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dimanche 14 octobre 2018

Album de la Semaine

Emma Ruth Rundle
On Dark Horses


Interview de Emma Ruth Rundle, par Invisible Oranges Staff

Congratulations on the new album, it’s your fourth studio album with Sargent House, a solo album; are you just in the middle of doing press at the moment, and promotion?
Yeah, been a lot of doing press and getting ready for the tours and ramping up for this art show that I have coming, so my days are mostly either just painting — we also just moved house, so been moving, doing some press, trying to sort out touring logistics and it’s keeping me pretty busy.

I can imagine. So you’ve got three tours coming up, two of the States and one of Europe, and you just got back from Europe a few weeks ago?
Yeah, so the States we’re kind of just splitting into two parts, whereas we would normally do the whole thing at once, we’re wedging it East Coast, West Coast, and in between we’ll do Europe.

I guess it’s probably quite a difficult question to answer, but do you have a preference when it comes to touring certain regions of the US or Europe? Do you enjoy some areas more than others, or do you find them easier to play?
Yeah, there’s always favorites — I think there’s some favorites for me, obviously, like playing my hometown in LA is stressful, but it’s a good feeling to play there, playing the Pacific Northwest… I do prefer touring in Europe, just because… I feel like my music is better received there, and the way that you’re treated and the lifestyle is a little bit easier there, versus here, we sleep on floors and eat at fast food places, and there they give you these wonderful meals and either put you up at a hostel, or a band apartment, so it makes things a little more comfortable. And I feel like the shows are good there as well, London is a big favourite for me, show-wise. I got to go to Portugal last year, and that was incredible, probably a highlight of my life.

I was wondering if it’s easier to tour with a band or solo, for you? I know you’ve [also] done some touring recently with Chelsea Wolfe, a few dates with her in Europe?
We did three shows, I was opening for her.

Does that make it any less monotonous, or easier in terms of logistics if you have a band to help you set up? Or if you’re touring solo and you just have a guitar and amp, do you find that easier, being more portable?
There’s just different ways of viewing it… it can be easier certainly in some ways not touring with the band, when you’re with so many people that has its extra that’s involved, but there’s something about playing with a full band that’s really rewarding, and I love my bandmates, but playing solo, I think, has a different emotional impact live. So, both have their pros and cons, definitely getting to do this tour which was in Europe, which was a few weeks and was sort of based around doing the Montreux Jazz Festival. Getting to do a tour like that, that’s more based around festivals with some club shows and then looping in on those Chelsea Wolfe shows, it kept it interesting and exciting. It’s nice to tour with a standard way, which is two or three band-billed together for four or five weeks, that can be fun also, every tour is different, I guess.

You’ve had the same steady band for about a year now and they’ve played on the new album, is that right?
Yeah.

Did they have much of a contribution when it came to writing the album?
Everybody brings their own style, personality to the songs. I write all the songs from start to finish on the acoustic guitar at home, and then the next stage is Dylan Nadon, the drummer who plays in my band will come, and we’ll kind of shed out the songs together in a rehearsal space — getting the tempos right, feeling the songs, going back and forth — I don’t drum parts typically or write all those parts out, there’s loose ideas of a feel or a beat or a rhythm and Dylan and I work on that together… and then, in this case Evan comes next, and sometimes, again, I’ll have a specific melodic idea that I’ll ask him to play, or I’ll say “can you play rhythm in this section, this is a section where there should be a melodic lead line,” and he’ll flush out those ideas in his own way.
So, I think you can hear a lot of the style and personality of those musicians, and Todd Cook on bass of course, yeah. Really bringing a lot to the new album and on the other records, would record a lot of those parts on my own and typically write those parts in the studio, you know… would write all the overdubs in the moment, so I feel like having another guitarist and having a full band and getting to practice all together before we went into the studio really made a difference.

Yeah, and you actually recorded this in Louisville, is that right?
Louisville, yeah.

