Symphonic German metal band Envinya debut album “Inner Silence” will be released this coming January 25th, 2013 via Massacre Records. Also in addition the album’s release will be revealed soon the new female singer afte the split with the singer Natalie Pereira dos Santos.
Jan Yrlund (Darkgrove Design), who has previously worked with bands such as Apocalyptica, Manowar, and Legion of The Damned, is responsible for the artwork. Check out the art below, and the album’s track listing is:
- Inner Silence
- In My Hands (stream the song right here)
- Satin And Silk
- Mirror Soul
- Too Late
- Beyond The Dark
Interview by Si Smith
Armed with a killer logo and a deceptively simple album cover, Lunocode burst onto the scene of female-fronted metal this year with a debut EP full of musical richness and progressive flourishes. Suitably apocalyptic in title, “Last Day of the Earth” will certainly not be the last word from these musical maestros, as the EP has enough variety and melody in it to keep the earth revolving for them in the near future. Femme Metal spoke to angelic messenger Daphne and rhythmic wizard Perseo to uncover more…. When you first got together in 2004 you called yourself “ANIMA” because the name was connected to the platonic meaning of “eternal and indivisible”. Since names and meanings are clearly important to the band, why call the new band “Lunocode“?
Perseo: We wanted a more personal and unique name for our band and as “Anima” was a very common name we decided to change it just before releasing the “Last Day of the Earth” EP. Lunocode is a wordplay about “Lunokhod” and “Code”. Lunokhod is the first rover to land on the moon and being radio controlled by man on Earth. I discovered that tiny rover during some personal researches I was doing on the internet and I liked the idea of this little probe exploring the unknown on another celestial body. The others too liked the idea and we started thinking about a good wordplay to transform “Lunokhod” in something more personal. In the end we found “Lunocode”, merging the Russian “Lunokhod” with the English “Code”. It sounds good and suggests something that has to do with Universe and Space, two themes that really fascinates us very much. The Russian word Lunokhod means “moon walker”. “Lunocode” could be translated in English to “lunar code” or something similar and makes me instantly think about the black monolith of “2001: A Space Odyssey”, as it was just found under the surface of the moon. Lunocode is a “new” word and has not a clear and unambiguous meaning but suggests a bunch of fascinating images and thoughts. This is the reason why we chose it: it’s a fascinating name with a strong personality and it’s definitely what we were searching for! A little curiosity: the fact that we started with Lunokhod, that is a Russian word (the machine was built by USSR), to create our monicker has something to do with our next FL too!It is clear that the band members were friends for a long time before Lunocode ever existed. How does this affect the way the band works together as a whole? Does it come with its own problems?
Daphne: I’m the last one arrived in the group. The boys have a deep friendship, strengthened in time and it has given me a pleasant sense of tranquillity since the first time I met them. They are kind and put me at my ease at personal and professional levels. This attitude, positive and constructive, is one of the things that creates the right climate to do music: it’s the ground where the expression of each personality can grow up and become more mature as a musician and as a person, through the exchange. Obviously, to be a friend means also clear honesty, then, we are free to say clearly what we think.
Perseo: I solely add that yes, we’re friends since a long time (I actually know Giordano since the early days in the nursery school so we really are friends of a lifetime, we went to school together and we live in the same little country, only a couple of kilometres divides my home from Giordano’s home and it’s really the same situation between Paride and Francesco…and Paride is my brother as well!), but we also have a common goal that goes under the name of “Lunocode” and we work together for the best for our band! So yes there are, have been and will be, here and there, some problems (and I think this is very normal for every band) but we’re strong and mature enough to rapidly solve them and our friendship is a great and unique support that helps us very much in every aspect of being together. Daphne inserted very well in the band and we’re really happy with her.Cecilia Menghi handled the vocals on this album: Daphne, what is it like having into step into her shoes? What is your vocal background? How did you hook up with the band? (sorry, that’s a lot of questions in one, but we need to know!!)
