Dec 302019
Gothic rock band Cathedral In Flames has a new mini album out.

mini-album consists of 5 songs and is called “Children of The
Blackest Hole”. It was released worldwide via digital music
distribution on 28th November 2019 by the brand EZRN and now is
accompanied by the official video for the song Python. The EP is also
released in the form of a vinyl record.

The musical debut of
our Czech gothic rock legend was produced by Gatsby and its final
improvements including mastering were then completed in London by Pete
Maher, the legendary audio engineer who also co-worked with Depeche
Mode, Pixies and Rolling Stones.

Watch the video here:
Listen to the EP here:

Dec 302019

Fly Pan Am‘s is maybe the most heartbreaking reunion of somehow glorious bands that made the history of contemporary music I saw in the last year. The project, developed in 1996 by former Godspeed You Black Emperor guitarist Roger Tellier-Graig with the precious support by talented musicians like Eric Gringas, Felix Morel, Jean-Sébastien Truchy and Jonathan Parant, managed to grasp some interesting stylistic ideas on the fertile grounds of post-rock and shoegazing. Their ‘C’est ça’ (released by Constellation records) could sometimes sound predictable, but these Montreal-based wise guys managed to turn the musical experience they offered astonishingly exciting as if they were showing some notorious place by revealing many previously hidden details and wrapping the listener into a warm hypnotic flow. After getting wrapped by the listening of their album (and personally some nostalgic listening of some of their previous ones), we had a talk with them.

Chain D.L.K.: Hi guys! How are you doing?

Roger: Positively busy! We’ve been working with the dance company Animals of Distinction over the past little while, composing the soundtrack for their newest piece, Frontera, and we just came back from its premiere in Quebec City earlier this week.

Chain D.L.K.: As far as I read, Constellation records was super happy to welcome you back after… 15 years! How do you remember that first landing on Constellation?

Roger: Wow, that is quite a while back and my memory isn’t so reliable anymore, so I’m afraid I can’t go into any details here. It was certainly a great time for music in Montreal, and we were happy to be part of Constellation’s roster at the time.

JS: If I remember correctly, even though our first show at Hotel 2 Tango wasn’t great, CST and some of GY!BE came without our knowledge to our second show, a few months later. II guess they really like what we played then (one track, about 20mins of a pulsing drone that would eventually « develop » in a kind of ultra-minimalist rock bit for the remainder of the track). From there on, I think CST were curious enough to be present at other shows, have us play at an event of there’s (Musique Fragile) until they felt confident enough in our music to offer us to put a record out for us. Even then they were quite encouraging, helping us along the way from recording, mixing and everything.

Chain D.L.K.: Some readers know about your following steps, some other not… let’s try to refresh their mind since the beginning! How did Fly Pan Am start?

Roger: We started out as a bunch of music fans lost in a city that didn’t really have a scene at the time – that was before we ever heard of Constellation, so apart from some of the folks who ran cool little record shops here and there, we felt very alone. I remember we were even daydreaming about moving to the UK at the time – ha-ha. A lot of the bands that we liked were from there, bands like Main, Laika, Loop, Pram, Stereolab, Seefeel, etc. Eventually, we heard about GY!BE, Exhaust and Constellation, so we hooked up and started playing shows with them. At the time, Constellation was curating the Musique Fragile series in their loft space in Old Montreal, and we went to a bunch of them. They eventually invited us to perform, and we started working with them not long after that.

Chain D.L.K.: What’s the importance of having grown in Montreal for the development of your sound?

Roger: I’m not sure how much our location had an actual impact on our sound. We were listening to music from the US and Europe mostly. The fact of being able to afford cheap housing definitely helped us spend time working on music, but yeah, I guess you could say that once the scene started developing, and we discovered folks like Shalabi Effect, David Kristian, Alexandre St-Onge, the label Alien 8, then I guess we started developing a mutual influence on each other in a way. Like I said earlier, it was a rich time for music in Montreal.

Chain D.L.K.: What are the main milestones of your path out of Constellation between 2004 and 2019?

Roger: Personally, I started learning how to make electronic music on my own around 2008 with the project Le Révélateur. This project then turned into an audio-visual duo with video artist Sabrina Ratté, and we performed live a lot and released stuff on labels like Root Strata, NNA Tapes, Steve Hauschildt’s Gneiss Things and Dekorder. I also rediscovered musique concrète – which had been a personal influence in the early FPA years – so I decided to go back to school and studied electroacoustic composition at the Conservatory here in Montreal. This music will be coming out next year on the Second Editions imprint.

