DEAF FOREVER is a Berlin based Hard rock and Metal magazine published from 2014 by Götz Kühnemund, who was the chief editor of Rock Hard magazine for 24 years and Wolf-Rüdiger Mühlmann. The team at Deaf forever includes numerous musicians like Darkthrone drummer Fenriz, Primordial vocalist Alan Averill and Atlantean Kodex guitarist Manuel Trummer.
The name of the magazine comes from a song by the British band Motörhead. On the side of the magazine Kühnemund invokes Motörhead Lemmy Kilmister singer and bassist. “Even Lemmy said: Who is deaf, can not hear any bad music.”
“Olivia Hadjiioannou erfährt Ereignisse als Sounds, Sounds als physisch spürbare Emotionen, Synästhesie als Quelle der Komposition, Die in Athens und NYC beheimatete Autodidaktin spielte auch für Ihre zweite VO nach “Sleeping World” (2013), alle Instrumente selber ein, nahm auf und mischte. Aif den Einsatz ihrer Stimme, von den Kritikern des Debuts gefeiert, hat sie diesmal fast ganz verzichtet: “This album wanted to be as it is.” Die zehm im Kanon Progressiven Rocks von der Gitarre transformierten Geschichten in alternativen bis soundtrackartigen Arrangements drehan sich em eine alltägliche wie grundlegende Entscheidung: Auf-und- wider stand oder Aufgabe und Flucht? Wondervolle Melodien und der stetige Fluss durch komplexe Raume erregen mistreißende, Stimmungen und Gefühle; mal Hängematte, mal Nagelbrett, aber immer voller Hoffnung”
Translation in English:
“Olivia Hadjiioannou experiences events as sounds, sounds as physically perceptible emotions, synaesthesia as the source of her compositions. At home in Athens and NYC the autodidact plays all instruments by herself and is responsible for recording, mixing and mastering of her second album after “Sleeping World” (2013), also completely done by herself. This time she almost fully renounced the use of her voice, a voice that was unanimous acclaimed by the critics of her debut: “This album wanted to be as it is.” The ten stories in the canon of progressive rock, transformed by the guitar in alternative to soundtrack-like arrangements concerning the ordinary and vital decision: insurgence and resistance or surrender and abscondence? Wonderful melodies and the constant flow through complex spaces stimulate impassionate moods and emotions; sometimes hammock, sometimes bed of nails, but always full of hope.”
Peter “Brutus” Habermann, writer at DEAF FOREVER contacted me to write a review of Synemotion for the June edition of this German print-only metal and hard rock fan and collector magazine created by passionate and (unrestrained by labels and managers) writers. I had an interesting conversation with Brutus before the review, see also, An Uncommon Dialogue About Vocals in a Progressive Metal Rock Song.
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