Daphne: Cecilia and me has a different singing style. She is more turned toward power metal, then, maybe, she was more at her ease than me in the old songs. My background include prog-rock, prog-metal and dark: my vocal style is oriented towards a very interpretative way. I love so much to play with dynamics like changes of vocal register and of volume. I love to feel the songs deeply in their meanings and give a special “dress” to each one. I think it’s not a question of value, but it’s a matter of feelings and of personal taste. I like to sing this way and it fits perfectly with the new style Lunocode decided to implement in future songs. How did I hook up with the band? Perseo and me meet the first time in Prato, at a rock concert, some time ago, accidentally. He was searching for a singer and then we started talking about this collaboration: it went very well just from the beginning!The album teaser you put up on YouTube at the end of the last year began with some philosophical statements about “the need to find different meanings for the same old concepts”. How does your music reflect this concern?
Perseo: I’m glad you watched the video on YouTube! “Last Day of the Earth” has a conceptual nature and the “basic theme” of the concept is about losing all the convictions and all the happiness after a tragic event. When this happens many and many questions arise in one’s mind and one could find himself searching new meanings for old concepts like pain, life, passion and, most important, death. This journey is described throughout the 4 songs composing the mini-concept and this is the reason for the statement you’ve seen on the teaser.In 2011 the new album hit the stores. Since “Last Day of the Earth” is a type of concept album, could you tell us how the concept evolves through the main tracks?
Perseo : “Last Day of the Earth” is a mini-concept album, as I said before and every song has a “job” to perform to carry forward the story behind the concept. This is made clear on the back cover of the CD-Rom version of the EP because in the tracklist each song has a “subtitle”. “Flow, My Tears”, for example is “Falling from Grace”, denoting the start of the journey: something has gone bad and we have lost certainties and convictions, everything is changed and we have no more a solid base for our life. “Universal Plan” is “transition”: after falling from grace one is generally sad and depressed and reflections start to get darker and darker and sad as well. But this is just a moment, a transition. In fact, during the song “Universal Plan”, we start from darkness but, at a certain point (I’m referring to the “special” section in the middle of the song, right after the solos) some “light” is shed upon the darkness: positive cosmic concepts are introduced (Carl Sagan, Fred Hoyle, Stephen Hawking and others are quoted here and at the end of the song with their beautiful statements about universe and man condition), something starts to evolve and the world can be re-read with different meanings for sad or happy facts of life in mind. This makes a person do the first step toward final salvation. The interesting thing is that everything happens in our minds: our approach to the Universe changes our life radically while the Universe remains the same at every moment. In “Heart of the World” (“Reflections of Autumn”, where is described the scene you can see on the cover of the cd, with the man and the tree: “I’m staring at the sunset in silence in this autumn evening, On the top of this hill sitting in the grass everything is whispering Infinity”) and “Silent Thoughts” (“Final Step (..?)”, where the concept ends…or starts again? J) this process continues and comes to an end…at least for the main character of the story, but I’ll let you interpret the end by yourselves! I don’t want to explain too much of the story ‘cause I think that, in this type of concept album, the listener should be able to build up his own vision and interpretation. What I described here are just the “basics”: in the album there is so much more and I will let you find it all!Is the EP the beginnings of an upcoming full-length, or is it a stand-alone piece?
Perseo: The EP “Last Day of the Earth” is really a stand-alone piece with its own character, story, sound, artwork and themes. It is not a preview of the FL, it’s just a “mini-concept” representing our debut!
Daphne: “Last Day of the Earth” is a “stand-alone” work, as you said. At the same time, we are working on a new EP and on a FL. The new EP will live an autonomous life with respect to the other two works, but will overlap with the FL. We’re going to enter the studio in summer and we hope to give birth to it in autumn. Surely, the FL will require more time. So, keep in touch with us!
Italy is well-known for its power metal, thanks to bands such as Rhapsody of Fire and Luca Turilli‘s work in general. How do you feel that your band stands out against these other Italian stalwarts?
Perseo: We’re a young band and we do essentially what we like to do with enthusiasm and passion. Rhapsody of Fire is a gigantic band with worldwide reputation and with many and many years of career: we watch them with great respect. Lunocode and Rhapsody are really different animals. Lunocode is basically just a small band but we’re very determined in doing what we do because we like it: we hope this is the key…doing just what we feel we have to do at our best!