JS: Around 2010 after somewhat of a brake from music, I started playing more electronic music in groups and especially solo with releases on Root Strata, Digitalis Records, Tranquility Tapes, Sic Sic Tapes and others and founded, with a couple of friends, Los Discos Enfantasmes, a now defunct cassette label. Somewhere around then the creation of Avec le soleil sortant de sa bouche happened, and we have since released two records on Constellation.

Félix: I kept really busy playing in a lot of bands. Les Enfants Sauvages was an improvised No Wave supergroup with members of Les Georges Leningrad, Duchess Says, AIDS Wolf and Red Mass. Panopticon Eyelids was a Psychedelic Noise Rock band with free rock and No Wave influences. We released a bunch of tapes and CD-Rs on underground labels and self released an LP. No Negative was a punk band with Noise Rock, Death Rock and Psych influences. We released a 7 inch and 2 LPs.

Fly Pan Am “C’est ça” cover artwork

Chain D.L.K.: First, thanks for attaching lyrics to your album! Such a wise choice will avoid many cyclotomic questions on what you said, what you’re going to say… or maybe not! For instance the way by which you seem to describe what’s happening to the sound you forge on the amazing Distance Dealer is awesome… but speaking in general, what’s the role of lyrics now and in the past in the development of your music? Is it a more sonic element or a source of meaning?

Roger: With regard to the lyrics I wrote and sang, I would say I am interested in both the sonic quality of the words, as well as the delivery, as I am with the potential meaning of the lyrics. Lyrics are an opportunity for me to tackle some ideas and considerations that really interest me, but I am not interested in turning this expression into a self-congratulatory manifestation of my perspective on things. I prefer a more open-ended approach, where you might get the impression that the lyrics are pointing at something, but it all kinda remains vague, blurry, dreamy, hallucinatory. I first come up with the vocal lines and the delivery, so once I set out to write lyrics I need words that fit in musically, so this highly influences the choice of words. I will already have a pretty clear idea of what I want a song to be about beforehand, but again, the choice of words may have an impact on what I had set out to do originally.

Chain D.L.K.: How many times did anyone try to match you to Stereolab or Slowdive or both by “offending” the praiseworthy way you forged your own distinguishing aural mark?

Roger: Well, I personally really love Stereolab’s Transient Random Noise-Bursts and Mars Audiac Quintet, as well as Slowdive’s Pygmalion, so such a comparison cannot offend me in any way. People seem to namedrop My Bloody Valentine and black metal way more though – haha.

Chain D.L.K.: Related to the previous question/answer, are there any band that inspired some choices somehow?

Roger: Yes, the first actual wave of “post-rock” bands, like Main, Seefeel, Disco Inferno, when it was more about using technology to go beyond the usual rock tropes than what it turned into later on, but also earlier bands like Dome. These bands were definitely an inspiration at the time where we started the band back in 1996, but we had no idea how to make music like that. When we set out to make this record, we had grown so much individually, learning how to use samplers, synthesizers and computers, that it just made sense to finally make this record we had always wanted to make, a kind of futuristic rock record using electroacoustic techniques. I like to joke that this is our 4AD record, as if someone like Christian Zanési had produced it.

JS: We’ll also incorporate, as always, other influences, coming from near-non-audible electronic music to contemporary music all the way to complete noise when composing. But as Roger points out when answering this question, we always have a direction, something to achieve sound wise but never letting go of all the various influences which will help us, hopefully, bring a different flavor to our work when compared to the work of others in a similar – or not so similar – genre. To me, a FPA record is always the combination of influences that give us a direction and all the other ones that will help us somewhat counteract said direction or, at least, play with certain aspects of composition, genre/tropes and listener’s expectations.

Chain D.L.K.: C’est ça! Besides the Canadian bilinguism, is there a reason behind the choice of title in French where lyrics are in English?

Roger: The title is kind of nod to the end of our last record, “N’écoutez pas”, where you hear our bass player JS’s kids ask in French “What is Le Fly Pan Am?”; since we felt this record was the logical successor to “N’écoutez pas” – we felt we were picking up exactly where we had stopped in 2004 – we decided to link the two this way. “C’est ça” pretty much means “It’s this”. We also wanted a French title because all the lyrics were in English, which was a first for us, and it felt necessary to counterbalance that with a simple French title.