It seems like you recorded this in slightly more conventional circumstances than your three earlier albums, would you say that’s right? Like you recorded Marked for Death in a desert, I think, and Electric Guitar One was done in a van, whereas this was in a studio — did you find that made it easier to record?
It did, there were a lot of sort-of challenges that we came across when in recording Marked for Death, and Sonny [DiPerri, engineer and co-producer] was awesome. We also got to do some interesting creative things as a result of that, but I really loved being able to go into a professional studio as a band, and just get to the music and get to the creative aspect of being in the studio, without the challenges of trying to work out of a place that — yeah, less conventional sort of space.

And you wrote most of this album on tour, is that right?
No, I wrote this album mostly — a bit last summer, when I was in between tours, and then at the beginning of this year, in our winter, in January, yeah. So, it was all written in Louisville, in between tours.

So how long ago did you relocate there?
It was in May of 2017.

Can you compare or sort of contrast the musical and also the visual arts scenes between — you were based in Portland before, right? Between Portland and now, in Louisville?
Well I was born and raised in LA, and I was living in Portland for about a year, maybe even less than that. But my sisters live there, and I kind of was like, half-living in Portland and half in LA. Anyway, it’s very different, there’s a very tight-knit community here of musicians… I was introduced initially to Evan [Patterson of Jaye Jayle, her husband] when Red Sparowes did a tour with his band Young Widows ten years ago. I don’t know how to describe it, it’s so different from the West Coast.
I guess I would classify Portland and LA, while they have their own totally different respective scenes, there’s still a cultural feel that it’s the West Coast. And here, it’s more Midwest, on the border of the South and it just has a completely different feel. It’d be hard to sum up the differences in a sound, or a way… there’s definitely a lot less going on — it’s a smaller scale than either Portland or LA, but there’s some really heavy-hitting, lifelong musicians that just chill here. And the biggest difference is that the cost of living is so much more manageable for an artist, you can have a good quality of life here and it’s not a day-to-day struggle just to make ends meet like it is on the West Coast.

I can imagine that would make it a lot easier to get art done and record things and put everything together. Speaking of art, you mentioned earlier that you’re going to do a solo show, as well as a listening party, I think on September 8th, is that right?
Yeah, that’s right.

Do you have any more plans in the future, after this, to kind of integrate your musical and visual art?
Well, I’ve had different ways of doing it in the past. I used to do more video stuff for the music, like I did the video for “The Distance” off my last split… I like that the visual art in terms of the painting, and the drawing has its own life that’s separate for me, it’s kind of like another music I can turn to when I get burnt out on music. So I’m not sure, I’m not sure if the worlds will collide fully. I like that there’s kind of a separation.

So when you approach say, a drawing or making a painting, do you have similar intentions as you might as when you start making a song or an album? Do you look to visual art to have the same effect for you as you might music? Or is it a different kind of process and outcome?
It’s definitely a different process and a different outcome. With music, it’s kind of working more in this… nebulous emotional conjuring process, where the guitar will sort of pull out this experience from me that I need to deal with, and in painting or drawing it’s more of a tactile fascination and an enjoyment of shapes and colours and body parts.

I think, between your three solo albums and also what I’ve heard of the new one, I wouldn’t say you completely reinvent yourself every time, but you definitely seem very comfortable playing with different styles and textures and instrumental approaches, and you also have side projects like Marriages and the Headless Prince of Zolpidem. So, I was wondering, when you do start a new album or writing process, do you deliberately think “I want to try this now, I want to have this approach as opposed to what I did last time?” Or does it kind of just happen organically as you’re writing the album; you kind of, then, come up with an understanding of what you want it to sound like?
It’s definitely a process of discovery. If I do set out with an intention, I never fulfill it. I change my mind constantly with what the plan is and what I want to do. I mean, at one point I thought this was going to be an acoustic album, and then I was like “no, this is going to be a full band, 1990s worship album.” I really wanted to capture the chemistry I developed with the three musicians I mentioned, I thought it was just the right time and place to make a full band record, and so, in writing and as the days were getting closer to the studio, I was just discovering it more and more every day and then committing to the plan of that… only really weeks before did I know that the whole thing was going to be a full band. It’s a rock album, I would say. Yeah… does that make sense?

