Velouria Recordz is the new Montreal DIY record label founded in 2019 by Maxime Wingender and Frank Marsan from the Canadian post-punk, shoegaze band The City Gates. Northern Noise vol. I is a compilation that features 20 tracks of all original songs by modern post-punk, coldwave, darkwave, shoegaze, krautrock and noise pop bands from the Province of Quebec, CA. features, among others, La Mécanique, Non-Lieu, The City Gates, Palissade, Jet Black, Silver Dapple, Traces and Sarajevo & Moi, which is the new project by Michel Mercier from the Canadian classic 80s-90s new wave band Handful of Snowdrops. The compilation has been premiere on the Big Takeover Magazine. Northen Noise vol. I is available now as a free digital download on Bandcamp. The label expects to release the compilation via a special limited edition run of 100 cassettes very soon!

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Here we have a long overdue review of an album that really left its mark on me and I think it deserves to be heard by a wider audience. The opening track "Death Of A Diamond" was also featured on the Die Seele compilation "Stimmen Der Seele Vol. 3" last year. EDEN is a dark wave band that was formed in Melbourne, Australia, in 1987, by Sean Bowley, Pieter Bourke (who has worked with Lisa Gerrard) and Ross Healy. Eden re-formed in 2015 by founding member Sean together with Anthony Cornish and Matthew Sigley. With this new line-up they released the bands fourth album "The Edge of Winter", 22 years after their previous 1995 album "Fire & Rain".

The CD version of "The Edge of Winter" features twelve tracks (while the digital version has only 10) and over an hour of new EDEN material. The album’s launch took place in June 2017 at the Schauspielhaus, Leipzig in conjunction with EDEN’s debut European performance at Wave-Gotik-Treffen. On this album the band delivers the distinctively diverse, uniquely sumptuous sonic palette that they have been long known for. Creating a sound spanning from darkwave, neo-psychedelic and ethereal genres and featuring the renown sublime eastern-tinged baritone vocals of Sean Bowley. 

As a three piece with Sean Bowley on vocals, 6 and 12 string guitars, Matthew Sigley on bass, keyboards and Anthony Cornish on 6 and 12 string guitars and keyboards, the band deliver a wide range of styles, from neoclassical dark wave, gothic rock, dream pop and neo-psychedelia, blending it all very nicely together making a warm, majestic, lush, solid sounding album.

The opener "Death Of A Diamond" is a great example of the album’s overall sound, full of guitar arpeggios in the background and dominant of Sean’s passionate vocals. On "Lost And Found" that follows, we have a guitar driven track that has distinctive guitar riffs, while on the next track "Girl With The Violin" the band delivers a majestic sounding song with layers of atmospheric keyboards and guitars. Another great example of their beautiful songwriting, full of grace, emotion and memorable choruses. Things are calmer on "All The Time In The World" which is dreamy in ways and on "Suantriade" that follows we have the first instrumental track that has the ability to transfer the listener to distant lands.

The title track "The Edge Of Winter" is something completely different from the rest of the album. Here, over a drone, we have Sean's baritone vocals relating something in between an orthodox church service and a middle eastern kind of chant. A very impressive and dramatic piece. In similar mood "Returning" continues the hypnotic eastern charm, then on "Perfume Garden" the mood switches to a more uplifting tone, on "December" we get one of the more rhythmic songs and with "Fryerstown" we are transferred to a dreamlike, nostalgic state.

The last two tracks "Sky Above", "Winter" are both instrumentals and are exclusive to the CD version. A fine example of how this band can make instrumental pieces of music that stand out although they don’t have vocals. On "Sky above" we have that exotic eastern essence while on "Winter", a perfect track for closing the album, we get an elegiac nostalgic feel that reminds us of early 80’s darkwave and goth.

Review by Nick Drivas

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Siberia are an English goth rock band formed by Matt Wyatt on vocals and Dave Drum on guitars and all other instruments. They were both formerly together in the 90s gothic rock band Vendemmian. As Siberia, they released their debut album "Turning Back Tides" in 2017 and have played live around England and in Germany, Greece and Italy. I then had the opportunity of seeing them live when they played at club Death Disco in Athens together with the local bands Drama Queen and Mosquito and witnessed first hand how this band perform perfectly its emotional tunes on stage.