Daphne: Maybe only in offering something simply different. It doesn’t mean better or worse, but only something else.On the first main track, “Flow, My Tears”, Cecilia has to reach some quite high notes. Daphne, are you going to sing the songs as Cecilia did, or are we going to see a completely new interpretation of the songs?
As I said before, I’ve got a different approach to the songs and my interpretation is something completely different. I will obviously maintain the melodies and arrangements but I will interpret them with my own sensibility.“Universal Plan” contains many queries and thoughts about the meaning (or meaninglessness) of life. Do these reflect any particular spiritual or life beliefs of any band members or is it just a great lyrical subject?
In “Universal Plan” lyrics starts with a quite “dark” image of someone under the rain reflecting about being a “nothing” in front of the vast Universe and about being just a “gear” without importance in the cosmic game of life and death. I can say this image is certainly a good lyrical subject but the truth is that all I’ve written in “Last Day of the Earth” is very autobiographic: I like to write about reflections that I do when I find myself alone and I use my time to think and think…and the Universe and the human condition really fascinate me. In “Last Day of the Earth” I wanted to share some thoughts of mine with people that listen to our music but I also wanted to try to drop a “seed” of peace, compassion and equality in the large World hoping that this seed could influence someone: also if it’s one person only I am just happy, because this means that the world has became just a little better. I’m an atheist and what I say is not, in any case, related to religion, I want to make it clear. But I think humankind has a natural spiritual side that is, when united with rationality and science, our real strength. To understand what I’m talking about when I say “spirituality” you can do a little experiment by yourself: search “pale blue dot” in google images and do a little research about this theme…surely you’ll get what I’m talking about if you listen to your feelings JI see the song “Heart of the World” begins with a drum solo: nice one, Perseo!! Do you play the drums each time the same when you rehearse as a band, or is there room for “creative interpretation” within the tracks? Do you get much time to rehearse together?
Thank you very much! I’m really happy I can say something about that drum solo: someone could hear a “quote” from a famous drum solo by Cozy Powell. Do you remember the solo Cozy does as an intro to the song “Stargazer” in the Ritchie Blackmore’s Rainbow album called “Rising”? The drum solo I do in “Heart of the World” is specifically composed to be a variant of THAT drum solo and it’s my tribute to one of my favourite drummers of all the time: Mr Cozy Powell! I love his rock-solid drumming and I wanted to pay tribute to such an inspiration for me. However the drum solo in “Heart of the World” is composed by two parts: the first is my tribute to Cozy, the second (starting when the guitars kicks in) is a much more subtle tribute to another drum legend and another of my top 3 favourite drummers: Mark Zonder of Fates Warning. The second part of the drum solo is freely inspired by the drum parts that Mark plays in the song “Pale Fire” by Fates Warning in the album “Inside Out”. Excuse me if I wanted to make public this tribute that I, with maximum respect, decided to pay to those great drummers…but it’s important for me! J To finally answer your question, as the drum solo is composed with this in mind, I usually play it the same every time and it’s the same for the majority of the other drum parts in the various songs even if there is, in some specific parts, enough room for interpretation and for having fun playing drums live. As a band we usually group together to rehearse 2 days a week and we group together in our studio another 1-2 days a week to write new material, to record demos, arrange new songs etc..normal band activity! JIt was quite brave to include a 9 minute ballad on such an EP! It seems at a listen that “Silent Thoughts” represents the end of the main part of the album, and the last track seems a bit different (not to mention short compared to the other songs). What was the intention of adding this acoustic track onto the end of the album?
Yes, “Silent Thoughts” represents the end of the concept “Last Day of the Earth” (for this reason it’s a lengthy song) and “Invisible Tears” (Acoustic Version) is a so-called bonus track : Lunocode is our new monicker and the previous band monicker was Anima. With the monicker Anima we published a demo-cd, called “Birth” that contained 4 songs (I think you can find it online somewhere). The song that, in various reviews, was elected as the best song of the demo was “Invisible Tears” as so, in our debut EP, we wanted to put a reference to our past by adding, as a bonus track, an acoustic version of the best song of our old demo. We rearranged and reworked the song and put it at the end of our EP: I think it’s a good ending theme for the CD.Daphne, no matter how great a band are musically, fans are often drawn to the front-person as a focal point for the band. Please tell us what kind of a person you are, and what are the things that interest you and make you happy?
