Ελληνικά
Last Updated on 07:27 PM by Lilliana Tseka
First of all, welcome to Metal Invader.
Good evening Liliana, thank you for the interview.
I think a mini bio would be a nice start.
Dimlight was created in 2006 from the ashes of a project made by our late bassist Efthimis, Daffy (drums) and Petros (voice, guitars). The line up took its final shape with the additions of Vaggelis (keyboards), Marina (vocals) and Stelios (guitars). Although Dimlight was formed as a studio project, the progress of the recordings and the need we felt to share this progress with people urged us to become full band. After some significant line-up changes (Sanna vocals, Dareios Keyboards) our first record entitled “Obtenebration” was released by Emotion Art LTD in 2009. In 2012 we released our second Lp “Psychosynthesis” (self-release). After a lot of difficulties, line-up changes and setbacks in 2015 we came to an agreement with Five Starr Records for releasing our third album “The Lost Chapters”. Our current line-up is:
Eva: vocals
Petros: guitars, vocals
Nikos: guitars, bass
Dareios: orchestra
Dimitris: drums
Marios: lyrics
Give us some info about the creation of your album “The Lost Chapters”.
The album is something completely different, a completely fresh side of Dimlight compared to the previous albums.
The teaming of Eva, as well as the return of Dareios in orchestration, gave us an utterly different forward momentum. The production was made in Sound Flakes Studios and the engineer behind this solid outcome is John Mcris. The cover was designed by Pierre Alain Durand (3MMI DESIGN).
In “The Lost Chapters” we had the pleasure of working with the following musicians:
Narrator in the album was Jean Baptiste (Randomawalk).
Maya (Μeden Agan) did the operatic vocals in “Clash of Immortals” and “Fields of Carnage”.
Maria Melissanthi Routi (Kinetic ) did the operatic and ethnic vocals in “Fields of Carnage”.
Having a band in the years of the economic crisis, does it affect the making of an album?
Look, we as Dimlight are lucky enough to have our own studio and to do all the studio work on our own. It is really hard to carry on in the music industry nowadays without a big budget and that is sad. The “innocence” that ruled back in the days is now lost.
How much different was the composing of “The Lost Chapters” compared to 2012 “Psychosynthesis”?
The way we write songs is generally the same. When something is working you do not change it.
How much did the departure of frontwoman Sana Sallou and the arrival of Eva Fourlanou change the album’s sound?
I’d say drastically. We weren’t expecting such an intense change, though we were aiming for it, to be honest. We want every time to keep some basic elements and change our sound, daring more and more. Eva’s voice is very different and surely not common in the style of music we play, but we feel justified with our decision.
Do you have any new material? Is a new work part of your imminent plans?
It is rather soon for us to have something new. The album was released just three months ago. Still, we are for sure in a productive mood having summed up some material for our next album.
We have enjoyed the lyric video for “Torrents Of Blood”. Is the making of a new video clip a part of your thoughts for promoting the album and pleasing your fans?
Of course it is. Be patient…
Your sound radiates something very bleak. How is this feeling transmitted with the lyrics, what is the concept?
At this point I’d like to point out how quickly Marios, whose contribution in the final result was critical, did blend with the band and its mindset. The album is a concept and, to answer a question that might come next, the lyrics were placed when we were almost at the pro-production of the record. That’s also relevant with what I foretold about Marios. The core of the story was developed by the most ancient versions of the myth, which refer to the birth of the goddess Hathor, as they are written in the so called “Pyramid Scrolls” as well as similar chronicles about Orion, as an “Astral Being”. Based on this historic background we added some fictional elements, enriching them with details from the Egyptian history and mythology, in order to develop a new, ever darker, as you have said yourself, aspect of one of the lesser known myths from the Egyptian theology, originated in the Old Kingdom of Egypt.
Symphonic Death Metal is one of the genres where female vocals really thrive. Why is it that in other metal subgenres they are not equally well-received?
I’ll agree with you, only noting that “thrive” is quite relevant, as “Female Fronted” is rather misapprehended. It is even labeled, pointing out the gender of the lead singer. I don’t know about other bands, but for us the female vocals, besides the artistic “beauty and the beast”, it is clearly a musical choice. I will not over-analyze this, as it would require a lot of pages. I’ll make this simple point. In music every instrument plays its part, and so does the voice. The male and the female voice ran different ranges of music and we need them both.
You are a very active band when it comes to live appearances. Tell us about your participation in Maximum Rock Festival and your plans for future live shows.
We are very happy to return to Romania after 2009 and all the wonderful memories that we have from there.
It is very important that our first appearance after the new album will be with such great names. We can’t wait.
In October we have booked a tour in England to promote “The Lost Chapters”. We will be playing in the following cities: London, Birmingham, Edinburg, Newcastle, Manchester. After that we’ll be doing a Greek tour, but I can’t tell you any details yet.
At this point I must thank you for this interview. What message would you like to send to our readers and to your fans?
We would like to thank you one more time for this interview. We would also like to thank all the fans for supporting us all these years.
“Those who truly shine can be seen only in Dimlight”