Exactly two years after their debut, the band have managed to release their second album "The God Complex" again on the Swiss Dark Nights label. On this new offering, the band follows the same path as on their first album. Gothic rock that is enhanced with Matt’s emotional vocals and Dave’s great trademark atmospheric guitars. Something that is immediately noticed with the opening track "Sleepwalking". Things start to get more dynamic with the next song "Lone Star State of Mind" that is more of a rocker and surely stands out. On "Walk Through Walls" we get a heartbroken track of a relationship gone bad while on "Crows" the mood lightens up a bit. Midway we get "The Way Of The World" where to beat drops and they explore ones inner struggle of life’s burdens.

The second part of the album starts with the upbeat "Starting Fires" that states a feeling of longing and regret. Then we have a change in mood with "Walking In A Dead Man's Shoes". A slow track driven by bass and drum machine with the guitars swirling in the back setting a dark bleak landscape. Next is "Memphis" a classic Siberia track, one that could be a single with its memorable chorus before they launch into the darker "Blackwater", a song about belief with some religious references. The album finishes with the short ballad "Sims Song", ending the record on a sweeter tone.

With this album, Siberia have managed once again to deliver a very emotional intense moody piece of work. One that really makes an enjoyable listen. It’s one of those records that you can really get into especially when listening alone, paying attention to every sound and being sucked in to its vortex. All ten tracks are really good and have a great flow making it hard to choose only one or two favorites.

Review by Nick Drivas

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Malefixio are a Deathrock, sinister dark post-punk band from Barcelona, Spain. The trio consists of Eva LadyStardust (vox, lyrics), Jordi Nozin (guitar) and Mauricio (bass/drum programming). Since forming in 2016 they have released the album "Culto a lo Invisible" in 2018.

We see that the band formed in Barcelona in 2016. By February 2017 you had released a demo on Bandcamp with 2 songs that started to make Malefixio known. Tell us how about the first years and how it was starting afresh again, having in mind that Eva was previously in the goth rock band La Peste Negra?

Eva wanted to sing in a band again, a new different band. So we joined at first to play a cover and see if the feeling flowed between us. We prepared a cover, "Trivialita" by Madre del Vizio and after that we began to rehearsal 2 times per week and ok, here we are. 

What was the reaction after the release of your first demo? Did you get a lot of positive feedback that helped you continue in what you were doing?

Yes, we had a positive feedback about it. People liked our 2 songs a lot. We even had some record proposals from different labels. In that time we had 3 songs more and we thought to release an EP, but after we wait a little more and we decided to released our first album. 
All through the years, there was always a small deathrock scene around the world. Small and cult one might say. How do you see things today for a band that follows this genre?

It’s a very strange global world nowadays. It’s that moment in the history when we have more easy access to information but at the same time people are very lazy. I remember in the 90s we discovered bands when they had split up. We had fanzines and people really involved in the scene, parties were full of young people and we used to change cassettes/cds between us with new bands. Nowadays we discover bands just by their first song, it’s amazing. For us it’s really good and we buy music directly from the bands. Even we play with a lot of new and incredible bands of that moment: Date at Midnight, Ötzi, Second Still, Chain Cult, Jackaline... Things changed but now there are a lot of new people that like darkwave/deathrock/postpunk bands and this is really good. 
We are lucky, people come to our concerts and we are very grateful about it. We think it is a good moment to create a band. 

Last year in 2018 Malefixio released their first album called "Culto a lo Invisible" via Fairy Dust Records, a label from Helsinki. How was the process in making your debut? Did the band have any help or was it the traditional DIY effort?

We recorded "Culto a lo Invisible" in our friend’s studio. Satantoni is a diy studio by My Own Burial band creator. We stayed several months to record it during winter/spring 2018.
The cover is a collage made by Eva of Viridiana, a movie by Spanish surrealistic master Luis Buñuel. The symbols is a defixio, part of our name. A defixio was a Mediterranean curse, before Christ era, written on the graves for wish the worst luck to enemies even after death. This way the enemies didn’t come back for revenge.

What subject matters do your song’s lyrics have? What are your major influences and what inspires you in general?