Chain D.L.K.: I enjoyed the experimental interplays such as Alienage Syntropy or Dizzy Delusions or the opening Avant-Gardez Vous, even if they look like ironic stylistic drops or moments of detached divertissement… what’s the correct meaning of such a grasp?

Roger: To be honest, they are not intended to be ironic. We’ve always had more abstract pieces or passages on our records, and this just came very naturally for us. We wanted this to be a record that played with pop tropes, but it still had to feel like a Fly Pan Am record. We’ve always loved contrast and the friction that comes from opposing radically different aesthetics. I have a feeling this kind of abstract material will keep expanding and take up more space as we continue working together.

Chain D.L.K.: Shoes are on the grounds but your sound points to fluffy clouds and outer spaces, even by means of bleeps and hisses that evoke orbiting satellites and space debris… that’s amazing! But someone could ask you what’s the role of those brutal-metal like shouts…

Roger: Haha, yes. There are three people in the band that provide vocals on the record, and we all have a distinct approach and different backgrounds, and It’s very important for us to acknowledge the sensibilities of all band members as much as possible. We believe that richness comes from the complex intersection of different references and influences, which again, creates contrast, which is a core element of FPA. JS is the one singing with this approach, and this is something he has been developing in his solo work, as well as in his other band Avec le soleil sortant de sa bouche, so it just made sense for us to bring that element into the making of this record. If you listen carefully to “Brûlez suivant, suivante!”, the first track on “N’écoutez pas”, you can hear the root of this approach of our dual dynamic singing, where I sing in a low-key dreamy way, and JS shouts on top of me, far in the mix. We tend to see these different approaches to vocals as a set of variables we can use to create dynamics. We’re interested in seeing how you can use a certain vocal aesthetic in the context of a piece that wouldn’t normally feature that type of approach, because for us, what may sound like a “brutal-metal like shout” is simply a different color of singing, a different way to approach vocals.

JS: I couldn’t agree more 🙂

Chain D.L.K.: Any past release that could be the perfect logical match with C’est ça?

Roger: Personally, I’m tempted to say OLD’s “The Musical Dimensions Of Sleastak”. It’s a totally crazy futuristic post-metal record from 1993. It goes all over the place, from abstract ambient passages, to sample-based experimental sections and vocoder cyborg rock. I was definitely listening to it a lot when we were working on the record.

Chain D.L.K.: Did you bring it on stage yet? Any interesting feedbacks besides moving steps and waving heads?

Roger: We’ve only done a handful of shows in Canada at this point. Folks seem to enjoy it. We’re coming to the UK in March, and Europe after that.

Chain D.L.K.: Any work in progress? Would you live Constellation again or should we expect something else marked by this awesome label?

Roger: Yeah, as I mentioned earlier, we just finished composing the soundtrack to the piece Frontera by the dance company Animals of Distinction. We’re hoping to record that sometime in 2020.

JS: After that (the soundtrack), we’ll most likely be back with a full length, hopefully in a not so distant future…

Dec 302019

If you followed the interesting musical and artistic path by Tristan Douglas aka Antwood, you shouldn’t have missed his recent creation Delphi. We could introduce his third album on Planet Mu as a proper creation, as Delphi is the name of the fictional character he forged together with his girlfriend Olivia Dreisinger, and such a bicephalous origin is not casual at all, as Delphi also represents the hurdles faced by lovers in our age and those felt by Tristan himself, as well as the battle between fantasy and reality. In his own words: “Olivia and I started making the album cover as soon as I knew what direction Delphi was headed in. I took objects that had significance to me at the time of production and physically recreated them as “Delphi world” objects so that the album’s narrative and each track are represented in the cover photo. If you flip the album over, there is a computer rendering by Paulin Rogues of the two landmarks in the ancient city of Delphi – not quite ancient or modern Delphi, somehow real life but also fantastical.” Imagine such a theme translated into the sonic language that Tristan developed in the guise of Antwood. But let’s see how Tristan introduced his creature to our readers.

Antwood “Delphi” cover artwork

Chain D.L.K.: Hi Tristan! How are you?

Antwood: Really good, thanks!

Chain D.L.K.: An interesting note on the cover artwork of your release… I recognized an old coin with the symbol of my “raped” home town Taranto – at the center of Italian chronicles for serious matters related to the pollution caused by the biggest European steel factory – and Taras, the son of Greek god Neptune riding a dolphin, who supposedly founded Taranto according to mythology…. Did you know that? Any relation with Taranto I ignore?

