Dark Entries is an independent Belgian music webzine with a focus on dark sounds. The webzine itself is completely in Dutch and can be found at www.darkentries.be. This blog was created with the intention to have an additional online place where our editors can post their English articles.
Minds has surprised us with their latest work. It is a combination of a CD with
a comic strip called ‘Omega Thanatos’. Both the strip if the CD tell the same
story, and the result is impressive. We discussed how it all came about with
guitarist Mich and singer Karolina.
With ‘Omega-Thanatos’, you succeeded in making a piece
of art that combines a beautiful cd with a comic book. Where did that idea stem
Mich : In
fact, when we were busy with the second album, in 2008, we had also some ideas
about a concept album we would like to release in the future with a comic book.
Something different than what we did before. We always try to bring something
new. We wrote a small story. The story contained 11 chapters and the CD would
also contain 11 tracks. That was the starting point.
That’s a long time ago. How did you then proceed?
Mich : We
built the structure of the future Omega Thanatos project in 2008. But at that
time, we had no idea how we would achieve that in the future. We left that for
later... In 2010, we released the album ‘Skepticalized’. In 2011, we made our
first steps with Alain Poncelet. We made a first try with a comic book about
the song Broken Dolls. Alain became responsible for the whole Skeptical Minds’
artwork. That’s how we started to make Skeptical Minds and Alain Poncelet’s
dark art to be inseparable. After we saw the result and people’s reactions
about the new t-shirts designs and about Broken Dolls comic book, we decided to
start with the Omega Thanatos Project. We started in 2013 and we released it in
October 2015. Two long years of work, but it was a real pleasure both for the
band and for Alain. We learned a lot and after that “one shot” project, we
decided to continue because when we achieved it, many ideas started to come in
our heads... It’s like something telling you: “hey guyz... you started, now you
have to continue...” And that’s what we’ll do.
Many songs have elaborated parts with piano and
strings, and the guitars sometimes have to keep quite during longer parts. Does
that make them more difficult to play live?
Mich : Not at
all. Those piano and electro elements are sampled. It’s not more difficult than
before. It’s true that some times some instruments are more quiet. We tried it
and it worked. It gives most of the space to Karolina. People can hear clearly
what dimension she can give to her voice ! People appreciate to hear the voice
“alone” without heavy instruments around like usual. That’s a comment that came
back… Then, having a piano on a playback or not, I think they don’t care. We
don’t anyway… (laughs)
I presume Karolina came up with the story line, or was
it an idea that was discussed with the other band members?
story line was written mostly by Gab, our previous drummer. Then we discussed it
together with the band. We had the structure in 11 steps. When we really
developed the Omega Thanatos project, Karolina wrote all the lyrics of the
songs. She knew the 11 steps and what each song was about. Then she developed it
with her own words. As she has to deliver the songs and play the character,
it’s important that she writes the things how she feels them. You can feel in
the interpretation if it comes from her or not.
Karolina, you only joined Skeptical Minds in 2008. It
is surprising how well you fit with the band. You have also taken a leading
role in the creation process, even if I don’t underestimate the input of the
other members. Wasn’t it hard for you as a newcomer?
Karolina : In
fact, when we met with Skeptical Minds in 2008, we spent a day all together in
Amsterdam. The band was there and also our common friend who introduced me to
the band. His name is Stephane Odent and I want to thank him. Without him,
nothing of this would have happened. We spent a day all together and we all
felt like we knew each other since years… We all were connected and felt like we
formed a real team. The rest followed naturally… The contact with the band is
fantastic. They were very understanding and helpful in the beginning. I could
find my marks easily. When they felt I found my place, they started to give me
more responsibilities. In Skeptical Minds, everyone as his part of the job and
everything is discussed together. I also received my part of the job. I felt
they trusted me, and they were happy with what I provided. Since that moment,
you will fit better and better, also because you can bring things that fits to
you. If you feel comfortable with what you create, then it’s easy to express
yourself better and better. It was hard in the beginning. The band provided me
all what I needed, but they also were very demanding and I had to work hard.
Without work, I wouldn’t have stayed for long in the band. (laughs) They all work hard and continuously for the
band. I really like that because it make you feel super motivated even after
many years. The flame is still there, like in the beginning.
