Daemonia Nymphe - It is a struggle working on a new project but it’s such a satisfaction when something is completed that it makes us seek for more inspiration

Daemonia Nymphe’s music for the Shakespearean play ‘Macbeth’ composed in 2016 for the National Theatre of Northern Greece, certainly goes beyond the rest of their works, however their own particular style is still evident throughout the album. One of the compositions that stood out is “Witches’ Lullaby” which, in this new project, serves as an inspiration and a starting point for collaborations with female vocal artists from around the world with whom the band shares the same artistic vision.  Japanese Hatis Noit, Spanish Priscilla Hernandez, British Victoria Couper and Rey Yusuf improvise on the same melody creating an artistic piece that captures their unique interpretation of “Witches’ Lullaby”. We wanted to find out more about this special project, as well as this new release, and had a nice conversation with the band about it. Read all about it below:

First of all, tell us a little bit about yourselves; who are Daemonia Nymphe? How did everything start and when
It all started back in 1994 by me and my brother Pantelis, when we decided to give a ‘specific’ stigma of our identity through the remains of our city’s ancient culture. Mythology and art of ancient Greece always fascinated us and the way that it was ‘touched’ by contemporary Greeks was not something that appealed to us, we felt that there was space for something new, this investigating and studying the past became a means of creating something contemporary, an attempt to continue a fascinating culture or even re-create a modern approach from the ashes of it’s past. Of course, through the course of time and while working on various different projects, with artists of different cultures, our inspiration grew more and more, incorporating new elements from various sources.

Does the name 'Daemonia Nymphe' have an underlying meaning?
Daemonia Nymphe means Divine Nymph as ‘Daemon’ (Δαίμων)  in ancient Greek means God, deity, divine. We wanted to connect the feminine power with the ancient meaning of the notion of the divine. 

What are the highs (and lows) over the years?
Well, I can’t say what the highs and lows are specifically; all I can say is that creating a work of art takes a lot of struggle and pain for its completion. However, it is worth taking the journey (of art), as the experience of life grows longer. The longer the journey is, the better experience you get through the course of your life.

Going back to 1998 and the "Bacchus' dance of the Nymphs", we see clearly the ancient Greek element. Elefsina and Delphi are the most respected sites in Greek territory, as highlighted after the end of the Persian wars. What is your relationship with the ancient Greek religion?
We are interested in the religion in terms of its practice because it defines the artistic aspect of any particular era especially in the West. We wouldn’t inherit these majestic temples and glorious sculptures, stadiums and theatres if there wasn’t an organized religion taking place in ancient times. Then again life would find a way for its miracles so I can’t say that it wouldn’t happen otherwise but it definitely adds up to the whole mosaic of the miracle of art.

Daemonia Nymphe's music for the Shakespearean play 'Macbeth' composed in 2016 for the National Theatre of Northern Greece, certainly goes beyond the rest of their works, however their own particular style is still evident throughout the album? Is this statement correct or is it also a bit simplistic?
Although Daemonia Nymphe are part of our culture as our identity is Greek and thus everything we do is defined by our identity, we occasionally find ways to escape it and move further to other fields. The play ‘Macbeth’ was one of these occasions where we had to position ourselves in the fantastic as well as realistic fields of Scotland, in a tragedy written by William Shakespeare who is widely regarded as the greatest writer in the English language.

In general there are many occult aspects in your music? Right? Or am I wrong?
I would say that we are very much interested in the afterlife and the journey that one has to make until his final destination as it is explored through our “Psychostasia” work: https://www.youtube.com/watch?v=m-dRm8Hx-uI

The reason of this interview is the new album 'Witches' Lullaby', is it some kind of concept album? What can we expect?
Besides, our ‘regular’ albums, we always work on various other projects whether they are side-projects, music for theatre or solo work. In this case we wanted to invite female artists of different cultures to interpret their own lullaby based on our “Witches’ Lullaby” which we composed for the play ‘Macbeth’ thus creating an album of female lullabies from around the world. We are interested in the work that speaks to people from around the world rather than music that would only appeal to a specific ethnic group such as our own.

This EP is actually a collaboration based on an old melody so not a completely new work but a re-work with other artists? Can u tell me more about it?
Yes, as I said before, it is a collection of lullabies sung by female artists, a new side-project that we wanted to work on, as we regularly do, in between the main albums of Daemonia Nymphe. For this project we invited the Japanese vocal artist Hatis Noit, the British/Portuguese singer/musician Victoria Couper, The Spanish singer/songwriter Priscilla Hernández and the British/Cypriot singer/songwriter Rey Yusuf.  Evi Stergiou of Daemonia Nymphe participates with her own version of the lullaby.

