Driven by Alessandra Gismondi (vocals, bass) and Luca Bandini (guitar, synthesizers and drum machine), the Italian duo Schonwald has already became one of the 'hot' names  in the European dark underground scene.Their fourth  album 'Night Idyll' contains ten songs and released on Manic Depression Records in 1st of June in vinyl, CD and digital format.

The new album follows the same path with the previous albums. Minimalist, synthetic  and hypnotic atmospheres reminding legendary bands like ‘Cocteau Twins’ ('sleepy destiny' ,'austral') , ‘Jesus and Mary Chain’(‘love Collides’), 'Suicide'('a secret') evoking the spirit of the 80s but also bands of today like : Soft Moon , Kvb e.t.c. There is a perfect balance  between dream pop , shoegaze  and post punk carried by sonic guitars , driving beats usually with danceable tempo and the sensual  sometimes ethereal ,sometimes childish vocals of Alessandra.

This  album reveals an impressive number of great songs talking about  love-passion lasting over time. My favourites:  The bright 'Austral' with the great basslines, the melancholic and hypnotic 'Sleepy Destiny' that gives an ethereal swirly feel , the first single 'Love Collides' with the beautiful video, the blissful 'Oceans' with the great dreamy vocals and the closing song  'temple'  a perfect blend of  cold electronic sounds riddled with hypnotic vocals.
In conclusion , Night Idyll is a carefully chiseled piece of dark pop that sounds really fascinating everywhere,in the club, in the car, in home . As a pure listening experience, Night Idyll, like all of the Schonwald albums, delivers a lot of musical ideas in a modern way. Highly recommended to all shoegaze, dreampop,postpunk listeners.

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EDEN was an historical name of the '90s wave, so we'd like that you make us a small history of the band for those who are too young to have known you in those days?

EDEN is a Darkwave band that formed in Melbourne,Australia in 1988 by singer-songwriter Sean  Bowley and Multi Instrumentalist Pieter Bourke.  EDEN’s debut performance was at the Baden Powell Hotel, Prahran. The band quickly established a local following that saw them perform regularly as a fixture in Melbourne's burgeoning alternative music scene.
EDEN’s initial 12 inch EP ‘The Light Between Worlds’ was released in 1990 on Nightshift Records, Scotland.  The EP caught the attention of BBC Radio's John Peel who featured tracks on his show, resulting in rapid support of EDEN by The Alternative Press Magazine in the USA.  A 7” single version of the track ‘Searching for Angel’s Hands’ was released by Ultimate Records Australia the same year, broadening EDEN’s supporter base through a live appearance on Australia’s national pop music TV series Countdown Revolution.
In 1991 EDEN moved to London based label Third Mind Records who continued to grow the band’s profile in Europe and the USA through the 1992 release of their first full length CD ‘Gateway to the Mysteries’ (released in Australia under Elysium/Shock Records). The album was described by the music press as sounding akin to 'the Cocteau Twins had they existed in the 1890's. In 1993 EDEN joined the roster of Projekt Records, USA releasing the ‘Healingbow’ EP.
In 1993, the band established a new lineup, Bourke departing as drummer Peter Barrett, keyboardist Paul Machlis and bassist Ewan McArthur joined Bowley for ‘Fire and Rain’ - EDEN’s second studio album under the Projekt label (1994). Allmusic'sNed Raggett found the new lineup's music to be "an intriguing sonic palette, extending the goth/psych tendencies of Bowley's particular muse to their logical conclusions”. The same year Eden released a CD of remixes and rarities titled ‘Earthbound’. The ‘Stone Cat’ mini-album was released in 1997.
In live performance EDEN have shared the stage in Australia and overseas withRowland S. Howard, These Immortal Souls, Underground Lovers, Lycia, Love Spirals Downward, Attrition, Heligoland, Ostia and countless others. EDEN undertook a promotional visit to the UK (1990) and an extensive tour of live dates in the USA (1996).

What lead you to leave the music scene and what pushed you to return after many years?

Life simply had other plans for me and for a time I headed off to explore other life experiences. I did in fact leave the live music scene but did not stop writing music. I moved to the country and built a home studio and found that I was happy enough to sit at home and write music rather than perform it. I was living remotely and cut off from the resources a city has to offer for performance of live music or engaging with the music world.

Could you explain to us why do you chose EDEN as band name?

Back in 1988 the original members of EDEN spent two or three days writing lists of potential band names. Somehow and for no apparent reason we settled upon the name EDEN.

Eden line up had several changes but your music has kept the original style, so I guess it's connected with how you chose the band members?