I have read that you also plan to tour with Alain
Poncelet. How do you think you can make him a part of your live-act? Is he so
devoted to Skeptical Minds that he’s ready to follow you everywhere?
Karolina : Alain
is the fifth member of Skeptical Minds. If you see the promo pictures, he’s
there. It’s not only the picture. It’s a team and Alain is a part of the team.
When he decided to start the project, he also decided to be involved 100%. When
we play, he often comes to dedicate some comic books. About the shows, we try
to develop the concept on stage to make Alain’s universe co-exist in Skeptical
Minds’ shows. The visual touch of Alain will be more and more present. Our last
video clip ‘Emptiness’ is a good example of what we try to develop. It’s a good
example of the co-existence of both universes. In the live shows, Alain can be
present through video projections or also by drawing live. We did the
experience once in January. 6 comic designers were drawing about Omega Thanatos
while we were performing on stage. It was great moment for everybody. We are
keeping busy with developing ideas… it can be visual but also more theatrical.
I don’t say more for the moment. Let’s see what surprises the future will
The clip for ‘Emptiness’ is amazing. How much work was
it to make this mix of real shots with animation figures?
Mich : It
took two months in total since the moment we shot the musicians and the end of
the production. The shooting sessions were ready in two evenings. Then came
post-production… Alain and the very talented video producer Patrice Gautot
worked together for about two months to achieve that clip, to see what drawings
they would need and how to make them move… Alain prepared the drawings and
Patrice added his magical touch to give them life. The result is far beyond
what we expected! What a chance we had to collaborate with such master. Don’t
be surprised if we continue to work with the same team. (laughs) Everything fitted
very well with the Omega Thanatos spirit we wanted to create. They all went
into it very naturally.
Last question: why should I watch my back?
Mich : Very good
question… (laughs) Many side effects are possible if you don’t watch it. Better
not to know. Continue to Watch Your Back!!! (laughs)
With Thelema VIII Merciful Nuns released a fantastic album. It’s
theme was inspired by Crowley and Rabelais : Do What Thou Wilt Shall Be The
Whole Of The Law. We thought is was a nice theme to chat about with Merciful Nuns-singer Artaud Seth
Hi Artaud, with Merciful Nuns you just released your 8 th album
Thelema VIII, which is a concept-album, based on the lifes of Aleister Crowley
and François Rabelais. What’s your opinion about those characters ?
François Rabelais was a French writer and lateral thinker who wanted to
establish a new form of society at the beginning of the 16th century – the
Abbey of Thelema; where the people were supposed to live in complete freedom,
guided by the single canon: “Do What Thou Wilt”. He is worshipped as the
creator by the population upon my ficitionally planet called “Thelema VIII”. If
you hear the first seconds of the album, it is, if you like, a kind of
introduction to the prevailing scenario on planet “Thelema VIII”. The
population gathers at the central assembly point and honours its founder
Rabelais. Here begins the journey into the depths of a dystopic society living
on a distant exoplanet according to Thelematic principles. "Thelema"
stands for rebellion and insurgence. Or, put in a different way: it symbolizes
the conquest of one’s own limitations within. Here too we call upon willpower.
Conquer your fear. Resist, gather together and change the situation. The
British occultist Aleister Crowley has taken this guideline for cohabitation
and expanded it later on, introducing it into his Thelema temple.
Thelema is Greek for ‘To Will’. Do What Thou Wilt Shall Be The Whole Of The
Law. Don’t you think if mankind can do whatever they like things can go out of
Artaud: The album’s subject matter, or more
specifically: is the awakening of individual will within every single one of
us. Like a golden thread running through the revolutionary projection to
enforce one’s own will, oppose and reject oppression; determine one’s own path
according to one’s own ideals and without compromise. Why revolutionary?
Because modern society pursues coordination and synchronisation rather than
individuality. “Do what thou wilt shall be the only law” – addressing
individual freedom and “Every man and every woman is a star” – denoting gender
equality are the center quotes of all. These tenets for gregariousness were
transferred to a distant exoplanet in order to bear fruit in a dystopic
Doing whatever you like will end in freedom for all. The theme of freedom
but also dystopia are parts of the Thelema-album. In what way you think freedom
and dystopia can work together ?