Let's also talk about this pandemic we are still living in, are there any plans that can't go ahead?
If you mean regarding our work with Daemonia Nymphe, it’s of course the live shows that can’t go ahead at the moment.

I've heard in interviews that these times have been a rest for musicians, where they found strength to write new music. Is it the same for you guys?
Well, I can’t say that it helped us to compose more music as this is something that we do on a regular basis whether we are working on a specific project or just gathering ideas. It definitely helped us to develop our home studio though as it is easier to work at home these days.

When I listen to your music, I long to see it live. Does your music come out even better on stage?
Well, you have to experience that yourself, ,as I can’t speak on behalf of our audience. There are quite a few videos that may help you with your quest though. I would suggest to watch the following:  https://www.youtube.com/watch?v=rjjxtDQOn1o
https://www.youtube.com/watch?v=xTM2Zn-9b0c
https://www.youtube.com/watch?v=QGP8h8_uD5M

Playing live is not an option for the time being, not even for the release of your new album. Are there any plans for streaming?
No, not really, we were approached by various festivals but it’s not something that we want to do, at least not at the moment.

What are the further plans for the band actually?
Well, after the release of the “Witches’ Lullaby” EP, I am going to focus on my solo album under my name. We have been working for a long time for the next official Daemonia Nymphe album but it seems that it will take even more time for its completion, as we still haven’t finished composing the work.

Are there still goals or ambitions after all these years? Something you absolutely want to achieve as a band and as a musician?
Well, the journey is always the goal so it is a never-ending experience really. It is a struggle working on a new project but it’s such a satisfaction when something is completed that it makes us seek for more inspiration. Working with other artists, collaborating on different projects is always something that fascinates us.

To conclude, where and how can people buy your merchandiser? please put some links below, and thanks for the nice chat
Well, we are very slow regarding this process as we have always been working with other labels that settled the merchandise for us. It is definitely something that we need to set up soon; for now though people can connect with us via: https://daemonianymphe.bandcamp.com/
All news about the band can be found on our official fb page https://www.facebook.com/DaemoniaNympheOfficial

InHuman - If you made something happen, you want something else. And keep going. That’s an ambition to keep going this way, and keep going in this process …

Anwynn is dead. Long live InHuman! After years of polishing their music, style and performance, the project « Anwynn » has matured into a punching, dark and ambitious new outfit. Furthering the groundwork laid on tracks like « Keratin », « Shrine » and the acclaimed symphonic cover of Machine Head’s « Now I Lay Thee Down », a new direction seemed as natural as it was inevitable. With a new album, featuring fresh lyrical themes, orchestral grandeur and a core more deeply rooted in death metal, flying the same banner as the more folkloristic tunes of the past did not feel quite right. Inspired by the human condition itself, from its moments of utter splendor to its deepest regrets : enter « InHuman ». Both a new beginning, as a continuing inspiration for an exciting future.

The new album was recorded & mixed at Nomad Studio by Julien Huyssens while the vocals were recorded at the Vamacara Studio in France. The album also features magnificent choral contributions by the Ghent University Choir. Virtual Orchestrations were devised by Eerik Maurage. (Bron: https://inhumanmetal.com/ ).
Following the name change, and of course the release of the debut album 'InHuman' and further plans for the future, we had a nice talk with Keyboard player Astrid .

I would like to start with a personal question, who are your great sources of inspiration and influences in music? And to what extent , did they influence you to write and create your own music? Because I found out you influence is also very important in the band and it was in Anwynn?
That is true in a part. For this new album the influence from the other members is also very important. Together with my personal influence I think it come more together then earlier. But from my direction? I listen to a lot things. I listen to progressive metal, Devin Townsend. listen to heavier bands like Machine Head who are one of my favourites Most of us listen to symphonic metal but in very different styles, Eerik who composed our orchestrations is very influenced by Dimmu Borgir, for me it’s more SepticFlesh And I also like pop music like Beyonce en things like that And also film music. 

I feel most comfortable in the dark corner of the room, so I prefer to listen to dark music with a macabre touch to it. Do you also have a preference for darkness? And if so, why (or why not?) 
Soo you think our music is dark?( haha)  If it’s about the more emotional part of darkness, yes I agree. But that also  can be joyful music to where people dance, make fun and things. Where is much energy and a lot people jumping , singing the choruses. Mostly it depends on the mood of the day, or the person.

I just think your music is very intensive that’s the kind of darkness I like.
Yes, but you can see this in different ways. If it’s intensive and the emotions come true? I think we did a good job.