In general life. Specific Mediterranean/Persian mythology, paganism, witchcraft, ancient civilitations...

We see that you like playing live and that you have shared the stage with bands like The Beauty of Gemina, Ötzi, Chain Cult from Greece, Second Still, Fangs On Fur and Date At Midnight to name a few. How is it for you to appeared on stage and perform before an audience? Any memorable moments from playing live?

Playing in front of an audience is a theatrical way to show your music. We don’t just play, we would like to make the public travel to our world. 
Every concert have memorable things for sure. 

Except playing live in Spain, you have travelled also to France and Germany. Are Malefixio a band that would like to play all over the world? Any place in particular that you would like to play?

Yes of course, we love to play live. We would love to play in every city in the world. We are open to all promoters, they can write to us. 
About playing in special places...We would love to play in ruins, castles, temples... any special place full of telluric energy.

What are you plans for the future? Will we be having a new album from you anytime soon?

We are working on new songs. We would like to release an Ep for 2020.

Interview by Nick Drivas.

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'Stimmen Der Seele' is a compilation created by DIE SEELE radio-webzine, featuring underground and some unsigned artists from dark alternative scene ,carefully selected to amaze the listener with authentically inspired music.
released 16 April , 2019

A DieSeele radio production

Production,Editing: Nikos Katsigialos

Photography,Graphic Design: Marilia Fotopoulou

© 2019 All Music Copyrights belong to the bands

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Anima Triste are a darkwave / post-punk / goth rock band, based in Athens Greece. They started in 2014 and after performing many live shows they released their debut self-titled album "Anima Triste" in 2016. Having supported acts like Garden Of Delight and Whispering Sons, the band now is ready to release its second album "Humanity" next month in May 2019.

Having listened to your debut album, we see that the band manages nicely to balance between darkwave and post-punk. What is your approach when songwriting and what are your major influences?

Greg DiRt: First I would like to thank you guys for this interview. It's our first in English so...
To me as a songwriter is always interesting crossing genres regarding writing songs for Anima Triste and especially for the magical voice of Mad Sad, trust me when I say it's very challenging. Take as an example the song “Stars”.
It starts like a common pop song, then the drums with the bass gives the beat and it climaxes to the main riff of the song which is obviously a standard “rock guitar riff”. Then it suddenly changes with that huge bass riff in the 1rst verse, then the main riff again and changes again at the 2nd verse with that change in the guitar. Then there is the “punk” bridge and then a completely different chorus that sounds like a ska band... It’s kind of crazy but it worked because it happens for me to work with very talented musicians.
All this process happens mostly in the rehearsing studio and most of our songs, at least in the first album, developed in the studio and our fixation was to record our debut album as it is, raw. And the sound you get in the debut album is the mixture of musical minds playing live at gig somewhere. That was the purpose and I think we managed to do it.
For me at least, I don't have a special genre that I worship and it's kind of liberating when writing music. I grew up in the Greek countryside in the late 80s and 90s and listened to all the music that my friends gave me in mix tapes in cassettes. I still have stored somewhere in my apartment. You know, all that KWOBHM bands, American Heavy Metal, English Pop and new wave on the radio, Greek rock and punk bands of that time, all that stuff. And because I was a child of a low class family, raised in the Greek countryside I sucked all the music that could reach my attention. And finally became what I am today.

You’re a band with the classic 4-member line-up consisting of Mad Sad (vocals), Greg Dirt (guitar), Gus Black (bass) and Jimmy C (drums). We have seen that you have sometimes had a keyboard player with you on stage. Will he be a permanent fixture in the future? And are you seeking to expand you sound?

Greg DiRt: Well... There is always the need to expand the sound. A little time before the debut album came out we were whiting the material for the 2nd album. As a songwriter I wanted the 2nd album to be completely different than the first album.
That was mostly because of my state of mind regarding to my troubled marriage and the inevitable divorce that is the “Humanity” album, at least for me. That's why the majority of this album is so emotional and so dark. I used synths, sound effects, extra guitars, 12sttring acoustic guitars, theremin and different arrangements in the production and went straight black in this album. That's how I felt at that time. I'm very proud of this work because as a musician I managed to grow to the songwriter I always wanted to be.
It's true that Corvus Necro played with us a few gigs after the debut album came out and he was a member of Anima Triste for a brief time but it didn't work out for us.
Even though our paths didn't meet after all, you can hear his keyboards and his voice in “UOY”, the synth in “Almost There” in the single version. As long as the keyboard riff in “Hades” in our second album.