Artaud: Freedom is the central theme on “Thelema
VIII”. Freedom of the individual, in particular freedom for woman, living out
one’s individual inclinations and wishes; to satisfy the self and indeed the
original goal of existence: personal fulfilment. This may sound abstract when
taken in context to the fictitious society on “Thelema VIII”, yet nonetheless
quite easily transposed onto our society in the present. We are here ALL but
once! EVERYONE has but one chance for a beautiful and fulfilling life!
Who are The Aeons ?
Artaud: Beyond our minds.
By yourself so now and then you are living in your own created Exoplanet.
What do we have to know about that planet ?
Artaud: I could now tell you everything and nothing.
After all I have envisioned it. Perhaps it would prudent to state here that we
are traversing terrain of fiction. This planet is not real. It is an effigy of
our own society in light of a past shaped by outside influences. And even this
claim is essentially nothing more than conjecture; albeit rather plausible and
more than just a statement of possibility.
In some way Merciful Nuns can be described as an occult goth-rock band.
Where did you find the fascination about this occultism ?
Artaud: What is occultism? Occultism only works in an
environment of a religious, mostly Christian faith. I don’t have such a faith;
or rather: I have the certain knowledge that God, by whatever name, does not
exist! Religion is an illusion fabricated by humans and thus obsolete.
That kind of occcultism looks to me is what you can hear in a song like
L.V.X. Dark and morbide. Right ?
Artaud: “L.V.X.” particularly is, to my mind, very
felicitous indeed. A song can’t be much darker and morbid than this one.
The lyrics are reminiscent of Baudelaire, Rimbaud or even William Blake.
Defintely one of the gothy songs ever written.
Are we wrong saying the Thelema-album is the goth-rock version of The Book
Of The Law ?
Artaud: I don't like the term Goth-Rock. It sounds so
traditional, mostly bored and uninspired like the million of other Goth-Rock
bands out there. That's not my cup of tea. And no, "The Book Of Law"
has no central roll doing and creating "Thelema" at all.
Shortly before Thelema VIII there was The Allseeing Eye-EP. In what way can
we add that song in the theme of Thelema ?
Artaud: The song has a quite simple structure. To be
honest this song almost came too easy to me and hence I pondered for quite some
time whether it would actually do the album’s atmosphere justice. In the end
I’m glad having forced myself to include it on the album. By now I do consider
“All-seeing Eye” as a real enrichment, felicitous and intelligent pop song.
The track Isolation did not appear on the album. For the same reason ?
Artaud: Same as with Allseeing Eye yes. And one
"pop" song is enough for an album, isn't it? But however i like the
Crowley was getting his words for The Book Of The Law by the ghost Aiwass.
Where do you find your inspirations ?
Artaud: (laughs) Well, its not Aiwass. As you may
know i visited the original Thelema Temple in Cefalu, Sicily, and he doesn't
speak to me in the chamber of nightmares at all. However i think the
inspiration comes from my curiosity about the dark side of things. I am always
searching for images that combine the past and the future. I believe in cycles,
the perpetual return of what has gone before and I can see parallels between
the high cultures of antiquity and futuristic societies. I believe in unknown
cultures, from so far back in time that there are no more discernible traces
from them in the classic sense; highly advanced cultures in antiquity, perhaps
even older still. Ancient advanced cultures like the Sumerians, Egyptians, Maya
and their adoration for divinities from “beyond” always appear to me as an
effigy of the future. By now I have arrived at the inescapable conviction
that we have already been visited by these so called advanced cultures.
Nowadays these visitors are worshipped as God or Gods by us.
You are creating by yourself the artwork of the Nuns-albums. What will all
those symbols wanting to say ?
Artaud: Those symbols, sigils and hexagrams guide me
though the journey of creating an album. F.e. the frontcover of "Thelema
VIII" showing three Thelematic seals next to the Greek letter for
“Thelema” which i found on the original walls of Thelema Temple in Cefalu. Or
the cover of the single “All-seeing eye” features the symbol of the dystopic
society on Thelema VIII. The symbol features a double “Victory” sign which I
have crossed with the Greek word for “Will” (Thelema). Victory requires the
Will. Obviousley those symbols help me to get into the whole story.
