DieSeele


Last Saturday turned out to be a truly great Gothic Rock night at club Death Disco in Athens. Three bands shared the stage in front of a passionate and thirsty audience. The line-up consisted of the unknown London/Berlin based Das Fluff, German goth rockers Still Patient? and the legendary pagan goth band Inkubus Sukkubus from Gloucestershire, UK.


As soon as I entered the club Das Fluff where already on stage. The three-piece categorize their music as post-punk electro filth and that’s what they brought to their act. Frontwoman Dawn Lintern with her cyber goth hair extensions stood out as she performed quite wild, at times just singing, other times playing guitar as well engaging with the crowd. At one point she stepped down from the stage and ended up laying on the floor amongst the crowd. The other members where more laidback providing Theremin and fuzzy guitar. Their live sound was harsher compared to their recoded material. They played newer songs at the start like "Obey", "Love and Peace", "Bleed Me Dry", "Bom Bom", "Love Bites", "Lost In The Sky", "Millennial" and they closed their set with the older track "Rage" from their 2013 debut album "Meditation and Violence".




Next up where the most anticipated Still Patient?. This was their first time in Greece and both, their fans and the band, where in a good vibe. They began with an intro that was actually a portion of their most known older track "Shadow Of The Empire" turning the crowd wild from the very beginning before it transcended into "Mascara Osiris". They continued very dynamic, playing a great mixture of songs from all their albums, old and newer from their 2013 reformation and after. Their set-list included "The Ghosts of Tides", "Breathe", "Impact", "Seconds Of Fame", "Gods And Satan", "My Darkness Divine", "Drag Me Down", "Metropolis", "The Last Chime" and "Chameleon". Singer Andy Koa provided great vocals and was very easygoing with the crowd, talkative and showing, just as the rest of the band, that they were enjoying every minute of their performance. Guitarist Marcus and Pogue-o with Guido on bass where bashing away the riffs of every track moving around on stage pairing themselves together in true rock spirit. The crowd was going wild especially in the mosh pit where their hardcore fanbase was. They also made the traditional "human tower" at one point giving that extra spice to top the gothic rock evening in the right way. They ended their set with two of their classics, "Anavryn" and "Agoraphobia" before ending with "Sweet Messiah", an old song they hadn’t played in 25 years!






After a short break Inkubus Sukkubus took to the stage Celebrating their 30 years and gave a really great set of songs. This was their third time in Greece so their following new what to expect. The bands core Tony McKormack and Candia Ridley with Roland Link on bass started off with "Vampire Queen" from their latest album of the same name. Then, they plunged into a nonstop pagan goth frenzy with "Lose Yourself at the Nymphaeum", their classic cover version of "Paint It Black", "Night Angel", "Vampyre Erotica", "City Of The Dead" and "Heart Of Lilith" where by hearing  Candia sing “She's a witch, a siren, and a vampire” it couldn’t describe her in a better way. She was radiant, her voice in top shape and captivating and as always was wearing a wreath with white flowers. The set continued with "The Goat" where Candia did the known choreography with the devil sign, "Queen of Heaven Queen of Hell", the mega hit "Belladonna & Aconite", "Angel of Lust", "Away With The Faeries", "Messalina" closing with another old favorite the oldschool goth rocker "Wytches" that climaxed with characteristic vocal lines “Isis Astarte Diana Hectate Demeter Kali Inanna”. After the crowd cheered them on, they returned playing once again "Vampyre Erotica" as an encore.


 

Review + Photos : Nick Drivas
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Friday January 18th was a special night for DeathDisco's live stage: A music concert/recital by classical trained musicians with adaptations based on well-known songs of various aspects of the dark alternative scene (darkwave, postpunk, gothic rock, neofolk).
DeathDisco's stage was decorated accordingly: royal carpet covering the floor, plenty of pillar candles giving a warm atmosphere, a grand piano dominating the set, along with beautiful antique victorian style armchairs, as well as a stylish cello. The whole stage resembled a cabaret lounge. Upon arrival, everyone was handed a well designed printed programme, containing the setlist and credits. So, as everything seemed to have been prepared in great detail, my initial skepticism about the whole project quickly transformed into curiosity and anticipation.


The concert, executed in two parts with an intermission in-between, was arranged and directed by baritone/pianist Constantine K. ("El Fantasma"), aided by cello player Elli Filippou and female guest vocalist Elisabeth (En Garde). As was prologued, this project was actually based on an idea that was on Constantine's mind for about 15 years, waiting for the right time to be accomplished.
20 songs in total were performed, notably from classic bands like Dead Can Dance, Sopor Aeternus, Nick Cave and the Bad Seeds, Bauhaus, Sisters of Mercy, Clan of Xymox and even Depeche Mode and David Bowie! Watching and listening to all these beloved songs by all these beloved artists, arranged and adapted for piano/cello and performed in opera-like baritone vocals, was quite an experience. It was very interesting to see and realise that each song has a soul of its own, and that soul can be transmitted with an alternate form of musical execution. Of course, trying to distinguish which songs were performed best and which weren't, is a totally subjective matter.