Yeah, that makes sense. I was wondering as well, particularly the cover art of “Fever Dreams” reminds me of the album art from A Year of Spring by the Nocturnes, and musically, the bridge is kind of reminiscent of Less Than by Marriages. I was wondering if, while maybe it’s not deliberately self-referential, do you listen to your older work while you’re in the process of creating new work? Do you think about it?
No, not really… sometimes, I’ll think about — if I feel particularly attached to a song, like the song “Real Big Sky” off the last record; I’m very attached to that song. I find myself putting pressure on in the writing process to try and maintain a quality control, like I should really try to achieve something that has this level of emotional impact, but then that never really works out either — I don’t think it’s something you can necessarily control. But no, I don’t go back and listen to the old jams, I think there’s probably just some inherent quirks in my writing style that seem to crop up. And I had a lot of fun making that cover, that was actually a contender for the album cover, it’s a collage of photos I took all around our rehearsal space, with some of these photos I took on this polaroid camera with these horse finger-puppets. Anyway, there’s all these industrial… these brick buildings, train tracks, this element of Louisville that is in that collage. I wanted to have a visual representation of the city in there. So I’m glad it made it onto the single cover, it’s on the insert as well, in the vinyl LP.

Would you say that, when you’re writing, you’re fairly responsive to or influenced by the landscape or environment that you’re working in?
I think so, yeah. Someone asked me a similar question a few weeks ago, and I think I said “no,” but I realised that that’s not true. I mean, the whole Electric Guitar album was completely just channelling landscapes in my eyes and playing it through the guitar, and Marked for Death had a lot of desert moments in it as well, with the dusty slides… and this record, I think it even translated lyrically — there’s a song called “Apathy on the Indiana Border” just about being… trapped in this, what I felt at the time, in the winter here was this oppressive surrounding, and the weather and the look of all. I mean, right now it’s the height of summer, and there’s just trees that are six stories tall, leaves everywhere, green, mansions, and in the winter everything dies, which is not something that I’m used to, it’s just not like that where I’m from.
It just felt really oppressive, and I had a hard time — I was really struggling with inspiration and writing that song in particular took the longest to write. I think I had some oppressive moments with the landscape of Louisville. I don’t want to offend anybody, but that’s just how I felt.

I think that’s fair enough. I was thinking as well, given that in your music you often deal with pretty personal subject matter, maybe it’s cathartic recording these songs, but then when you have to play them over and over again on tour, is that difficult at all? Or do you kind of adjust to it?
It goes through phases. There’s adjustment periods, there’s difficult periods. Definitely when I started playing Marked for Death, I had come out of a six-month afterglow of making that record – afterglow in that I actually felt better, but I had stopped playing music for a while. I didn’t sing, I didn’t pick up my guitar, but I think psychologically I had some improvements. And then going on the road, playing that album, I kind of found myself back in my old ways: drinking too much, getting back in touch with some of that subject matter definitely takes its toll. And it’s something I’ve thought about while writing… it’s a challenging relationship with the live performance: should you censor your subject matter, knowing that you’re going to have to go relive it and perform it?
I don’t think you should. I think that it’s just part of the deal, and that’s what I do, until I discover a different source to write from. But it is challenging. It definitely wears on me on the road, for sure.

I was wondering if you want to talk a little bit more about the recording process? I was reading a piece you did, I think it was for Consequence of Sound, you were talking about how you composed “Dark Horse,” and you talked about some influences on that particular song: Sun Kil Moon, Chris Whitley — do you listen to that music when you’re recording? For inspiration and also to get some release, or relief from the actual process of writing and recording your own music?
I’d say that in the writing process there’s more of a developing a palette moment, where, in referencing those artists, you’re like “okay, this is kind of drawing from some of these sources and inspiration in writing” — but once we get into the actual ramping-up to go into the studio, there’s no time to even listen to anything at all, there’s just practice all day, and then you’re in the studio from when you get up to when you go to sleep, working. So until the record is finished, there’s probably a three-week deadzone of complete focus on making the record.