Daphne: Oh, I’m sociable and I love to laugh (Perseo can confirm it…maybe I’ve hit a new world record in knowing the largest number of quotes from sarcastic and demented films!). The things that make me feel happier are: sharing good moments with the people I love (especially in concerts), singing on stage with Lunocode and having the possibility to meet people with the band, to talk with them, to exchange opinions and emotions.With such as strong musical opus behind you, are there any plans to bring the music to the live stage soon? If so, would it be limited to just Italy, or would you like to set your sights further afield?
Perseo: Yes, we made our first show with Daphne in a small but beautiful pub called “Rock Highland” in Arezzo, Italy, last March (there is actually one video on YouTube) and we played “Heart of the World” and “Universal Plan” as well as some brand new songs. We’ll play in Rome at Pictures of Prog festival (April 23, 2011) and in Barletta (Bari, June 19, 2011) at A.Live Rock Festival : you can find all the updates on our social network profiles (we have Facebook, MySpace, Last.fm, ReverbNation, Twitter…search for us!). It would be really fantastic to play outside Italy but, as we’re working on a new EP and on our FL, we’re actually concentrating on studio work. In future, maybe, we’ll also travel outside Italy: we really hope so!Finally, let me just give a big thank you from all at Femme Metal, and we wish you success with any new plans for Lunocode!!
Daphne: Thank you so much for the occasion you gave us to talk about our experience to you and to people who read your great site. Bye!
Perseo: We thank you for this great interview and we hope you all stay connected with us because we have some news to share during next months! To all the readers interested in us: for everything about the band check www.lunocode.com. Thank you again and goodbye!
Interview by Ed MacLaren
Plagued for years by technical issues and internal strife, it didn’t look like the debut album from Russian goth metal band t.h.e. Sacrament would ever see the light of day. But good things always come to those who wait – after four years in the making, “The Sobering Cold” has arrived and it was worth every second. An impressive mix of dark melodies and rhythmic crunch, “The Sobering Cold”, shows no audible sign of the pains of its creation. Femme Metal talks with vocalist LoraSS about the troubled birth of “The Sobering Cold” and how it brought t.h.e. Sacrament together closer than before. The best thing is that they have four years of material ready to record.
It was a long wait but “The Sobering Cold” is out and it’s an awesome album of atmospheric gothic metal. How does it feel to finally get this material out to the fans?
We feel that we did it! Now we can say that we called it a day! We feel that we can start work on our next material which waited on this release for so much time!
It took four years for the band’s original vision to come to fruition. What was the genesis of “The Sobering Cold”? What were the delays and why did they happen?
“The Sobering Cold” contains all our first songs, written until 2006. But there were several causes that delayed its release. First, some days before the album presentation the record-studio gave us a completed but very bad quality CD. Everything was damaged: the recording, mixing, mastering and most of all the input material. It meant that we had to start again from the get-go. Second, I left the band when the album was being mastered. While I was absent, t.h.e. Sacrament made its own record-studio and its engineering quality was better than the quality previous to that. That’s why when I came back we started the record a third time.
You left t.h.e. Sacrament for a period but returned in time to complete the album. What changed for you and the band during the time you were gone? What brought you back again?
It seemed to me that the mutual respect re-appeared between us. It was chance to start again from the get-go. I think it was a necessary period in our lives; it gave us the possibility to value the importance of each other. I’m sure it is good.
“The Sobering Cold” sounds incredibly mature for a debut album. Did the long gestation period allow you more time to perfect the music? What did you think of the results?
Thank you! I think that it was so, we had more time for the work on our album, and above all, we had the possibility to correct our mistakes, to re-record moments that weren’t liked by us. We had time to become more professional musicians so we did a more mature product.
How did the delays in writing and production impact the finished product? Did the album turn out differently in 2010 than if you had finished it back in 2007 or 2008?