Antwood: When I made the cover art, I was looking for old coins that featured dolphins depicted in Greek mythology as a way to represent Apollo. According to the Homeric Hymn to Apollo, the god Apollo first came to Delphi in the form of a dolphin, carrying Cretan priests on his back. So I figured the dolphin on the coin was Apollo, with a priest on his back. But looking at the coin more closely now I see that it is Taras and the coin is Italian. Dolphins are all over Greek mythology. But I suppose it doesn’t really matter for the symbolism whether the dolphin on the coin is connected to Apollo since for them the concept of dolphins was very positive – dolphins were a good omen – so whether it’s Dionysus, Poseidon, Delphin the sea god, Taras or another Greek god the dolphin stands for respect, admiration and affection and that’s how I wanted to use it

Chain D.L.K.: …but besides this detail, let’s focus on the main character, Delphi! Why did you choose to intersect mythology to forge this fictitious sonic novel?

Antwood: I did use elements of Greek mythology, but I would say the structure of the record is more a take on the monomyth, where the hero (often the chosen one) is introduced in their ordinary mundane world and contrasted with the “other world” in which the hero will enter when they accept their quest. Delphi hits most of the hero’s journey narrative stages, like the call to adventure, the crossing of the threshold, the tests and allies, the innermost cave, the ordeal, the road back, the resurrection and the return. I call it a take on the monomyth narrative because Delphi’s final form (besides being an album) is more of a fanfic, where the author takes the template and injects themselves into the story and then shifts the focus to whatever personal and specific weird things they choose. So the Delphi story is a hero’s journey, but the journey is basically a daydream and, instead of returning triumphantly with lessons learned at the end of the story, Delphi sits bored and confused on top of the mountain, checking her phone, right back where she was at the beginning with nothing learned.

Chain D.L.K.: Before focusing on single acts of this character, some questions… what’s the weight in the whole concept of the album of the contribution by your girlfriend Olivia?

Antwood: Early on when I only had a track called “Delphi” and wanted to build something around it, Olivia proposed that Delphi was a person and not just a place. From there, we constructed the character and the story together over the next year or so as I would work on the tracks. Olivia wrote all the words, which were either stuff she wrote to me in real life or things she wrote for the album. The Skype Ghost line and Hostile Message poem were things that Olivia wrote to me in real life. The process of deciding which of the elements from real life should be incorporated into the album was intuitive, and it happened naturally without planning. The cover was collaborative as well.

Chain D.L.K.: As we mentioned the coin, what’s the meaning of the other elements visible on the cover artwork? The other coins, that Club Dread bracelet, the pills, the moth, etc…

Antwood: A lot of real and made-up things got merged together on the album and the artwork, and the album and artwork are very entangled with both mine and Olivia’s real lives. It was satisfying and helpful to make a project like this, although it can be a bit uncomfortable and confusing to talk about in extreme detail since most of what I want to say is already there in the art. But I’ll do my best to explain the things on the cover a bit more:

The Phone: the phone is mine, with the Skype Ghost message displayed which was written to me by Olivia in the first week we met. I ghosted her because I was in the hospital and couldn’t contact her.

The Pills & Hospital Bracelet: I was in and out of the hospital a lot at that time and had procured a collection of wristbands and pill bottles that I modified for Delphi as part of her narrative. I wrote Ecstatic Dance in the hospital. I had the idea that Club Dread would have festival bracelets that would double as hospital admission bracelets for overdoses and mental health emergencies.

The Coins: According to myth, Apollo slew a python that was guarding the land of Delphi, and its body fell into a chasm. The fumes that arose from its decomposing body were a sweet-smelling vapor called pneuma that was thought to induce the Oracle’s clairvoyant trances by allowing Apollo to possess her spirit. In my story, the Delphi character confronts a corrupt Pythia (Oracle) and throws a coin with the dolphin Apollo into a chasm as part of her quest.

The Stone: There is a stone beside the coins which Olivia put in my jacket pocket without me knowing one day while walking on a beach.