InHuman is actually the ‘Anwynn’ project in a sort of new outfit …
Anwynn started a long time ago. In 2010 and there where much lineup changes. But also our music changed together with new members. In the meantime  it felt like a complete different time, and also I’m a complete different person. Slowly we release an album and EP. And things like the Folk music was changed together with new members , and also new influence. Soo this ‘InHuman’ concept is a complete different band, in a complete different direction then Anwynn. There are more symphonic influence in this band too give a example . Soo, time after time I felt not only we changed our style, but it was time for changing the name as well. Soo it become a new project, with new name and also a new line up. 

Why the name change? And does it mean literally what it says ?
We were moving away from the folk and Keltic lyrics. We were free do anything we want with the music and the lyrics. In fact is rather psychologic and emotional. Soo it’s a metaphor for the evolution we going true. The whole thing is started about what it is to be human, and what too love human. And that’s acutely what we all wanted to say in ‘InHuman’ it says what it means.

In some way you already have answered this question. But. I also read ''a core that is more deeply rooted in death metal, didn't quite feel it was right to fly the same flag as the more Folkloric tunes of the past'' Is there nothing left of that Folkloric, or is that part being looked at from a different 'human' point of view? In other words, how should we view InHuman as a fan?
I just want to say, from the Folk metal we are really going away from that direction. That’s for sure. It’s still one of many influences, but it’s defiantly not how we going to present it right now. 

How were the reactions in general to that turnaround? 
We were only able to play three times with this new name InHuman. It was much fun, and the reactions where pretty good acutely. A big change, but still the fans where very enthusiast about this new project. Especially with Kelly Thaans who stepped in on vocals alongside Eline for those shows - the dynamic was fun and very well received.

A big change but it still feels like a ‘comfortable part of the dark side of music’ to put it this way. It’s not a big change to me, but just an other change
Agree with that (haha) Sounds fine to me. 

Do you get your inspiration from things in daily life, I thought you worked in Psychiatry and are confronted with what is going on with 'people'? Was your job a kind of inspiration for the band name and the music on this debut or am I wrong?
Yes , defiantly. Next to how I think about the health of my patients I sure care about how they feel. And that’ s a big part of the lyrics and a big part of the music.

InHuman will release its debut on 26 February, what are your personal expectations?
Expectations with the whole crisis where we live in? it’s difficult. Because we don’t know what it is when we have a new album in this times. But I try not to think about have any expectations at all.  I hope we can play the release dates that are planned in May or something. Is it going to be live shows? Or streaming? Nobody knows, so I not try to have expectations in this times we live in. 

Unfortunately, it will be difficult to present that record live, except through streaming. It’s not the same it all, but are there any plans in that direction?
We have thought about it of course, Like you said it’s not the same thing at all Our music is very cinematic, it’s technical something you can only feel when you are there. Not when you see it on a screen or something. Soo, if that’s the only thing we can do. But otherwise we prefer to play it for a crowd of people. 

I do streaming concerts all the time these days (because it's the only way to show yourself in this days). How do you personally feel about that concept?
Yes it’s true, it’s the only way to put the band in the picture. We have a gig planned soon in May, we will see how it goes. We really do hope we can just play for a crowd of people, because of that technical reason and what I said before.

Like everyone a little bit, this pandemic we are still living in , has a huge impact on a lot of people. How did you get through these times as a musician (and a human being)? 
Some things went good, other things went bad. Defiantly I had to take a break what the band ‘InHuman’ . But it worked out good for me, because I found more time to play piano again, I not always find time for that before. Soo, for me it was a process that could do more things, where  I not found time for before.

Were these times that we live in also an inspiration for new music?
No, Because everything was already recorded and mixt before the lockdown. Soo no.

How do you personally think that music and culture (but also other affected sectors such as the hospitality industry) will survive this crisis?
That’ s a difficult question. I think it will be reinventing  itself. In the good or bad way, I don’t know. The one thing it would  reinventing itself sooner or later, there been changes all the time. The music itself have to reinvent itself anyway, like it always have been. More, maybe this crisis is a trigger for the music industry to reinvent itself, who know. Is it a good thing? I don’t know, maybe it will not as good as it was before. But I think we will survive, just because music always had to reinvent itself, in the past, so it will be like that now to.

What are your future plans for this year, as far as perspectives go of course?
Well the release that coming up, and a punch of release concerts. We not want to focus on online concerts, but maybe we have to focus on it now .. don’t know. But if there is perspectives I do hope we can do some shows with crowd. We sure have plans, but how we going do it I don’t know, but nobody does. But we want to keep making music anyway. 