Do you enjoy the process of collaborating? I know you’ve worked with Evan, or Jaye Jayle, you’ve worked with Thrice as well recently… what is it like, compared to your own solo music, when you go into a project and you’re kind of enhancing it, as opposed to having to write the bulk of the material yourself?
Oh, it’s so much better [laughs], I like it so much. With Jaye Jayle, it was great, we had just been on tour and I kind of just waltzed into the studio with them and ate a bunch of mushrooms and played some weird guitar parts and sang. The Thrice thing, they just sent me the track and so was just one evening here of me recording with Kevin actually tracking the vocals and sending it back to them. The most intense collaboration I’ve ever done was with Dylan Carlson on his last record, Conquistador. I went to Salem, Massachusetts and met with him and Kurt Ballou and Dylan’s wife, Holly… he just had called me on the phone and asked me if I wanted to come make this record with him and I went there, not having heard any demos.
So that was actually like real work, getting in with an artist that I had actually never played with before but had massive respect for. The album Hex by Earth is one of my favorite albums of all time. Sitting down, focusing all your attention on the other artist and trying to respond to what they do with something that’s going to add to their work — it was very intense, and stressful in ways, just because I felt a lot of pressure to do a good job, and to honor my hero. But I really enjoyed it, I love the collaborations I have done. It doesn’t feel entirely natural for me to write with other people, it’s always a bit of a challenge, but like I said, with Jaye Jayle and Thrice, just getting to come in and add something to what’s already there- that’s a pleasure to do.


Label :
Sargent House

Tracklist :
  1. Fever Dreams
  2. Control
  3. Darkhorse
  4. Races
  5. Dead Set Eyes
  6. Light Song
  7. Apathy On The Indiana Border
  8. You Don’t Have To Cry


dimanche 7 octobre 2018

Album de la Semaine

Coeval
EP



Critique de l'album, par Beat In My Bones

You know that feeling you get when you hear a band for the very first time, and you just know that you’re going to be a fan for as long as they make music and not even them splitting up could taint your love for them? That’s EXACTLY how COEVAL have me feeling.
They’re pretty much a brand new band, and the three of them are just exceptional and make bloody amazing music. The songs are dark. Really dark, and really heavy. They aren’t for those who like pointless mushy love songs. They are for those who want something hard-hitting, poetic and haunting.
This dark and eerie sound is something I can’t get enough of- the songs are euphoric and feel like you’ve stepped into a twisted film where you don’t know who to trust, or if you won’t see tomorrow or not. The sinister feel comes through wonderfully on Bene’s vocals. He has such a distinctive voice, and honestly- you cannot compare COEVAL to anything or anyone else. His vocals on Ex-Future will fry your brain and most certainly have you hooked for life.
For a band that are so new, this EP is so perfect and so beautifully put together. They sound like a band who have been doing this for decades. It definitely goes beyond what is expected from a band when they first put their music out into the world. The guitars sound like chain saws on New Light, and pretty much all the songs. They sound like weapons being aimed to take your soul and take over every single part of you. The drums will throb beautifully in your ears, and all you can do is turn the songs louder to reach this state of nirvana that COEVAL bring out. The songs may be dark and whatnot, but my god they are excellent.
I love the unconventional romanticism in the songs. Pure, just like a Nick Cave love song. I love the real rowdiness in the songs and how none of the band members dominate the other with just how talented they are. I am so in awe of this band. They are definitely up there with being one of the most exciting bands I’ve heard this year. They don’t sound like a band from London. They sound like a band who have roamed the Parisian streets at 3am looking for the meaning of life. They have this gorgeous sound that I reckon most will just lump as ‘Goth’ and be unaware of everything that is going on. They aren’t a band that caters to music genres. They are a band that will beautifully rip you apart with their poetic and captivating sound.
The EP has been released on the ever influential and always brilliant, Le Turc Mécanique who are constantly putting out exceptional Punk records, and beyond. It is definitely worth delving into their releases, and if you do- you’ll see exactly why COEVAL made them their home for this record.
Within 15 minutes, COEVAL have established themselves as being one of the best new bands around. If they can leave their mark like this with just four songs, imagine what they can do with more and more records. I’m super excited to see what they give us next and I hope they find their way up here in Manchester soon. Us Northerners would be honoured to have them.
Let the songs ricochet right through you, and fully embrace every feeling that COEVAL give you. Play loud, as always.