Of course, the album turned out in 2010 has differences from the previous variants of that. First, is the quality of the performance, recording, mixing and mastering. Second, it contains our new view of the material, new sounds and details have appeared, I have improved my vocal parts and added backing vocals in many songs. In “The Little Kingdom” we have changed it with an invited vocalist.
How did the band develop its sound? It’s a unique blend of atmospherics and aggression.
I think it’s different views of our music by the musicians. It seems to me the atmospherics is the female basis in our band – until recently the key board player was Juliett. And the aggression is male.
Musically, “The Sobering Cold” is a seamless unification of atmospheric keyboards, aggressive guitar riffs with a very inventive rhythm section. Do the guys in the band come from different musical backgrounds? If so, is it a challenge to combine all these influences and stylistic differences into such a sophisticated sound?
No, the guys and one lady on keyboards either came from similar or alike musical backgrounds or our band was the first band in their life. Of course, we are all affected by our favorite bands therefore there is this a combining of all these influences and stylistic differences.
Your vocals on “The Sobering Cold” are wonderful. Your voice is clear and bright with a purity of sound that contrasts with the dark musical atmosphere. It has a sound quality that is unique among female metal vocalists. What were you trying to achieve with vocal contributions on “The Sobering Cold”?
Thank you! The most important thing for me is the emotion. I’m trying to say my thoughts by the intonation and the emotion, even maybe not by the words because there are a lot of people in Russia who don’t translate the lyrics. Let it be only feelings such as melancholy, fear, uncertainty, anxiety etc. It’s great because it means if I can create the mood, I can touch the soul.
“The Sobering Cold” is a great headphone album. The production is very meticulous. Tracks like the intro piece to “Falling Star” and “I’ve Got Only One Day” really benefit from the extra attention. How important was it to focus on the little details for this album?
You know, we never thought about it. We didn’t try to focus on it is what I think we would say about considering variety, dissimilarity between songs per se. They’re just different with their stylistics.
“The Little Kingdom” is a standout track on the album. It’s more experimental vocally and is bolder in its arrangements and instrumentation. What were you trying to achieve with that track? Is it a bit of a taste of the direction t.h.e. Sacrament is heading on future releases?
No, it isn’t so. It is just one of our songs. If you say that it’s more experimental vocally, we simply invited a vocalist with clean vocals (because we haven’t a clean male vocalist in our band). He, Roman Rain, is a famous musician in Russia, so it was an experiment of collaboration with a talented and original man. Also we invited Dmitry Rishko (Dominia) as violinist and keyboard player; he has an inimitable style and I think he has an influence upon this song.
The album artwork is beautiful and very striking. How does album title and cover imagery reflect the music on the album?
I tried to show despair, hopelessness, the feeling of time lost, because the majority of the album lyrics contains this subject area. Unfortunately, we often don’t value our life, people who surround us – we are selfish and blind. We lose opportunities and regret it. I tried to say that the only cause of our tears is we ourselves, and if you dive into cold water in winter you may reveal that frozen water over you. Our life is in our hands, and we‘re responsible for our future. The album title and cover imagery is the moment of this truth.
The goth metal scene is very crowded these days. It’s very hard for a new band – especially one with a female vocalist – to stand out. In the early days of the band, was there a conscious effort to try to do things differently?
We never think about it. We write music that we like; we don’t think and don’t know what it will be at the end. And in our early days we did that also. For us it isn’t possible to push creation into narrow stylistic boundaries; we think these boundaries will deprive it of the air, the freedom. And if at some time we write a pop-rock song, we will play a pop-rock song, because the most important criterion is that our music must be liked by us!
We’re starting to see more and more femme metal bands emerging from Russia. What’s the scene like over there for bands like you and other metal bands featuring female vocals? Are there any stigmas or preconceived notions attached to being a female-fronted metal band or is there a lot of support for this type of metal?
I think there isn’t a sharp difference between femme metal bands and bands with male vocals. Every band finds their fans, some people like the female voice, some people like the male voice. There must be different types of metal for different tastes. And the most important thing for many people is the quality of the band’s material and the performance instead of the kind of vocal.
