Feat. Brendan Perry (DEAD CAN DANCE) on 2 tracks! In two panel CD wallet including lyric booklet. On Tour and on the Soundtrack to the new Film ‘Le Divan de Staline’ with Gerard Depardieu and Emanuelle Seigner (in Cinemas from January 17 2017)!
"...shrouded in mysterious melancholy, an album full of narcotic beauty that threads together climax after climax." De Subjectivisten (11/2016)
Aret Madilian and Beatrice Valalntin both self-taught musicians, come from different backgrounds. The Istanbul born Aret, an American of Greek-Armenian roots who grew up in Los Angeles and the poetic French influences of Beatrice, play a strong role in Deleyaman's alchemy.
Their seventh album paints a sonic picture of a brief day spent in an old dwelling visiting memories and dreams. The 57 minute album contains 11 tracks, three of which are sung in French inspired by the poetry of Paul Verlaine, Pierre de Marbeuf and Paul Eluard. All other lyrics by Aret Madilian. The Lover, The Stars & The Citadel includes a prestigious guest and friend Brendan Perry (Dead Can Dance), making an appearance on two of the album's tracks (Greek bouzouki on ‘Escape’ and percussion programming on ‘Autumn Sun’). All songs were recorded in Deleyaman’s studio located in a rural coastal village of Normandy, France. The influences of band-leader Aret Madilian lay between melodic post-punk, Darkwave, Leonard Cohen and Nick Cave.
Normandy-based band Deleyaman is perhaps the best contender to fill the hole left by Dead Can Dance's dissolution. Deleyaman not only shares that legendary duo's ability to combine traditional instruments like the saz (a type of Turkish lute) and the duduk (Armenian woodwind instrument), but also a musical eclecticism. Deleyaman's music is difficult to define with words. It has been described as ethereal, darkwave, gothic, world or folk while their work has been compared to a few artists or bands that have come before. DELEYAMAN in their own words: ‘We obviously understand the inevitable need for classifications and comparisons but we believe this to be a rather subjective process and if possible, we prefer not to categorize our music into a single genre.’