Line Up :
Bene Pooley
Jack Gay
Quentin Pierce

Label :
Le Turc Mécanique

Tracklist :
Chest Rattle
In Hesitation
Ex Future
New Light




dimanche 23 septembre 2018

Album de la Semaine

Low
Double Negative


Interview de Low, par Clay Masters de NPR

The sound of Low has changed a lot since husband and wife Alan Sparhawk and Mimi Parker started the band in 1993. But its harmonies remain central to the band's music.
"As soon as we'd sing, and you would sing harmony, I thought, 'Wow this is beautiful,'" Sparhawk says.
Sparhawk and Parker are relaxing at home in Duluth, Minn. — the band's birthplace — after getting back from an overseas tour. Sparhawk plays guitar and Parker plays drums, with bassist Steve Garrington rounding out the trio. And while their singing has remained a constant, Low's sound has evolved in striking ways.
"They've gone from this quiet and somewhat haunting thing, to full on blaring rock songs that will make your hair stand on end," Chris Riemenschneider, Minneapolis'Star Tribune music critic, says.
Fellow Minnesota musician Dave Simonett of Trampled by Turtles is a long-time friend and collaborator of Parker and Sparhawk.
"They have done whatever they've wanted creatively their entire careers and taken so many risks on and off the stage," Simonett says. "You know, normally people get tamer as they get older, but I think they're getting more adventurous." Low's adventurous side is evident on its latest album, Double Negative, out now.
The band has been recording and performing for 25 years now, though Sparhawk and Parker have been married for even longer. And just as their music has changed over the course of time, so have their lives. The couple had already been touring for eight years when they had their first kid. Their two children are now teenagers.
"We just assumed that we're going to have these kids and we're just going to bring 'em [on tour]," Parker says. "If we'd had thought about it a lot, we probably would have decided not to do it."
One of the constants in Sparhawk and Parker lives, and in Low's music, has been faith. Sparhawk and Parker are Mormon, and you can hear spirituality in their lyrics. In "DJ," a track from Low's 2015 album Ones and SixesSparhawk sings, "You want religion, you want assurance / A resurrection, some kind of purpose / You have the vision, you opened your eyes / A complication, you should have looked twice." And although Sparhawk and Parker note that they've never set out to write a religious song, it seems that they've also never set out to not write one.
"I think our music a lot of the time struggles with, 'Who am I? What is truth? What is the correct path when you don't really understand what it should be as much as you have hope that it would have at some point.'" Sparhawk says.
On "Quorum," the opening track of Double Negative, Sparhawk sings of putting away a book. "The book representing the idea that what's going on is inevitable, that it's already written," he says after a moment of hesitation. "I refuse that. There has to be something you can decide to do to change the future."
Sparhawk and Parker seem confident that they'll be able to keep doing what they've been doing in Low's music. But in life, they're adjusting to something they seem less confident about: Their oldest just graduated from high school. "Off to college and then we'll be alone with a 14-year-old," Parker says, "I have no idea how that's going to pan out."
Line Up :
Alan Sparhawk
Steve Garrington
Mimi Parker
Label :
Sub Pop
Tracklist :
01 – Quorum
02 – Dancing And Blood
03 – Fly
04 – Tempest
05 – Always Up
06 – Always Trying To Work It Out
07 – The Son, The Sun
08 – Dancing And Fire
09 – Poor Sucker
10 – Rome (Always In The Dark)
11 – Disarray