We see that you as a band deliver very passionately on stage, especially your singer Mad Sad. What does playing live mean to you?  Are you a band that seeks to step up on stage at every opportunity?

Greg DiRt: Hell yeah we go crazy on stage, every time we go on stage it's like we're going to war or something... Performing live is (and trust me) better than sex sometimes! It's that mystical chemistry between us combined with the crowd, the loud music, the smoke machine, the lights, Jimmy behind his drums, Gus playing his bass, me delivering the proper notes with my guitar and then.. that beast that is Mad Sad, surfing the stage, looking everyone in the eye, tearing himself in shreds for everyone to see... Mad Sad is one of the best front man/vocalists/performers out there even he will never admit it to anyone.
As a band we want to play live when there's something for us to “say”. We don't care gigging around playing the same material over and over again. Of course there are some songs we enjoy playing in every gig, we have some covers from our favorite bands to go with and we think that every live gig is a party. A feast of friends if you want.

What is it that Anima Triste want to express?  What sort of message do you want to deliver to your listeners?

Greg DiRt: I will speak for myself here, I write music and lyrics because I feel to it, if there's a single soul that would like what we do, or more, so be it. I'm a happy man with only that. For me music can manifest in various ways, some fans may like it, some may don't. It's just how things work. We are not politicians, we are musicians for f*ck sake. My personal message is that shit happens all the time, don't be a bitch about it, embrace the shit. It's yours after all....

How is it for you, as individuals, to be in rock band in today’s society? Is your involvement strictly for you pleasure only or is it an urge to release the pressures of everyday and making a statement?

Greg DiRt: Being in a band is awesome. I absolutely love it. Of course it takes time to make music, to practice, rehearsals, live shows etc. etc. Sometimes it gets frustrating because we don't make a living from our music, so our day jobs are essential. To me music is all the above at your question and more. I can't imagine a version of me without music in my life.
As a statement, a message If you want, is to never give up on your dreams because it will give up on you. So... try your best no matter the outcome.

Do you think the underground scene in Athens is thriving due to the artistic boom caused by the economic crisis or is this just a fake image? What’s your opinion of the dark scene in Greece? Compared to other countries, the scene here looks strong, with many bands, clubs and concerts.

Greg DiRt: It sure is because of the crisis in economy. The whole structure of our society crashed down, we lost the middle class, numerous job positions lost, most of small businesses went out of business and most of the people I know had to change their lifestyle because of it. It was (and still is) a very hard time for everyone in our country. I strongly believe that this was the reason that the Greek Underground Scene is so big these days. There are so many great bands playing almost every night that is impossible to keep track.
The Greek Dark scene in our case is no different from the other music genres. There are so many good bands, with great arrangements in their music and sometimes I find myself thinking… “Damn. I wish I had written this one”. And all these bands are nailing that sweet 80s-90s sound but with a fresh look. And the funniest part is that most of these people are young in age. To me is very satisfying to hear great music with these references in their music at the age of 25-35. That's because (and I'll use a quote of a friend of mine) “real goths are old”.
Comparing to the rest of Europe, the underground scene here is very strong and surly thriving. Record companies from all over the world (no joke) are making record deals with Greek bands and artists. I believe that these are the best days of the Greek Dark Scene. Not only because of the bands alone. There are places now like clubs, bars, live stages you can go to a theme night at that club or the other. Imagine in the 90s to tell someone that it will be a time that some clubs   are playing post punk or goth music all night and people actually show up... He could die laughing.

Your second album is set to be released soon. What should we expect from your second full length effort?

Greg DiRt: As I said earlier, in “Humanity” we followed a different path than the first album. We recorded in different studios, different days, I added extra guitars, synths, special effects and theremin to the arrangements. It was a bet to myself I made, to make a record with the band and put all this emotional mentality I had at that time on record. My guys gave me absolute freedom to go nuts with this album, so I did. I think that as a band we performed great in the recordings, the production is way huge, better than the first album and pretty much that's it. I hope for a review if you want to.
What goals does the band have now? What would you like to achieve that will make you feel fulfilled?