November the 5th Merciful Nuns are playing in Belgium, at Dubhfest in
Poperinge, what do we have to expect from that gig ?
Artaud: I really looking forward to that gig. We have
a strong community base in Belgium and i am pretty sure we will celebrate
together a big gathering.
Most people know Wendy James as the charismatic lead singer of 80's poppy punk/wave band Transvision Vamp. After the band's demise in the early nineties she went solo, and just released the great album 'The Price Of The Ticket' on which she worked together with band members of Nick Cave And The Bad Seeds and Sex Pistols. I never thought a big star like La James was interested in an interview with a Belgian webzine, but almost immediately she answered my interview request, and in no time the interview was done!
DE: First of all, congratulations with your new album ‘The Price Of The Ticket’, how is the response so far?
Wendy: I think the response has been incredible - The Fans are loving the songs, choosing their favorites, sharing their thoughts with my via Facebook and Twitter and Instagram and overwhelmingly radio and press has been completely positive.
DE: You gathered a remarkable band to record ‘The Price Of The Ticket’, how did you meet?
Wendy: I already knew Glen Matlock for many years since I lived in West London (I now living in NYC), James Sclavunos and I had met in NYC and talked many times about recording together, Lenny Kaye is my neighbor in NYC and one of my all time favorite guitarists and James Williamson from The Stooges, I first talked to via Facebook and then we decided to record together so I went over to Berkeley, California with James Sclavunos and the three of us recorded the two cover versions: ‘It’s Alright Ma’ & ‘You’re So Great’ (Bob Dylan and Fred ‘Sonic’ Smith respectively), and during that session James Williamson also brought in Steve Mackay (RIP) who played all the wonderful sax for Iggy on Fun House.
DE: The album is self-released, you don't work with labels anymore? Just like the music which has a punky spirit, it looks like you believe in the DIY ethic, I also thought it was like a big fuck off to record labels who only go for their own profit, instead of giving their artists musical creativity etc, am I right?
Wendy: The music business has changed a lot! I think Malcom Dunbar at PledgeMusic.com has changed and revolutionized the way bands can make music, be in close contact with their fans and have an organized and transparent method of selling the album on CD, on Vinyl, Posters, T-shirts, Gig Tickets etc, It is like a one-stop shop for all the needs a fan may have of his/her favorite act. It was the perfect and most immediate method for me to choose to release this album, and I could not be happier. It has been a very successful launch.
DE: It's almost impossible to talk about ‘The Price Of The Ticket’ without mentioning the cover art. Was it your idea to show yourself and is it to express that The Price Of The Ticket is also showing a figuratively 'nude' Wendy through the lyrics?
Wendy: I have no issue with female nudity, in fact I find it crazy that in certain streams of the media the female form is taboo or even censored against. I simply went to my friends apartment in Paris, she is a fashion designer and photographer and we took some photos and it was all done in 45 minutes. There is no artifice or pretense or even concept, it is just me. Sculptors and Painters have been working with the Female form as a thing of beauty and reverence since time began.
DE: Your lyrics are very personal, which also explains the cover with a naked Wendy. A song like Screamin’ Back Washington for example, for people who know your background, is very heartbreaking. Is it difficult to bring these songs, or is it like a kind of therapy?
Wendy: That song in particular is very reflective, I wrote it on my birthday and I tried to imagine how my birth mother (or any mother who has given away a child for adoption) must feel when a birthday comes around. I imagine of course that she wanted the best for me and hoped that I would be safe and well taken care of in life, I imagine she thought this would be a better life than she could give me if she had kept me.
DE: With Transvision Vamp you were able to reach commercial success but you also gained respect from the new wave underground. Like acts as Kim Wilde or Blondie… Accidentally all blondes and with singers who drove many men crazy, but was there another key for this double-sided success?
Wendy: Transvision Vamp were a very active and busy and good live band, so while I got a lot of attention from the fashion and style and sometimes tabloid newspapers for my physical appearance or the things I might have said in moments of teenage energy, the truth was we sold out many, many, many gigs around the world and toured non-stop. So this defined us as a good live band and that’s why I think fans are enduring, they like me, my talent, my personality, but they also remember very well good nights they had when we played live!