dimanche 16 septembre 2018

Album de la Semaine

Young Widows
Decayed Ten Years of Cities, Wounds, Lightness and Pain



Interview des Young Widows, par Jon Robertson de Bearded Gentleman Music

B.G.M. – Young Widows have been a favorite band of mine for some time now. The thing that first struck me when I heard your music was just the overall dark, tight, and heavy feel. What are some of the influences that shaped the band’s sound?
Evan Patterson – Appreciate the kind words. Influences come and go. Today, I might want to make a song inspired by Furry Lewis. Tomorrow, a song inspired by Throbbing Gristle. But most of the time, we get together and create with no direction or purpose other than to solely create new music that we feel compelling.
How have the various side projects Old Baby, Early Age, or Jaye Jayle affected Young Widows sound or writing process?
Jaye Jayle and Old Baby have highly affected me. The writing process for Young Widows is basically still the same, but since starting my other bands, I’m more open to using my voice as if it was an additional instrument. Words and lyric are valid and equally as important. The melody is why I listen to and create music. It took years for me to understand what I’m capable of. I attribute the majority of my progression to Kevin Ratterman’s influence during the recording of In and Out of Youth and Lightness and Jonathan Wood, who is my fellow bandmate in Old Baby and Jaye Jayle.
Easy Pain seems to combine the ferociousness of Old Wounds, with the slow minimal somberness of In and Out of Youth and Lightness. How would you say the new album fits in with your overall sound?
Fits like a glove.
Describe the writing and recording process for Easy Pain.
We can’t give away our secrets.
My favorite track off of the new album is “Doomed Moon”, I love the intro and how heavy the song is right out of the gates! What are you doing to create the noise at the beginning of the song? Is it just a guitar effect?
Thanks again. I have these loop pedals, a reverb pedal, and a volume nob on my guitar. Twist and stomp and there you have it. 
Do you have any favorite songs from the new album?
The “Last Young Widow” is probably the most pleased I’ve been with the use of a poem that I wrote last year and a riff that I’ve had for 4 or 5 years lingering in the back of my mind. When songs come together with such ease, that’s what I like to call “magic”.
Easy Pain only consists of eight tracks. This is an aspect that I really enjoy about your albums, they are very concise and devoid of any ‘filler tracks’. Is this intentional? Or do you tend to only include the songs you’ve written during a certain writing session?
Ideally, we intend to project a mood that doesn’t get disrupted. Even if we might be happier with a song that doesn’t make the cut for the album sequence than songs that made the cut, the mood is always the most important.
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The artwork for all of your albums seem to be variations of each other. Is there anything behind the ongoing theme for your cover art?
No theme, besides visual cohesion. 
Any chance I can get a custom variation drawn up so I can get it as a tattoo?
I have no control or say in what anyone chooses to tattoo or get tattoos of. 
Young Widows have been releasing music through Temporary Residence for your past three albums. How did this relationship come to be?
Jeremy (deVine) was raised in Louisville and I met him when I was 11 or 12 skateboarding outside of a show. 2007 I wrote him and email, we reconnected. Eventually, we began to work together.
The band premiered / played Easy Pain in its entirety back in January way before the release date. How did this idea come about? 

Saint Vitus Bar, invited us to play two shows. We decided to perform Easy Pain. It’s that simple.
You guys have recently been on tour where you have been playing Old Wounds in its entirety. What was the motivation behind this, does it take you back in time?
Performing Old Wounds was enjoyable. I don’t see us doing that again in the near future. Performing our most recently written music is always our preference. 
You just finished a tour with Helms Alee and recently released a split 12” with them. Are you good friends with the band? Are these songs outtakes from Easy Pain?
Ben (Verellen) and I met on my first west coast tour in 2000. He was playing bass and singing in Harkonen and I was playing guitar in The National Acrobat. Since then, we have toured with each others bands and been fortune enough to be able to share a large majority or our musical journeys together. Ben also built my guitar amplifiers.
You guys are playing Salt Lake City June 21st. Seriously stoked for this show. Do you have anything special planned for this tour?
Looking forward to stopping by. Every tour and every show is special. 
Any bands / albums out right now that you guys are really digging that we need to know about?
Recent records are a tough. I mostly listen to older records. The Mark Lanegan Anthology recently came out. I’ve been a fan for some years now, but it’d be a perfect introduction for a new listener.  Zomes most recent record speaks to me in ways that most music can’t and never will, it’s called Time Was. Been listening to Endless Boogie‘s Long Island pretty often and David Lynch’s The Big Dream got my vote for best album of 2013. That covers the past few years of new releases for me.


