The Greek artist
Nick Frontman has returned with his sixth album "Nostalgia"
released on his own Mystery Records label. The album contains eight new tracks,
6 in English and 2 in Greek, all in gothic and electro goth style. It was
initially released on a small scale in limited copies a year ago in December
2019, but it wasn’t until this year that it was pressed on CD. Nick Frontman
managed to present the album live at Death Disco just days before the first
lockdown of the Covid-19 pandemic.
Nick Frontman is
no stranger to the local Greek underground scene, with a career spanning from
the early 90’s having performed live in numerous events. As on his last two
albums, "Φαντάσματα" and "Today Is The Tomorrow Of Yesterday",
he continues in the same vein binding goth and electro. The opener "The Healer" is low key electronic piece drenched with distorted guitar and
Frontman’s harsh voice. Things get more rhythmic on "Live Now & Die
Later" a darkwave/synth track. As on most of his songs, the main themes
revolve around the lust and loss of love. As on the sentimental "Nostalgia"
which is musically one of the best tracks on the album, with some great
keyboards and matching guitars that create a romantic atmosphere. Next there is
a change of style with the guitar driven rock track "The Night" with
Nick’s nicotine and whiskey soaked voice. Then again the tone changes with the melancholy
piano driven "Κύκνειο Άσμα" (Swan Song), the first where he sings in
Greek. After an epic synth intro, "Border Line" transforms into a more
dynamic track, one that has stood out at his latest live appearances. The
second song sung in Greek is "Το Βλέμμα" (The Look), a dark post-punk
track with a very 80’s sound. The last track, "Gothic Fans", is a
classic 90’s danceable electrogoth track that as the title suggests is a
tribute to all gothic fans around the world.
Apart from Nick
Frontman on lead vocals, the album features Dimis Levidis on guitar, bass, synths,
programming and George Gavras on synths, keyboards, programming. It was
recorded at Sound Machine Studio and mastered by George Scordilis.
Review by
Nick Drivas.
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