Greg DiRt: The goal has always been the same, to play our music, to as many people is possible, to reach out and to be heard and finally to make a living out of it. I know that this is very hard but that's the dream. And you can't be false to your dreams. Thank you.

Interview by Nick Drivas.

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The 90’s gothic rock band Children On Stun split up while in the process of recording their follow-up album, to be named "Prostitute Malfunction", after their last album "Mondo Weird" released in 1997. After a long hiatus, the band reformed in 2015. Since then, things weren’t so easy for the band. Their guitarist Simon Manning passed away shortly after the reunion and was replaced by Stuart Harper for the following live appearances. With the lineup now featuring old members Neil Ash (vocals) and Kyle Whipp (bass) and new recruit Stuart Harper (guitar), they began recording new material. While things were looking promising, they called it quits leaving fans in the cold again.

Then in 2018 they started up again with a new guitarist, Gord Young (previously of Pretentious Moi?, Seraphin Twin, The Dream Disciples) and finished recording their new songs. In March 2019 they finally released the EP "Echoes" with 5 new tracks on the UK independent label Armalyte Industries.

The new CD begins with the title track "Echoes". A classic single in my opinion. An upbeat track with a catchy chorus. Here we find the band in their familiar turf, delivering straightforward speedy goth rock with a pop approach and with Neil Ash delivering a great passionate vocal. The thing I always loved about this band was that they write songs with pop tendencies not being trapped only in the doom and gloom of goth. One could say they're just an alternative band with a dark twist. Although we do get the trademark gothic rock recipe, with drum machine and classic guitar riffs, the band has a feel-good let’s have fun vibe. Next track "All The Pain Of Love", the tempo drops a bit revealing a nice mid-tempo song with nice bass and guitar parts. While on the slower "Signs" that follows, we have another emotional vocal from Neil. This track, a sort of ballad, was already known by their fans, since it has been played live prior to this release. After a few piano motifs, things speed up again on "Another Love Another Beginning" reminding us of the classic Stun songwriting of their earlier days. The EP ends with "Echo", that is a remake of the title track. Here in another stripped down mix with only atmospheric keyboards and vocals. In general, we have a very descent release, that sounds fresh but still holds all the elements that made this band loved throughout the years.

Reviewed by Nick Drivas.

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The Icelandic darkwave trio Kaelan Mikla from Reykjavík have made a name for themselves these last few years. Everything started in 2016 when they released their self titled debut on Fabrika records. Since then they have performed live in many countries and were personally picked by The Cure’s frontman Robert Smith to play at the 2018 Meltdown festival in London. This all led up to the release of "Mánadans" that included all their first recordings of what was supposed to be their initial first album. Then they were more of a deathrock/punk/no-wave band with Sólveig Matthildur still on drums before switching to keyboards.

In November 2018, they released their proper second album "Nótt eftir nótt" on the Toronto-based electronic label Artoffact and finds the band at its most confident. The album begins with "Gandreið" a creepy, dark ethereal intro. But things really kick in with the second track "Nornalagið". Here we have one of their characteristic compositions that feature nice synthlines by Sólveig Matthildur on keys, on top of the dark rhythm section provided by Margrét Rósa on bass and their drum machine, while Laufey Soffía on vocals completes the picture with her dark exotic witchlike singing. This is showcased even better on the next track, the wonderfully delightful "Hvernig kemst ég upp?" that is one of the albums standouts. On "Skuggadans" that follows, Sólveig plays keys as if playing the guitar, making it one of the more post-punk tracks of the record. The rhythmic "Draumadís", which also serves as the lead single with its great surreal dark fantasy video clip directed by Logi Hilmarsson, shows how the trio are capable of making great memorable dark atmospheric tunes that can transfer the listener to desolate landscapes. Another song that stands out is "Næturblóm" with Margrét’s bassline paving the way for the nicely textured atmospheric synths and Laufey’s delicate vocal. Whereas on "Andvaka" we get a powerful dark track, full of minimalistic drumming, aggressive bass and vocals of despair. Things slow down on the title track "Nótt eftir nótt", a dark elegy that is produced by the popular Icelandic electronic wizard Bang Gang. The album ends with the atmospheric song "Dáið er allt án drauma" ending this Nordic journey in the North Atlantic, a place defined by its dramatic landscape with volcanoes, geysers, hot springs, lava fields and massive glaciers.