Line Up :
Evan Patterson
Nick Thieneman
Jeremy McMonigle

Label :
Temporary Residence Limited

Tracklist :
01 – The Money
02 – In My Living Room
03 – Checked InOut
04 – Uptight and Tangled
05 – Prey for the Beast
06 – The Backroom
07 – Rolling as a Forgiver
08 – Rose Window
09 – Easy Acting
10 – Long Live the New Weight
11 – Mid-Western
12 – King of the Back-Burners
13 – Swamped and Agitated
14 – Future Plans
15 – Baritone #3




dimanche 9 septembre 2018

Album de la Semaine

Selofan - Vitrioli


Interview de Selofan, par Elena Savlokhova de Aught Mag

In one of your interviews you mention that you ‘are inspired by the extremes of passions’. What is your personal definition of ‘passion’?
Joanna: Passion is any kind of feeling that gets you really high and allows you to reach the point where you are nothing but yourself. You should dare and go for it, because it won’t come for you.
What do you appreciate the most in each other?
Joanna: He is my man for life. I appreciate his talent and his sensibility. I love his music. I deeply believe that he is one of the greatest around, even though it might sound strange to say so.
Dimitris: It feels like we are one person.
What makes Athens so unique from other places for you?
Joanna: Athens, like Kiev, is very unique. Most cities look similar, but Athens, or Kiev, are still…
Dimitris: They’re still original.
Joanna: Yes, they’re still untouched by globalisation, they have a unique feeling about them: the architecture, the lifestyle, people’s mentality. It’s difficult to explain the feeling of a city if you haven’t experienced it.
You compare Greece with a ‘long lasting but hopeless marriage’. Did you ever consider moving and living somewhere else?
Joanna: I used to live in Germany for a few years, I had a good time and I considered staying there, but then I had to go back for some life-changing personal reasons. I didn’t regret it. Home is where the heart is and my heart is in Athens. I think I will be monogamous and stay in this hopeless marriage forever.
If falling in love would be something you could see, what would it look like?
Joanna: For me, it’s him actually [Dimitris], his face.
Dimitris: The same. When I see Joanna – it’s love.
You’ve said that ‘Cine Romance’ is about life after midnight. What is the most magical thing about the night for you?
Joanna: We’ve spent some years clubbing, going out, and everything that is connected to it – all the excesses. We have a lot of tracks on the topic. Because, you know, daytime is for everyone, it’s the same for us all, but during the night you can be whoever you choose to be.
Dimitris: People just feel free to express themselves more. In the darkness everything looks more romantic.
What is your biggest challenge in life?Joanna: To stay together until the end.
Tell us a funny or bizarre story that happened throughout your musical career. 
Dimitris: The girl who gave Joanna all of her jewelry. She was crying and giving away her necklace as a gift.
Joanna: This isn’t unusual in Mexico. People are like that, they have this thing where they give you their personal belongings. It’s very sweet. But a funny story… Hard to think of something with so much going on all the time.
Dimitris: Mostly it’s always fun after the show. We have friends everywhere and it’s always nice to see them again. Once we forgot the belt for the bass guitar, there wasn’t one in the venue, so a girl made one with a piece of rope.
Joanna: Yes, right before the concert! We love it, we will even use it tonight, because we forgot to bring a belt, again.
What is fucked up about the world of today?
Joanna: Communication between people is quite artificial these days, it’s not direct anymore.
Dimitris: Everyone is living on Facebook, no one really talks to each other – you go out and everyone is stuck in their screens.
Joanna: Also the political and economical crisis, which we have in our country. For example, to have this extreme gap between the rich and the poor… I think politicians are psychotic personalities and sooner or later, this whole thing will lead us to a zero point.
Things you can’t unthink. 