What are your actual ambitions with the band (but also for you as a musician)?  Is there something like an end goal?
Honestly I don’t think so. Our goal was to release a album, and that’s going to happen now. Soo we need a other goal, and that’s just a endless evolving process, that keeps going and going. If you made something happen, you want something else. And keep going. That’s a ambition to keep going this way, and keep going in this process. 

So, where do you see yourself (and the band) in 10 years then?
Personally I see myself in a bunch of different kinds of music, in different kinds of styles. Metal or not metal. For InHuman I hope we still can make music with the band, and record music. And , like I said, that the process where we step in now keep going on. In the style where we now working in. Soo, always keep make new music and never stop. 

Thanks for this nice interview, if you guys doing a streaming contact me and I will write a review about it. I also hope we can see you on stage soon, it can be coronaproof to ?

HimShe - livestream - Filmische totaalbeleving in een spookachtig kader

Voor de omschrijving van de Gentse band HimShe citeren we uit de biografie op de bandcamp pagina van de band: ''Het Gentse gekartelde poprockkwartet HimShe verkleedt zijn muziek graag in een sfeervolle wereld waar David Lynch pater Theresa ontmoet.''
Een omschrijving die de lading dekt, want inderdaad , deze band klinkt zeer sprookjesachtig, filmisch en dat is niet alleen de verdienste van de instrumentale omkadering; ook de vocale inbreng voert je weg naar mysterieuze oorden die de fantasie van de luisteraar prikkelt. Op de EP 'Stay', in 2020 uitgebracht, wordt dat mooi in de verf gezet.
De volledige recensie kun je hier nog eens nalezen: http://www.musiczine.net/nl/cd-reviews/item/78925-stay-ep.html
Ondertussen hadden we ook een fijn gesprek met de band
http://www.musiczine.net/nl/interviews/item/79471-himshe-selien-hoessen-cultuur-is-noodzakelijk-voor-maatschappijkritiek-voor-persoonlijke-ontwikkeling-en-voor-ons-mentale-welzijn-het-maakt-ons-persoonlijk-rijker-neemt-onze-stress-weg-houdt-ons-een-spiegel-voor-laat-ons-genieten-en-brengt-mensen.html

Hoog tijd om deze band, die toch heel visuele muziek maakt, eens live te zien. Helaas. Enkele optredens, o.a. in het voorprogramma van Fulco in N9 werden uitgesteld.
Echter blijft HimShe (*****) niet bij de pakken zitten, en stelt hun werk onlangs via livestreaming voor.
Het filmische, sprookjesachtige blijft live ook overeind, soms lichtjes dreigend, soms zalvend je hart beroerend, flirt de band tussen licht en duisternis. De band staat in een sobere verlichting en er schijnt een spot binnen, als een zonnestraal , aan het eind van de donkere tunnel. Het duidt aan hoe HimShe op uitgekiende wijze tewerk gaat.
Elke schakel is even belangrijk. De stem van zangeres Selien Hoessen doet denken aan Kate Bush en de backing vocals van Naomi ‘Reena Riot’ is een minstens even grote meerwaarde. Sensualiteit in een weemoedig , bevreemdend en donker kader wordt verder ingekleurd door bedwelmende baslijnen , elektronisch vernuft en zalvende drums . Stephan Van Meirhaeghe (bas), Dries Nauwynck (drums) en Jeroen Boone (gitaar) hebben dus een belangvolle inbreng.
Het is een wondermooie kruisbestuiving, die je onder hypnose brengt.
Na een ingetogen intro, worden de registers vaak open getrokken. De zeemzoetigheid in een weemoedig, donker kader, wordt ingeruild door een potje postpunk gerelateerde songs. Een veelzijdigheid die HimShe siert. Als een zacht deken of als mokerslagen. De band durft een stapje verder te gaan en kan experimenteren met die klanken en vocals. Klasse!
Ook Jeroen, een begenadigde gitaarvirtuoos, blijkt over een warme stem te beschikken die de sound intenser maakt.
In de sound verschijnt een spookachtig beeld die refereert aan de sprookjes van Grimm. De spanning is te snijden door die intens filmische aanpak.
Na ongeveer veertig minuten was het al voorbij; dit smaakte dus naar meer, veel meer …

Dit is filmische muziek voor wie graag vertoeft in een sprookjesachtige omgeving waar lichtvoetigheid en angst met licht en duisternis samengaan. Diep onder de indruk waren we; met een zaalconcert zou je nog meer worden geconfronteerd met wat rond jou gebeurt en dat grimmig doomy sp®ook(jes)achtig kader!

Organisatie: HimShe