, this is one of the most melancholic tracks of the album; almost a sound representation of the pain left by a tragedy; the music is slow in an uniform way; as the astonishment that leaves you paralyzed; every chord of the bass  is as heavy as a tear that falls, the text seems to describe a sort of bewildered snapshot of a disaster and of the supernatural strengths  that caused it.
"Duvarda Böcekler" (bugs on the walls)  is about these creatures that proliferate on summer as traces of death on a wall that don't take care of humans; a lyric apparently banal, that metaphorically can hide deeper interpretations, sang with an emphatic interpretation; the music follows the best tradition wave; it's slow and veined of sadness; a grief that in their music never turns into anger but that rather sounds like asad resignation.
"Mutlu Metanet" "Happy Fortitude" looks likea chronicle of an attempt to survive in a world felt different from how you are; here strength consists of killing or to suffocate the fear in order to be able to carry on; the music melts some Cure reminders with modern arrangements and sounds, like the short appearances of the synth.
"Geçmişin Laneti" it has an introspective and desperate lyric in the style of Heart and Soul" sung with a pathos from which the sadness transpires;  like a lament coming from the heart without even the strength to become a loud cry; the music represents perfectly that emotion; with the inserts that sound like whispers arising from the melancholy base and the bassline in the final part of the track  that it seems to express a sense of disorientation.
"Siyah Şehir" has a more modern sound with the rhythm of the shynts  but there is a melacholic atmosphere in the foreground; perhaps the one of the lyric that seems to remember some happy moments lost in the meanders of a black city; where only at night one is free to be himself.
"Yanılsama"" it is a short instrumental where a synthetic sampling of a brass section accompanies the slow and painful riffs of an acoustic guitar; like the voice of the dreams that tries in vain to bring the light in a dark reality.
The album is closed by "Günler", a cover of a Turkish song that I think is totally unknown to the foreing public; it is a lovesong for someone who is not here anymore", and both the singing both the music, give the feeling of ballad full of bitter sweet nostalgia that represents perfectly the yearning for a goodbye to a person that someone still wishes to hold among his harms.
This album is a great debut, that shows us that the new wave is not dead suffocated beneath the make up and the appearances, but that there are still around some bands  able to understand its deep sense and to perform it in a present days style.

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