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‘An artist wears his work in place of wounds’ (Patti Smith)
June turned out to be mostly a punk month, simply because of all the 60 releases that we listened to and which covered everything from noise/techno to soul, it was the various ‘faces’ of punk that fascinated us the most. So let me tell you why…
You might have picked up that this week is very rich in terms of gigs. There are many well established bands as well as new projects that will offer memorable shows in different venues around London but we wanted to talk about one in particular in more detail. This is no other, than the special show that Daemonia Nymphe are preparing for us on Saturday 23rd June at the largest venue the band has performed so far in London, the O2 Academy in Islington.
The band has come a long way and is heading towards even greater things by constantly enriching their sound with new elements, new instruments and new ideas. Daemonia Nymphe have started their career in Greece in 1998, having been inspired by the mystery surrounding ancient Greek music and the aesthetics associated with ancient Greek theatre. At the very beginning they revealed their influences from the sound of 4AD and Dead Can Dance in particular, but very quickly they enriched their original sound and the lightness of the ethereal female vocals, with ceremonial male vocals and aesthetically psychedelic elements in the performance, making reference to characters like nymphs, oracles and even witches and demons. Their stage appearance has also evolved and enriched with different and more theatrical elements over the years. This was until the release of their album ‘Psychostasia‘ where the idea for a music/theatre performance materialized. ‘Pyschostastia II:The Ritual‘ was not the first time the band had been involved in theatre but it was the first time they transformed one of their music albums into a play. Daemonia Nymphe have provided live scores in numerous theatrical productions both in London and in Greece.
“Deconstruction seeks neither to reframe art with some perfect, apt and truthful new frame, nor simply to maintain the illusion of some pure and simple absence of a frame. Rather it shows that the frame is, in a sense, also inside the painting. For the frame is what “produces” the object of art, is what sets it off as an object of art—an aesthetic object…” James N.Powell
May 2018, was a month that glorified music experimentation in the most obvious way. Our initial impression that ‘traditional’ music genres are being gradually and creatively deconstructed or reconstructed by the bands these days, was confirmed by the releases of this month.
“It’s heavier and more psychedelic, bit more spacey, more synths, more downtuned guitars. Some of the riffs are a bit more straightforward and it’s got one tune on it that is the most complex rhythmically that we’ve done…“(Matt Stevens)
I first became aware of The Fierce And The Dead when I saw them perform live, opening for Evil Blizzard last year.That performance placed the first piece in an invisible ‘puzzle’ which I then started to complete by going back and listening to their very first album entitled ‘If It Carries On Like That I am Moving to Morecambe‘ (what a title!).
“We liked to provoke at the time and we still like to do so now…“
Just a few hours before Siglo XX were about to perform live for the first time since 1991, exclusively for the audience of WGT, Blaue Rosen had the enormous pleasure to talk with Klaas (Hoogerwaard) and Antonio (Palermo) about what Siglo XX used to be, what inspired them then, what inspires them now, what matters and what does not. The band gave a memorable headlining show at Felsenkeller that evening, to which the audience responded warmly by dancing from the moment the first note of ‘ Until A Day‘ was heard until the last note of ‘Dreams Of Pleasure ‘ resonated in the space.This is a band with a humble yet very powerful stage presence, a quality which is difficult to describe and replicate and which derives from the whole philosophy that traverses its existence. Siglo XX has always had an almost noble worldview, which informed the way they composed music and the way they approached art in general.It is extremely rare to meet a band with such a level of self awareness and even though they would probably not accept this, the only thing that can explain the impact their music has had, is talent. We must understand, that not every musician that experiments can produce a result of quality and not every person who is involved in art, is simultaneously concerned to that degree, with the things that happen around the world.