DE: The musical landscape has changed a lot, and what I like the most on 'The Price Of The Ticket’ is that it seems you totally don't give a fuck and do what you want to do, your own way. In my opinion it's the way for musicians to win their place in the heart of true music lovers, but I can imagine it's not the easiest way?
Wendy: I never have a plan laid out, my only raison d’être in life is to continue to make music, write it, record it, release it. learn my talent and improve my talent in evolution each time. The thrill of working with fellow musicians who inspire me: that is my purpose. The pure joy of being in a team and all playing together in harmony, in the studio and on the stage, there is no happiness like it for me, it is my art, it is my reason, it is my life.
DE: I saw at your website there is also a sort of crowdfunding going on, like VIP passes for shows etc, Is that the new way of working for independent artists instead of trusting in record labels?
Wendy: My album is available world-wide on PLEDGEMUSIC.COMwhere you can buy the full thing on download of course, on Vinyl, on CD, you can buy the poster and the T-shirt and yes, there are available places for VIP gig passes which allows you to be present with with me and the band throughout the evening of the gig, the soundcheck, hang out with us and also, which fans love: get all your old records signed! Some people really like to do this, so I made it something available via Pledge. I find the whole thing benefits me and it benefits the fans - they get everything they want and quickly and efficiently. I go to indie record shops and they have my album in stock but not all the different items. So for me as a fan or a shopper, I think Pledge does very well indeed and fulfills a need.
DE: I’m not a fan of covers, bit what you did with It's Alright, Ma (Dylan) is truly amazing and blew me away! Was it your idea to cover this song, and as it is a protest song, how rebellious is Wendy James?
Wendy: It’s Alright Ma (I’m Only Bleeding) is my favorite song by Bob Dylan so when James Williamson and I discussed making some music together we both agreed Bob Dylan was my favorite artist and his, so we covered it. I think Bob Dylan would disagree with you that it’s a protest song! He OFTEN told journalists to not call him a protest writer! But one thing is for sure, the lyrics of the song as about as high philosophy on the human condition as any other words written by any other person. The clarity with which Bob understood life when he was merely in his early 20’s is astonishing, and of course he’s a truly wonderful poet.
Personally I demand my liberty at all times to make my own choices in life and I react very badly to anyone or any body of authority attempting to squeeze my privacy and my liberty.
DE: Melody Maker asked back in 1988 when you were in Transvision Vamp: "Would you like to see more chaos in the world?" Which you responded with: "Yes, definitely". In the world we live in today, there's plenty of chaos, we live in a society of information, sometimes too much... So I guess that was not what you had in mind, but how do you feel about the situation in the world today?
Wendy: I live in USA. There are religious wars going on all over the world. There is a technological revolution which has left a large amount of people untrained and despondent for their futures, and the greed of corporations around the world are permitting themselves to ruin the environment for short term financial benefit and the banks are more powerful than ever.
Still I know that Music, Art, Literature, People have the Power.
DE: I can imagine, that with your Transvision Vamp history, it's very hard to stand as a solo artist. Was your past a curse or do you see it as a blessing?
Wendy: I am grateful and happy for all of it. Everyone evolves through life, I am no different.
DE: ‘The Price Of The Ticket’ sounds very mature, but your voice sound still sweet as candy, just like when you were twenty. What's the secret to keep your voice (and not only your voice, which a lot of guys already confirmed!! ;)) as beautiful as it sounds?
Wendy: I don’t really adhere to the aging process! If I am healthy and excited then I am ageless… Society’s notions of age appropriate normality is not really something that enters my consciousness. So I am healthy, my voice sounds strong and I look fine because I feel fine!
DE: There's a lot of musical styles on the new album, going from punk, garage, even no wave to more quiet ones. For example the song 'Why Oh Why Do You Hurt Me Still' which reminds me even of Vampire Weekend, and your hiccuping voice in King Rat is really addictive! I also heard The Breeders (their latest stuff) in Paloma's Downs... Which bands do you like at the moment?