Yes indeed it is very much linked to the style and musical personality of each player in EDEN. Its actually reasonably difficult, if not a reasonably unlikely prospect, to find band members who posses the right playing style or finesse to assist with creating the EDEN sound, though by no means impossible. EDEN currently consists of Andrew Kutzer on 12 String guitar. I have known Andrew since the 1980s and have been working with him since January 2000. He is a player with unique styling and finesse - a mighty fine rhythm guitarist. On bass guitar, keyboards and drum machine we have Matthew Sigley. I have known Matthew since the mid 1990s. We used to hang around in a common circle of friends back then and we were both playing in bands. Matthew first played with EDEN in 2014 and has remained ever since. He is gifted bassist and keyboardist who has a flair for writing beautiful simplistic riffs and melodies. Of course at the heart of the history and sound you have my input and song writing. I drive the musical personality and maintain the EDEN vision. I have been involved in creating the EDEN sound and guided the evolution of EDEN’s sound since 1988. So I guess I am the key. Without me there’s no door to unlock, no interest in walking through the door and no journey into the creative space that is EDEN.

There is a concept you develop in any single album or single or each track has its own story?

Each track has its own story and each song becomes a chapter in the book that is an EDEN album. The songs are reflective of my life journey. They are written when the right conditions are met that enable me to write. Inspiration can be a delicate quality. I cant exactly define what my life circumstances need to be in order to right but the underlining qualities would have to be passion, inspiration and the ability to become lost in the creative state.

What are your sources of inspiration?

Life! The big things that happen to me and the often obtuse but beautiful things that I enjoy and experience in this world. There a things that directly inspire my creativity and things that indirectly assist simply by being something that I love.
Your music sounds dreamy. Which role do dreams, fantasy and emotion have in EDEN?

Emotion is the prime driver. Feeling is the flint that strikes the stone of creativity. Each spark shoots into the night and potentially lights the fire of a new creation. Creating is a thoughtless state where melodies and words flow from an inner well of creative potential. By the side of that well sits the muse and she is the key directing the opening of the door into the real of limitless creative potential that lies beyond.
Dreams, creative vision and emotion are all central to EDEN’S music. As is faith in limitless potential even if that be the denial of limitation via working within or with what you have. There are worlds within worlds and there is every conceivable way of breaking, ignoring or redefining any barrier or limit. These are rather bold statements but who cares because to care is to create. You have to be able to care to have the ability to create. To care is to believe that it is possible to follow your heart or souls desire to create something beautiful and change the world. It makes little difference if that change lasts for a moment or makes a difference to ten or ten million lives. The fact that you have been fortunate enough to exist in the creative state and be involved in creating something that makes a difference to the world beyond the machinations of your own ego is a huge achievement and likely to be the most precious thing that you achieve in life in addition to learning to love.

Despite the long lasting stand by of EDEN your new album is coherent with the '90s ones, and in my experience it's not so common as I came across several reunited bands that kept few more than the ancient name; how do you kept this coherence through your artistical path?

EDEN is an evolving musical journey. At its core is a very clearly defined concept and sound. I think every truly great musical artist shares this very circumstance. The sound may evolve as the artist grows but essentially there is something in the personality of the sound which makes you recognise who you are listening to even if it be a track you have never heard before. Many musicians have a distinct sound and singers each have a unique personality in their voice. My singing and guitar playing have evolved over the years but I have always sounded distinctly like myself. An EDEN song is pretty easy to recognise when you hear it. Over the years listeners have said that we have a very familiar sound that reminds them of something or several someones. Usually they cant quite articulate exactly who it is that EDEN’s music reminds them of. Usually at the end of the day people who enjoy the music produced by EDEN simply accept it as EDEN music. I believe that the familiar sounding quality that people hear in our work is a testimony to the quality and high calibre of our work. We sound familiar though we haven’t really been heard. I like this notion...we are simply and uniquely EDEN.

I gave a look to the lyrics of your last album, to me they seem as "snapshots" opened to interpretation, or maybe a hint to the insight to guess the feelings and histories that lay beyond...

In lyrics everything lies beyond. The words are vessels for conveying emotion. The sound of the music and my voice are also vessels for conveying mood, feeling and emotion. The songs are indeed snapshots of something I have felt or lived. The songs are never literal. Everything is unfinished and by implication. The sound of our instruments and my voice are just as important as the words. Everything ties together and amplifies the emotive effect of the music we make. When I write and sing words I keep the words sparse and simple so that the emotive tonal quality of my voice is able to play its part in EDEN’S sound. I can sing wordlessly or with words. I choose words so that i can further enhance the emotive intent by combining the sound of my voice with language that relates to the emotional setting of a given song.

You have chosen for the official launch of your album the Wave Gothic Treffen , it will be your first time in Europe, in a very important established festival. What expectations do you have from this?