Are you going to be touring outside of Russia this summer or are you staying close to home? What we really need is a touring package of all Russian female-fronted metal bands. If you could put a tour together for t.h.e. Sacrament, who would be performing with you?
We aren’t planning to tour outside or inside of Russia and some gigs this summer. There are two causes: we’re working on our new release and summer is the dead season for music bands in Russia. In order to have the tour outside of Russia, we must be known to somebody in another country especially to concert agencies! I think we are only on the way to becoming a famous band and all is in the future for us. But if I’d dream of an outside tour and of the female-fronted metal bands with which we can perform, I think it would be …
(Famous) last words?
I wish for more good music.
Left to right: Dallas Dyck (Rhythm guitar), Roxanne Gordey (Vocals), Jurekk Whipple (Lead guitar, vocals), Denver Whipple (Bass), Trevor Swain (Drums) | Photo credit: Alicia Beisel Photography
Grande Prairie, AB power-thrash five-piece EDGE Of Attack are proud to announce the official release of their debut self-titled album via Halifax based label Spread The Metal Records on Tuesday, February 19, 2013, which is now available for pre-order at the following link here, (http://spreadthemetalrecords.bandcamp.com/album/edge-of-attack) along with the first single ‘Forever’, which can be heard in the band’s latest music video below.
Forever - Music Video -
(please feel free to share and embed on social networks)
Song Stream - Forever - (please feel free to share and embed on social networks) - http://soundcloud.com/edgeofattack/forever
Produced by EAO guitarist/vocalist Jurekk Whipple, the debut features ten tracks of haunting vocals, shredding guitars, complex bass lines, furious drumming plus choral and symphonic arrangements along with guest artists by solo artist Ivan Gianinni, Ryan Boivard (Hallows Die) and Pellek (Damnation Angels).
Vocalist Roxanne Gordey comments:
“We have been looking forward to this for so long! For us, this album represents our dedication to our fans. They have shown the utmost loyalty and patience, so we hope that our efforts have an opportunity to shine with this release. Our journey through these songs has spurred a creative evolution of Edge of Attack, and with that we hope our self-titled LP will mark our place in the metal community.”
Edge of Attack – Track Listing
1. In Hell 4:36
2. The Haunting 5:08
3. Demon (Of The Northern Seas) feat. Ivan Giannini 5:04
4. Take Me Alive 4:24
5. In The Night 4:27
6. Edge Of Attack 5:07
7. Rise Above 5:55
8. Forever 3:46
9. The Damned feat. Ryan Bovaird 6:01
10. Set The World Aflame feat. PelleK 8:29
For more info on Edge of Attack please follow the band at these links:
Interview by Danny Robertson
We caught up with Maledia‘s singer Loo to discuss their background, their current album “She and Her Darkness” (released in January 2009) and future plans.
What themes/ideas inspired your lyrics on these songs?
Firstly thanks for this interview. Each song for me is a new journey, when the melody is ready usually I listen to her a lot of times thinking of where it leads for me. On this album I also wrote about some things which happened in our and my life, maybe in some hidden words, using some ideas and symbols which reminded me of some particular sensations. But, I have to say that everytime I have to write new words for a new song, it’s always a new challenge and a new journey through feelings.
How would your describe your sound?
Our sound is very powerful but very, very melodic and emotional. It’s full of our influences, we are five musicians very different to each other, but in love with the same thing – Music .
Which other vocalists do you admire, past and present? Would you say any of them have inspired your own style?
I love a lot of vocalists, but I can say that any of them have inspired my own style. I think that a real artist has to give their personal and own touch to their style, this is the only way to be truly appreciated, judged and loved, not only compared to someone else. However, my favourite vocalist (in the gothic metal scene) is surely Tarja Turunen, she is the biggest voice and personality I have ever seen on a stage.
Who/what are the band’s main influences as a whole?
Many. As I said, our influences are various; in fact each Maledia member has got favourite bands and music background inspirations, very different from each other. But the main influences are Nightwish (Old Style), Cradle of Filth, and many songs coming from the horror dark projects of a lot of movies’ soundtracks.