What matters instead, is that the three musicians offered us a passionate, emotional, well-organised and successful entertaining show, based on a concept never seen before. Many congratulations should also be given to DeathDisco, for undertaking and nicely delivering such a special event!

Review : Stefanos Stavrides
Photos : John Kokkonakis
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The Greek darkwave post-punk band Ghostland finally released their debut LP "Dances On Walls" on French label Manic Depression Records. The album has been released on vinyl and digitally. Although they have been active, playing live since 2015 (we saw them opening for She Past Away in December 2017 at Death Disco, Athens), they still hadn’t released any material till this day. As a four piece, with Makrina: vocals, Argyris: guitar, Nikos: bass, Stavros: keyboards, the band present us with what one could say oldschool post-punk/goth rock but with a freshness that makes them sound very relevant to the scene of today.

The album’s eponymous opening track "Dances On Walls", is an moody instrumental one minute track that serves as an intro, preparing for what will follow with "Leave Behind (Hollow Moon)". A classic post-punk track with a very tight rhythm section with brooding bass and crisp drum machine topped with distorted guitar outbursts. Makrina delivers her vocals in a laid back but passionate way giving an atmospheric tone to the songs. On the third track the mood changes with the slower track "Wind Of Knives". From the first thumping of the drums and hearing the baseline one can see the connection with The Cure’s "The Figurehead" from their ultimate dark masterpiece "Pornography". It stands as an instant classic, darkwave at its best, that surely makes it an album standout! Next, they turn up the beat with "Don’t Wait" that stands out with its bouncy synth line but still retains the atmosphere of the rest of the tracks, something that the keyboards and neat guitar work provide. The first side closes with "Sway", another moody haunting track that contains all the elements mentioned above, but here the vocals are even more spread out making them even more atmospheric.

Side two of the album kicks off with the dynamic "The Dancing Crowd" with its very emotional vocal. An instant hit that will surely be heard and danced in clubs all around the globe. One gets stuck by its pace, its guitar riffs and of cause by the heartbroken vocal. The tone grows darker on the following "Ice Song". A sparse arrangement that gives it that icy feel, leaving plenty of space for Makrina’s vocal to echo, through its cavernous structure. The track "Lifeblood", that was released a video prior to the album and could be regarded as a single, shows the band at its best and more powerful. Musically the track is a driving force, with all instruments equally giving it everything it needs to set a desolate landscape for the vocals and lyrics to deliver a cry of despair and painstaking loneliness. After left breathtaking, "Against The Light" follows and closes the album. Another sparse track filled with dark stabs of bass and an icy snare, that slightly climaxes with guitar.

Overall, a great debut album by a very promising band. An album that seems to grow on you the more you listen to it. Dynamic, passionate and atmospheric at the same time, it makes it an enjoyable listen. So, for the lovers of post-punk / darkwave, this is it! Enter the world of Ghostland and find the soundtrack you were looking for.


Review by Nick Drivas






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Remain In Light from the northern town of Thessaloniki, Greece, released their third album in October 2018 on the Brazilian label Deepland records. The band has worked hard these last years to establish themselves on the local and global scene. Always trying to release new material and playing live, like opening for And Also The Trees in their hometown. Since forming in 2010 they have managed very well indeed, having released three albums and two singles. The recordings for their latest album took place during the summer of 2016 and then again in summer of 2017. It took a year for them to eventually have it out officially on Deepland.

Here with their third effort "The Sentinel Diaries", the band presents us with 10 new tracks. All tracks were recorded live with some overdubs added later. Something that gives the songs a more live sound and band like quality. By listening to it one can see that all the songs have a cold wave, dark punk, dark wave, gothic rock, post-punk, alternative rock direction. It’s not easy to describe their sound without listings all those tags since it is a mixture of them all. Surely their love for early 80s goth cannot be hidden.

Opener "Green Book" kicks off in a dynamic way, setting the pace for the rest of the album. Immediately one is taken by Y’s guitars that shimmer the melodic lines above the rhythm section by Constantine (bass) and Ghoul (drums) while the synth work by Joseph D' Anjou adds the final touches to the whole atmosphere. Atop we have Elder K with his characteristic, high pitched vocals, spitting out the lyrics with determination and passion. "Sons Of Terra" that follows is a great piece that has all the elements of the golden era of early goth. On "Hollow Mountain" the tempo speeds up to a more punky groove. The next tracks "The Core/The Void", "Sailing Through Empty Skies" and "One Believer" continue in the same vein more or less offering something different to the whole, with the two later ones having a slower tempo. Prior to the album "The Kiss" was also released as a digital single remixed by DJ Cruel Britannia, but here we have a different mix. The danceable new waver "Urban Traitor" has some early Cure guitar and is one of the catchy songs of the album, while "Mercury Walk" differs with its grand rhythmic stoner style and is also another album standout. The album closes with the two minute instrumental track "Brilliant Blue", a calm atmospheric piece of melodic guitar and synth.

The artwork done by graphic artist why9.gr. is yet another fab example of great aesthetics that adorn their covers. A mixture of early 80’s goth and that of the 23 Envelope graphics group of 4AD fame. The booklet also contains lyrics, credits, info and photos of the band. 




Review by Nick Drivas

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