Fortunately the organisers of WGT 2017 invited EDEN to play at the festival. So we have them to thank for bringing us to Germany to play at the most important annual music festival for our style of music. We will be releasing our new album/cd at the festival and plan to put on a high calibre performance at the Schauspiel theatre at 7.00pm on June 4. We hope to sell lots of copies of our new cd as it will become a darkwave/dreampop classic. I don’t think a high calibre album like ‘The Edge of Winter’ will go unnoticed. It’s destined to become a classic of this genre. These are my expectations. We will have some special posters available at our show on June 4 and will be signing them for audience members who would like one.
Please register your interest on our Facebook event page: https://www.facebook.com/events/1898706340413217/

Do you have any other project for the future?

EDEN will start writing new material for another release in the not distant future. Though as we all know these things can often take longer than expected :).  Nevertheless we are aiming high and dreaming up big things creatively speaking.


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"Schwarts" is a newly founded cultural club from Kassel in Germany,which has set itself the target to promote art, culture and music of underground scene. For this purpose Schwarts team  organize a series of festival with the idea to present a different country as a partner each year and to mainly take artists of this nationality into the program. This year  Schwarts chose Greece as their partner which is also the second exhibition venue of Documenta this year.

The first Schwarts festival took place in Panoptikum club from 5 to 6 May. The venue inside was decorated with dolls and gothic aesthetic  and the Schwarts team  welcomed people with black costumes. On Friday ,the program was dedicated to dj sets and art exchibitions…In various rooms  the visitors could explore photography exchibitions by Marilia Fotopoulou and other artistic projects and in the main stage the 5 djs  offered a dancing program. DieSeele (Rise&Fall-transmission) joined the party with his own set.

Saturday 6 May  was dedicated to the live performances by 4 Greek projects. First on stage the the Brussels-based personal project of the Greek musician and vocalist Eleni Nasiou  MELATONINI  accompanied by the bass player Eliza Lozovska and the intermedia artist Emmanouela Charatsi a/k/a Man.Ou.Elle. Weird rhythms and noises really produced  a dramatic effect  with  dark soundscapes and the  mystical visual appearance onstage producing an impressive artistic result .The songs : ‘poser’ and ‘separation’ delivered the band’s strongest moments. They left me an excellent impression and I think in the future they can give us quality music.


After a short  intermission, on stage KRIISTAL ANN-Anna’s Michailidou personal project - which also offered us about 45 min. of ethereal synth melodies .The warm and emotional voice of Ann accompanied with beautiful visuals created a poetic  and sometimes dramatic  atmosphere. We enjoyed favourite songs like: ‘fading lights’ , ‘she walks in beauty’ , ‘remembrance’ , ‘Antigone’. 

Kriistal Ann continued with the PARADOX OBSCUR – the minimal synth project from Rhodes island which she has with Toxic Razor . About 1 hour with dancy ebm and minimal synth tunes accompanied by Anna’s passionate voice and sometimes Toxic’s  deep vocals.The high tempo danceable rythms and  the  powerful visual design raised us to dance. The best moments were : ‘flesh’ , ‘dirty parades’ and a beautiful remix of ‘dark fortress’but the big surprise for all was when the Mexican guy  Rogelio Serrano(Equinoxious) went on stage and performed the song ‘cosmodromo’ with Kriistal Ann.

Finaly the live gig closed with another great performance by the Athenian dark cold wave duet SELOFAN. We enjoyed some songs from the new album  ‘Cine Romance’ but especially from the previous ones ,visualizing  the songs on stage adding  up an artistic output to the concert. Joanna and Dimitris gave their best and captivated the audience for about 1 hour.

The gig closed with another dj set by Rise&Fall( transmission/ DieSeele).

It was an unforgettable experience and I would like to thank the organizers ,the groups and anyone else  involved ,for the two beautiful  days we spent in Kassel ,two days with Greek  colour..

Enjoy the following videos:

Paradox Obscur-Dirty Parades
Kriistal Ann+Equinoxious-Cosmodromo
Kriistal Ann-She Walks In Beauty
Kriistal Ann-Remembrance

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The French / Swiss band Factice Factory will release the follow up to their "The White Days" (2015) and "Nada" (2016) albums. Their third album is called "Lines & Parallels" and will be released by Wave Tension Records (vinyl) & Wool-E Discs (cd & tape) on September 15th 2017. The album contains a mix of cold wave, minimal wave and post-punk songs. Delicious propulsive bass, cold synths, tense rhythms and vocals in English, German and French produce a dark and sometimes claustrophobic atmosphere.

This video premiere is for the song called Extinguisher. It's dark atmosphere is nicely captured in a black & white, strobelight effect filled video.