What normally gets written first – the music or the lyrics?
Usually we write the music first. This part is often “addictive” to the band (except me). I contribute obviously to the creation of the music, but very less in this part, because my real work is the creation of the lyrics and their melody. But this is not the only way we use. I can say that the creation of each newborn song is always different from the past one.
Tell us about the production behind the current album – how long did it take to write and record? Did you experience any difficulties in its’ creation?
It was as difficult as fantastic. It took more than three months to record the complete album with voices and choirs. But unfortunately we met a lot of difficulties in the period after the creation, I mean production itself and in the coming out. It took more than one year to make “She and Her Darkness” available for all our fans. We still apologize for this to all our fans. We hope that the long wait was rewarded for each one of them, I will thank them forever.
The album features a guest appearance from Roberto Tiranti of Labyrinth – how did that come about?
We have always appreciated Roberto Tiranti and loved his voice. He’s a great artist and one of the voices in the Italian metal scene more appreciated in the world. When we got the idea of having a guest on the song “Ti Sento”, I immediately thought of him. He was extremely kind and helpful, and for me it was a great honor as well as a dream come true to sing with him. I thank him again for what he did.
Will you be inviting guests for future releases? What would be your dream collaboration?
Sure, there will be new guests in the future. My personal dream collaborations I think are not very in accordance with our musical genre (joke), but there will surely be, and obviously are a secret.
Do you have any plans or ideas for the next release?
The next release will be available in 2010, the songs are almost ready and we are very proud of them. Our style is changing but remains still as it is known – powerful, energic and melodic. Maybe someone will think it’s more modern, but I can say that is just the Maledia style.
How would you describe your local music scene? Was it easy to build an early fanbase?
Well, although there are (fortunately), many fans (Thank you!!) who supported us always, I must say that unfortunately in Italy the organization of events suited to our kind of music is undoubtedly difficult. In other countries, the scene changes completely. Unfortunately in Italy the metal scene itself is still very much closed.
Which other bands/acts do you feel you share the most common ground with?
A lot, but mainly we feel us very near to all the big bands of underground music, of Italy and Europe.
Whereabouts will you be touring in the coming months? Any international dates?
No date is confirmed at the moment, but we are planning a new tour in the winter.
What are your aims and plans for the future?
Sure the new album, we are working on a lot of it. It will be great and always more Maledia. And a lot of shows, a video and a new single.
Style switcher only on this demo version. Theme styles can be changed from Options page.
- Pamela Moore – “Resurrect Me” (2013)
- Dante Fox – “Lost Man’s Ground” (2012)
- A Persuasive Reason – “A Persuasive Reason” EP (2013)
- The Reasoning – “And Another Thing…” EP (2012)
- HUNTRESS & GOLD @ 013, Tilburg, THE NETHERLANDS 08/06/2013
- Anneke Van Giersbergen
- Noora Louhimo – Battle Beast
- Leah – “Of Earth & Angels” (2013)
- Kells – “Anachromie” (2012)
- Tristania – “Darkest White” (2013)
- Infinitus Mortus – “The Conspiracy of Love” (2012)
- Illuminata – “A World So Cold” (2011)
- Hitherside – “Hitherside” EP (2012)
- Hanging Doll – “The Sacred & Profane” (2012)
- Edenbridge – “The Bonding” (2013)
- Delain – “Interlude” (2013)
- Emily Lazar – September Mourning
- Ashley Costello – New Years Day
- Androniki Skoula – Chaostar
- Arkona – “Decade of Glory” LIVE (2013)
- Оксидерика – “Step to Darkness” (2013)
- Chaostar – “Anomima” (2013)
- Helalyn Flowers – “White Me In Black Me Out” (2013)
- My Ruin – “The Sacred Mood” (2013)
- Belladonna – “Shooting Dice With God” (2013)
- Visions of Atlantis – “Ethera” (2013)
- Upon Wings – “Afterlife” EP (2013)
- Maxine Petrucci – “Back to the Garden” (2013)
- Masterforce – “Until the End of Time” DEMO (2011)
- COURAGE MY LOVE return with “Becoming” EP