Wendy: I fell in love with THE BLACK LIPS and I kind of like THE PARQUET COURTS, there are some West Coast USA Psyche bands that I kind of like, but to be honest I end up always back at Lou Reed or The Stooges or The Stones or Marc Bolan or The Doors or… etc etc etc
DE: You picked band members which already had an impressive musical career. If you want to start an all star band with your all time favorite artists (dead or alive) what would it look like?
Wendy: I’d love to have played with Fred ‘Sonic’ Smith and I would love to have played with Ron Asheton. I would love to have been in the lineup for the BAND’s gig ‘The Last Waltz’ and I would love to have seen Jimi Hendrix play live!
DE: I guess you will be touring with this new record, any plans for Belgium?
Wendy: I would love to play Belgium! please tell your promotors and gig venues to contact me!!
DE: We know what to do, thanks for your time, Wendy!
We've talked with one of the headliners of the Coalescaremonion Festival, who recently released a fantastic new album (False Vacuum). Please welcome Yann Faussurier, better known as the master of powernoise: Iszoloscope. He'd rather let his music do the talking, but he also gave us a few words...
DE: Hi Yann, first of all congratulations with the fantastic False Vacuum album, and we'll hope you have a good time at the Coalescaremonium Festival!
Yann: Alright, thanks!
DE: The latest album is called False Vacuum, why did you choose that title?
Yann: It is subjective, so there is no added value in explaining it.
DE: It took nearly 4 years to complete False Vacuum, why did it took so long?
Yann: I had other projects on my plate, namely Voster, iVardensphere and Memmaker. Not to mention that my life was in a constant state of flux: I moved a few times during that period, in 3 different countries trying to make a new home for myself.
DE: False Vacuum already gained some nice reviews, I also think it's Iszoloscope's masterwork. How happy are you with the album?
Yann: Thank you. I'd rather not spend too much time thinking about it now that this is done though, time to move on and start the next project.
DE: There are two songs on the album which can be seen as very cinematographic songs. ('Experimenting With Truth'), part one is a dark ambient piece, while part two goes symphonic. Can we say 'Experimenting With Truth' is the album's key track? And what's the story behind it?
Yann: That's not how I think in my creative process and it's also completely subjective, there is no point explaining because it makes no tangible sense.
DE: You are playing the Coalescaremonium Festival, what can people expect from Iszoloscope live?
Yann: Lots of energy. No bagpipes. Also, probably no brass instruments.
DE: Coalescaremonium stands out with a very varied line-up, are there some bands you would like to see?
Yann: It looks like an interesting event but I don't know any of these bands aside from SEM. I've been living in a liminal space that culturally felt like living under a rock for the last 5 years but I'm looking forward in being there and check out all these acts.
DE: Wesley (Coalescaremonium) told me you are living in Amsterdam now, how do you like Europe and the city in particular?
Yann: I'll just say that I feel that I should have moved to Europe over a decade ago and I think Amsterdam is great!
DE: Are there any differences between the European and the Canadian music scene?
Yann: A lot of things change in 5 years so I doubt my opinion still hold any truth as of today.
DE: To end, a question from Peter de Koning (Dark Entries): he told me you love to play games, which classic game you would like to write a soundtrack for, and what would it sound like?
Yann: Who told you this!?! I bet it's my nemesis Randy. (Peter just found this information on the Discogs page of Iszoloscope) Fuck that guy for he revealed my secrets!!! Anyway, it would probably be Double Dragon because it could use a lot more brutal soundtrack since what happens on the screen is a lot more depraved and insane than what the original music inspires.
DE: Maybe a next project, who knows. Anyway, have fun in Brussels!
holding its third festival this far, and it will be a feastfor all those who love new wave and minimal
synth. You will not only be able to watch established bands like The Frozen
Autumn and Parade Ground, but you can also make lots of discoveries. We asked
organizer Matt Black to show us the way in the programm.
Hi Mat. You organize the third edition of
Waveteef on 8 and 9 April, a unique festival that brings together the best of minimal
wave. Are you happy with the reputation Wave Bitch has acquired?
doubted whether a concept as Waveteef would work in Belgium. Not that we have never
really cared because we are always organizing events. One is more successful
than the other. We have the impression that it Waveteef gradually could capture
some hearts and that is what good music should do, right?