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Founded in 2016 by Mathis Kolkoz, Blind Delon made it's first release on the spanish record label Oràculo Records with the " Edouard " Ep, containing 3 original tracks plus a remix from Drvg Cvltvre (Viewlexx, New York Haunted). Shortly after this release, Léo Farronato (Memento Maurice) started to take part in this project, and today Blind Delon is working as a duet, with big influences from 80's Post-Punk/Cold Wave to the french Techno scene and the german Neue Deutsche Welle. Lets have a short discussion with Blind Delon.

How was this project born? 

I began this project in June 2016 by composing the track ‘Edouard’. Then I was quickly contacted by some labels to produce a demo. After the first EP, I was join by my friend Léo Nato and we compose together sometimes, and i do some tracks alone.

Could you explain us why do you choose ‘Blind Delon’ as band name?

Alain Delon is a legend of the 70s to 80s french cinema, it’s someone who impressed and inspired me as a child (my parents haven’t really appreciated the cinema of their own time, they were nostalgic of the previous generation). Furthermore, Alain Delon corresponds to a period which musically is very important to me : first the 70s, among which art-rock and prog-rock eternally inspired me, then the 80s among which esthetics and romantism (today considered retro) finds itself in my songs. And finally, Alain has the most beautiful eyes of the world, no? Make him blind for a while..

What are your sources of inspiration?

I think that the cinema is one of my main source of inspiration. I often close eyes and only listen to the music. The incredible story-telling which we find in the soundtracking is something very inspiring.

Your music is a mix of a lot of different things... And talking about style, what are your biggest influences?

I dont really listen to coldwave music, on my hifi system i prefer having more electro stuff as techno or EBM. I work as a mastering engineer mainly for the european techno scene and i am the boss of a ravy and industrial techno music label (Kolkoz Records).. it’s an esthetics which inspires me a lot, and I try to mix it with my vision of the actual pop-music. 
We can say that I am inspired by peoples around me : I have worked a lot in the electronic music, in particular in the composition of soundtracks for contemporary dance shows, in sound-design, in the ambient - downtempo - electronica scene.. My past collaborations influences my musical projects everyday. And as I said previously, the 70s european rock scene and the 80s pop are styles i like a lot.

What is important for me is the emotions and the quality of melodies. So, how do you compose the songs?

I don’t really have a method, I like working in a random way. I am the kind of guy who didn’t equipped its studio with classic machines.. It is true that I have some old classic synthesizers, but most of my tools are rather original. I like sampling various vinyls, using elements from one to make others. It’s something I do for a long time, I work the sound synthesis with what is around my body, my kitchen utensils are my best friends.. When I have a cool bank of sound, I plug my bass, my guitar and some old machines through vintage amps and racks to assemble the elements and compose a song. The singing step comes much later, I often return several times on my instrumental tracks, then i write some lyrics.

Tell us about your collaboration with the labels like ‘Oraculo Records’.

Nico of Oraculo Records has contacted me after listening to my first track 'Edouard'. He quickly suggested me to produce more tracks for an EP and I thank him a lot for it, because it’s what made me go out of my cellar. It’s him who allowed Blind Delon to exist.. Nowadays we continue to work together.

Could you talk about your local scene?

I come from Toulouse, south France. It’s a ‘big’ city where it’s often sunny and that inspires people ! The world music is very present here. At the moment, the electronic scene is expanding, we listen more and more to house, techno, but few to coldwave. Indeed here it is not as in Lyon with their alt-rock-kraut scene, or in Marseille where we greet the work of HIV+ with Unknown Pleasures Records. Here in Toulouse there are few concerts of this style, except the Discipline Festival and some evenings in a place called Le Ravelin. With a local association (Boudoir Moderne), my label launched the ‘Luxe Humide’ parties. The first one allowed us to welcome Vogue.Noir, Hausfrau and La Main. We are organizing the second round..

Do you have any other project for the future?

I work on a next EP. We also get ready to propose Blind Delon as a live band in September, 2017.

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Founded in 2016 by Mathis Kolkoz, Blind Delon made it's first release on the spanish record label Oràculo Records with the " Edouard " Ep, containing 3 original tracks plus a remix from Drvg Cvltvre (Viewlexx, New York Haunted). Shortly after this release, Léo Farronato (Memento Maurice) started to take part in this project, and today Blind Delon is working as a duet, with big influences from 80's Post-Punk/Cold Wave to the french Techno scene and the german Neue Deutsche Welle.
Synth-Pop might be the best word to qualify them, as their music is a sort of breed between outrageous Pop and cold basslines. Building a bridge between Pop and Rave music, Blind Delon is making a conventional yet romantic Post-Punk sound.

With their heads and bags filled with synthesizers from a time they weren't even born, Mathis and Léo can be found today between a record shop and a cave rave, looking for an aesthetic that is nowhere near dying.
Enjoy a Blind Delon's podcast for DieSeele Radio

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