The Moth: a moth had flown into my coffee cup one night when Olivia and I were broken up. In the morning I took a photo of it and sent it to her, and it helped make things better somehow. In ancient Delphi, people would go to the Corycian Cave to pay homage to Pan and his nymphs and other deities by leaving small offerings (little keepsakes like tiny vases and jewelry). In Greek mythology, Corycia was a naiad, one of the nymphs of the springs of the Corycian Cave which was named after her. She lived on Mount Parnassus in Phocis and with Apollo, she became the mother of Lycoreus who gave his name to the city Lycoreia which resided above the sanctuary of Delphi. Corycia is also a genus of moth, so the coffee moth became Delphi’s offering when she went into the Corycian cave in the track “Cave Moth.” Later in “Some Dust” Delphi imagines herself as the moth.

Chain D.L.K.: I appreciate the choice of contemporary electronic music language to tell a story… are there any previous similar artifacts that inspired this idea?

Antwood: Maybe Kate Bush’s Hounds of Love is similar. It also has a similar 2-part structure, and musically it is an influence and was at the time I made Delphi. It’s also similar in that it tells a dramatic story told through snapshots of the protagonist’s emotional state. But I can’t think of any electronic music records that really do this. It’s not very easy to market.

Chain D.L.K.: Considering the order of the track as mirroring the part of a plot, why did Delphi appear on the third track? What can you say about the parts (Skype Ghost and Club Dread) that precedes the track where the name of Delphi appears for the time?

Antwood: Delphi’s voice appears on the first track which is kind of prologue that introduces the simplified theme. Then we are dropped right into Delphi’s life, into Club Dread, and it isn’t until the title track that Delphi is put into focus and described as a character. The theme at this point is Delphi in the real world, and the music has recognizable electronic music features. It feels a bit immature to me. As the story progresses the theme is adapted to where Delphi is at emotionally. In “Healing Labyrinth” the theme is more direct, and even more so in “Delphi’s Song” where the theme is stripped down to its basic components of tune and arpeggio without any extra style or ornament which was intended to render Delphi more vulnerable and honest.

Chain D.L.K.: Can you explain the meaning of that “Hostile Message” and the choice of a cheeseburger? 🙂

Antwood: That was a real thing Olivia wrote to me last year and the meaning is literal.

Chain D.L.K.: Many scary monstrous entities appear in the tracks of the first part (vaguely remind some creatures by Otto Von Schirach or Richard Devine)… I can imagine the connections with the fiction, but can you explain them in detail?

I’m not sure. I didn’t think of anything as monstrous entities but that’s an interesting observation.

Chain D.L.K.: “Healing Labyrinth” seems to mark the end of the above-mentioned stage, while “Portal” – one of my favorite track from the exquisitely technical viewpoint – and that female “goodbye” at the beginning before the awesome maelstrom and the following emotional sets of this track sound like the beginning of a new stage … any word about this stage of the record?

Antwood: Yeah you are right, I see the record as divided into 2 parts separated by “Portal.” In the portal, the character Delphi travels across the threshold to the city of ancient Delphi, on the back of Apollo in the form of a dolphin (hence the dolphin sound at the start of the track). It’s the beginning of her quest or escape or however, you want to think about it. Over the course of Portal, the Delphi theme is deconstructed and sheds its “real-world” sound palette and morphs into a more dense and mystical tone where it stays until “Delphi’s Song.”

In the second part, there are moments that also evoke Greek music as well as sets that detach from juke or bass-driven music to go closer to cinematic music… is there a study behind it that you want to share with our readers?

The second half of the album takes place in an imagined, semi-historical land of Delphi. I tried to make the music feel like the story and landscape I was imagining. This part of the record went through a few iterations. At first, I was really going for an ancient, mystical sound that faithfully referenced ancient Greek music modes and instrumentation. But that ended up coming across as gimmicky and wasn’t what I was going for. I have to be careful not to let the concept of a record dictate what I want to do musically, or it becomes creatively limiting. Plus, this was not only an imagined ancient Greek world, but a fanfic retelling of an allegorical cliché narrative, so I felt pretty free to do whatever I wanted to achieve the mood I was going for.

Chain D.L.K.: Delphi’s Song vaguely reminded the sonorities of the notorious themes for The Legend of Zelda… any similarities between Zelda and Delphi?

Antwood: I think there are musical similarities just because they are both other-worldly music with classical components and flutes and intended to propel a story forward. But Zelda is a damsel in distress narrative and Delphi is a hero’s journey, so they are different in that way.

Chain D.L.K.: Are you going to forge some new characters or new chapters for Delphi’s story in the future?

Antwood: I would like to make more if anybody is interested.

Chain D.L.K.: What’s the connection between this release and your whole musical path?