Joanna: I always think about the end. Like the end of all things, of us, of what comes after life. It sounds pessimistic but I’m into this topic at this moment in my life, because of a loss of a beloved person.
What question do you hate answering the most?
Joanna: What does ‘Selofan’ mean. So I hope this is not your next question!
Well now we can cross it out. Any others?
Joanna: Like the usual ones, like ‘when did you start with the band?’. You know, the trivial stuff.
Dimitris: It’s better to be asked questions about matters of life.
You put in a lot of effort into music videos. Tell us a bit about the creative process.
Joanna: We are lucky to have such amazing friends, because all of our videos have zero budgets, it’s all about having an idea and good friends to actualize it, friends who are really talented and ready to transform themselves. Shootings are always fun, perhaps due to the fact of the missing professionalism, so the editing demands the most effort. But again a good friend who does the editing is always doing miracles.
Dimitris: It’s nice because we always help each other out, we are close friends with the other bands of our label Fabrika Records, we contribute ideas and even act in each others videos. It all works better this way. Everything is DIY
We spoke to Drab Majesty earlier this year and they’ve mentioned how they participated in a video with you back in Athens.Joanna: Yes, they acted in the new fantastic video of She Past Away and it was another wonderful experience for all of us.
What is the difference between your stage persona and your normal life self? Is there a duality present?
Joanna: I think once you’re on stage it’s all mixed up. We dig deep into this scene and this type of music for many-many years, so it’s our lifestyle. It’s not a solely theatrical impersonation. Of course, on stage I put a bit more makeup on etc. But the essential things remain the same.
What was the worst piece of advice you’ve ever received?
Joanna: I don’t really follow advice. I am open to criticism, it helps improve oneself if it comes from the right people, but by nature I wouldn’t directly react to any kind of ‘advice’.
Why do people hate what is not them?
Joanna: Because they cannot recognise it as their own. It doesn’t only feel foreign to them but sometimes even dangerous.
What interests you outside of music?
Joanna: Our whole life is based around music. Professionally we run a synthesizer shop in Athens and we spend 10 hours per day over there, so our life is music.
What’s the best compliment you’ve ever received?
Joanna: I have been asked more than once if I’m a girl or a boy and I regard it as a compliment. Not to be fixed in one image makes people look more interesting. I guess it happens because of my heavy makeup.
Dimitris: For me, it’s when people tell me that they feel it in their hearts when I sing.
What is one thing about you that would surprise us?
Joanna: Well you have to stay at our gig and find out for yourselves.
What is your definition of beauty? 
Joanna: To feel well about yourself and to be happy with your life – the internal. If you feel good inside, if you are satisfied with who you are, then it reflects on the outside world.
What about ugliness?
Joanna: I find beauty in ugliness. I prefer those who have big noses, scars, or whatever else is considered ‘unusual’. ‘Ugly’, for me, is someone who doesn’t respect others.
What is something you never want to do ever again in your life?
Dimitris: I don’t think we should say this in public haha.
What question would you like to be asked at an interview and what would your answer be? Is there something you would like people to know about you?
Dimitris: We prefer not to give interviews, but I think it would be nice if people knew that our music will always be our own personal psychotherapy and we are more than happy that all you people, who follow us, share the same feelings.
Line Up :
Joanna Badtrip
Dimitris

Label :
Fabrika Records

Tracklist :

01. Give Me a Reason

02. Billie was a Vampire

03. Black Box

04. I’m addicted

05. Ist die Liebe tot ?

06. Un Amor eterno

07. The Language of Love

08. Living Scandal

09. Βιτριολι

10.Φουξια Χαμελαιων

11. Η Μοναξια Ειναι Της Μοδας

12. Υστερια