Review by Nick Drivas

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"Rio Lapis", Spettro Family's latest release, is actually a 4 song EP that was released back in 2012 in a limited edition cassette format only. Now, this work is re-released and re-invented in cd format, with new artwork and 2 bonus tracks, making itself accessible to a wider audience. In fact, this mini album is the first ever Spettro Family release in cd! All their previous works were released in limited 7'' vinyl and cassette formats, some of which are long sold out.
To those familiar with Spettro Family's musical style, this re-release is a pure eye candy, aesthetically very pleasing and satisfying. Visually, the 4 panel digipack comes with a folded 4 page insert, both featuring well designed artwork based on real model photography. Also included, are extensive liner notes by the artist himself, regarding album's initial conception and making. It is revealed that "Rio Lapis" was actually the name of an existing abandoned hotel somewhere in seaside Italy, that inspired and motivated Steve Spettro (the man behind Spettro Family) to create this album.
Musically, the album runs about 28 minutes, which surprisingly are sufficient to fully absorb the listener to Spettro Family's universe: A musical journey to a mysterious haunted place, full of melodies and sampled sounds, which blend together and seem frightening but also beguiling. A soundtrack to a mystery horror film that makes you travel in time and in your imagination, bringing up old memories and dreams. There you can find many things: weird sound effects, piano melodies, modern synths, children's voices, old italian chants, cinematic soundscapes. I think it's a shame that Spettro Family hasn't done any film soundtracks so far.
Although this album should be listened as a whole, the tracks that stand out are: "Rio Lapis" the album's main track that nicely incorporates all of Spettro Family's elements, "Villa Sarina" a track to be found also on Spettro Family's "Glow in the Dark" LP vinyl album and "Magnetofono" one of the two bonus tracks, that really sounds creepy, like a haunted self-driven tape recorder.
"Rio Lapis’’ is availiable from the american label ANNIHILVS and also directly from Spettro Family. Looking forward to similar cd re-releases in the future!

Review by Stefan Stavrides
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In March 2019, Geheimnis Records released on vinyl the debut self tiled album from Data Fragments, a new wave band from Athens, Greece. The bands members have a history on the local scene. Singer and guitarist Panos Dedepsidis and Panos Dimopoulos on synths, used to be together previously in the band Κωμωδία Θανάτου, while on bass we find Stathis Leontiadis, known from his other projects Doric and Human Puppets.

From the opening track "Grown Men", the listener is immediately introduced to their characteristic sound. Reminiscent of all those early 80s underground new wave bands with the DIY attitude that flooded the European scene back then. Next, we get one of the highlights of the album with the frantic "Falsifies The Facts". A great track that stands out with its tight rhythm section of brooding bass and drum machine, topped with nice razor sharp guitar riffs. The mid temp track "Drawing Lines" that follows showcases a darker atmosphere where the synths are given space to expand their melodic textures. On "No Sign Of Life", singer Panos delivers a very good melancholic vocal. Something that really adds to the whole feel of the album, that of the cold wave / cold war era. The same can be said for "Distant Lies", where all colors are shades of grey. The other highlight of the album is "Walking In The Rain". Here the band are more melodic but moody at the same time. A bleak setting but with a touch of warmth, a composition with a nostalgic dramatic tone “A mellow silence breaks like glass, like statues standing, gazing in the dark…”. The closing track "Nothing There" was one of their already known songs, since it was on their demo. Here they speed up the pace ending the album in a more dynamic way with the guitars screaming in full feedback.

The album comes on black and transparent cyan blue vinyl. The artwork, by Alexandra Karagiannidou, fits perfectly with the music, transferring us to an age where the new wave was at its peak and responsible for some of the decade’s masterpieces. I think this album deserves the attention from all those who love the classic new wave sound. The band have created an authentic mix of songs that make the album a very enjoyable listen in its whole, without becoming at all tiring since it only has 7 tracks.

Review by: Nick Drivas.

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