How do you explain the great interest shown for
a few years for the minimal wave revival? Would you say that this genre is able
to attract a younger audience to wave events?
labels like Minimal Wave, Dark Entries, Medical Rec, kerncrash, Fabrika ... have
played a very important role. They issued very strong releases, both reissues
as recent works. Minimal wave is absolutely able to attract a "new"
public, even if there are less accessible works in this style. But the scene
can certainly use some new blood, why not ?!
You also founded your own record label: Die
Blind Records. You released the excellent debut of Luminance on vinyl. Are
there any publications in the pipeline?
was the second release on Die Blind Records. Before, we did the reissue of
Deathly Quiet! Our third release will come in May, a reissue of the almost
untraceable synth-punk / wave pearl: X-Quadrat, originally released in 1982. After
much insistence, I got permission from the band! We are very enthusiastic,
Do you mind to give us some information about the
various groups that will play on Waveteef? The two openers of Friday - Orchidée
Noire and Alles – are still unknown to us ...
a very recent discovery, even for myself. I got the tip from the organizer of
'Darker Side' in Ghent and I was immediately convinced. I believe I invited them
on the same day to come and play at our festival. It is a French band with
nostalgic, melancholic synths and floating component.
Alles is a
Polish band. I bought their first album at Wool E-Shop in Ghent and found their
sound quite unique. They have a raw sound, some songs have something hypnotic. Some
tracks will simply blow you away with analogue synths and fat drum machines,
while other songs will just make you move. And Polish sounds so simply dirty,
Ash Code is wellknown. They have already played
in Brussels and are now seen at all festivals. Another one of those groups that
impressed the public with just one disc, and they have recently released a
just has a very strong sound. I think they are so successful because they have
a true total picture. They are a very strong live band and they are well
attuned to one another. About the sound, I can say little more than that they
have found a formula for success! They are a crowd favorite.
For the main act on the first day, you went to
an older group. Parade Ground has been around since the 80's as one of the
Belgian great bands in the electro and synthpop area. Is that a way to
reconcile old and new on the bill?
older bands will always have a place in our festival. And the band Parade
Ground is simply a winner. They have been absolute pioneers and in my opinion,
they are underrepresented in dj-set lists. I was in all states when they agreed
to play at our festival. I never saw them live but with the films I saw on
YouTube, I can only wait with enthusiasm.
On the second day. You invited Dear Deer. To my
knowledge, they already played in Brussels. Adam Usi is an illustrious unknown
for us. Can you tell us a bit about both projects?
is a French project, it is a successful mix of Death Rock & Minimal Wave. Claudine
Dear Deer might also be known to you under the alias of ‘Cheshire cat (the
Adam Usi is
a one man project from Germany with origins in Israel. He is just releasing his
debut at Young & Cold Records (also known from the eponymous festival). This
is minimal wave, but with a very accessible, almost pop voice. A bold mix but
with a good results.
Greece has also an interesting stance in the
minimal wave scene, and will perhaps surprise us even more in the future. We
have already had Selofan, and now we have Doric, which is actually a follow-up
project of Human Puppets. How did you get them to perform?
mentioned it. I have been a fan of what Human Puppets and following all they
were doing, so I was soon aware of Stathis’ new project Doric. That man knows
just what he's doing, he knows perfectly how to work his synths and what sounds
he wants to squeeze out of it. I saw him on Kalabalik last year in Sweden and then
decided that he would have to be present at Waveteef 2016. We got lucky!
The absolute highlight is undoubtedly Frozen
Autumn from Italy. They are really a cult, and perhaps they are also the
biggest attraction for this edition of Wave Bitch, isn’t it?
Autumn need little introduction, they are now worth more than their reputation.
They play insanely gorgeous sets live, and they look nice too. We are eagerly looking
forward to it!
So, recapitulate shortly why we should come to
offers a wide range of bands that circulate in the synth environment, old
friends and new projects that are worthwhile to explore, but we also offer
after-parties where you will hear songs that you have never heard before but
which are incredible and will fill the dance floor for sure. The venue fits perfectly
with the atmosphere we want to create. We don’t want to repeat the past, we
want to discover and dance until the light comes! For real Wave Teefjes stay
until the end!