Antwood: After my first two albums, I wanted to work on something less dystopic. The two previous albums came from a place of apprehension and dread about the internet and the future. With Virtuous.scr I was trying to make the music as if it had come from artificial intelligence, and Sponsored Content took place in a glossy, absurd and vacant online world. I think of Virtuous.scr as forward-moving but ending up in a place that is uncanny and inconclusive, while Sponsored Content is static, like a structure with corridors and showrooms rooms full of novelty material for sale. Both were inhuman, and any moments of optimism or honesty were intentionally compromised by the topics they dealt with. Delphi isn’t totally straight forward or lacking any cynicism, but there are moments where it breaks free from that and it can get across feelings that are more hopeful.

Dec 262019
December 26, 2019 – Electro-Industrial Act DEAD AGENT
officially announces the release of their new EP, SGT_SLTR_MLN. 
For fans of: Front Line Assembly and The Prodigy

out "Order Disorder" via YouTube

This album was born of a
collaboration between visual artist sgt_slaughtermelon / Matt Wallace
and producer Funkatron / Ed Finkler.

The only vocals on
SGT_SLTR_MLN, from the track “Frentik,” are entirely generated by
computer. The lyrics are adapted from David Berkowitz’s infamous
“Son of Sam” letters.

All music by Funkatron / Ed Finkler.
All artwork by sgt_slaughtermelon / Matt Wallace

"On first
listening to Dead Agent’s new ep SGT_SLTR_MLN, you can hear how the
casual listener could easily slot his driving yet steely sound in with
such bands as God Mod, Grendel and Aesthetic Perfection. But there
are two things Dead Agent has going for him that set him apart from
the rest of the thumping dance-pack. the programming and the fact that
the music is all instrumental.

The sounds unnerving, the
samples unexpected. His sound is future-facing and achingly
contemporary, but he draws from a deeper, earlier well than either
peers or predecessors. His music’s a collision point between Gary
Numan at his darkest and Cassandra Complex at their chilly, driving
“Moscow Idaho” zenith.

SGT_SLTR_MLN goes further though.
From the moment “Order Disorder” creeps in with its haunted beats
hammering away at your temples, to the last elegiac sweep of the hooky
“New Patterns.” Dead Agent’s music enthralls with both teeth
and antennae, its patterns and songs smooth and sleek yet utterly
threatening, like when you’re in the arcade and Stepping Razor’s
hunting you, sirens suddenly closing in". – Jared Louche

For more

Dec 262019
New Single “Embrace This
Madness” from Upcoming Album “Afterglow”

Watch the
Video Here:

“Embrace This
Madness” is the first single from Marva Von Theo’s upcoming second
Album “Afterglow”. It is a ballad about the impermanent nature of
happiness, the awareness that our dreams may eventually come true but
are not meant to last for long.

Embodying dream pop,
synth-based sounds in a rather rusty, futuristic soundscape, Marva Von
Theo highlight their storytelling in an intimate, cinematic

In this sci-fi ballad, Dreams appear in the form of modern
nymphs who tempt the main character of the song to embrace her most
mystical, sinful fantasies and desires, to taste everything she has
ever wished for. Still, a melancholic, foreboding feeling that
everything will come to an end at the break of dawn hovers above this
dreamy ritual.

The director of the music video has envisioned
this surreal dream in a dark, dystopian scenery where time moves
sensually slow, wearing the lights of the

“Embrace this madness” is one of the two in
total ballads included in MVT’s Upcoming Album, as “Afterglow”
will be a more up-tempo, dance-inspired album overall. Still, Marva
Von Theo chose to release it as a single to continue their
storytelling from where it was left in their debut album “Dream
within a Dream” and bridge the gap between their two

The title “Afterglow” has several meanings and
extensions relating to MVT’s work and personal lives and was used in
its more melancholic hues to express these bittersweet feelings when
something significantly beautiful ends, that being a relationship, an
experience, a certain life stage etc. Marva Von Theo took their time
with this album in order to dive deeper into each and every sound they
contrived, to further expand their sonic palette, to redefine their
vision, and to find the balance between pop and experimental synth
music, between poetry and songwriting, between reality and

Music & Lyrics by Marva
Produced & Mixed by Theo Foinidis
Recorded &
Mastered at Artracks Studios
Video Directed by John Karabelas |
Higher! Higher!
Cover Artwork by Barbara Panagiotidis | Higher!

Download Press Release, Photos and Biography here:

you for listening!