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Gli Evergaze Eternity iniziano la loro storia nell'ottobre del 2007, quando Giovanni, Michele e Irene decidono di dar vita ad una band che fosse sintesi delle loro molteplici influenze musicali, aventi tutte come comune denominatore una distaccata vena intimistica, onirica e malinconica. La prima formazione stabile si ottiene con l’ingresso di Stefano alle chitarre e Andrea alla batteria ed è con questa line up che gli Evergaze Eternity registrano, presso i Syncropain Product di Marco Ribecai a Pisa, il loro primo Ep “Incompatible Existences” e la cover di Red Stars dei The Birthday Massacre, in due sessioni distinte iniziate rispettivamente il 6 giugno e il 14 dicembre 2008. Durante le registrazioni della seconda sessione, Stefano lascia la band e la registrazione delle chitarre viene terminata dallo stesso Marco Ribecai. A sostituire Stefano alla chitarra arriva Nicola e la band inizia l'attività live. Nel frattempo Incompatible Existences riceve recensioni positive ovunque, arrivando ad essere Top Demo sulla rivista Metal Maniac. Infatti, nelle quattro canzoni che compongono l’Ep, la band interpreta, nel segno dei The Gathering, un gothic rock con arrangiamenti eleganti, ricco di riferimenti musicali che vanno dal gothic/doom metal al dark/pop, all’elettronica, al rock alternativo, alla psichedelia. Su tutto l’incredibile voce ed il fascino di Irene, dal timbro lirico ed etereo, vicino a quello di Anneke. Nel luglio 2009 ad affiancare Irene entra nella band Valeria che, con la sua splendida voce dal timbro più orientato al rock/pop, le risulta naturalmente complementare, permettendo così alla band di sperimentare nuove strade e di esprimere al meglio le diverse sfumature della propria musica. Con questa nuova formazione la band è attualmente impegnata nella composizione del primo album ufficiale la cui uscita è prevista per il 2010.

Valeria: vocals
Giovanni: Synthesizers/FX/Programming



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Jay-Z dedicates Numb/Encore to Chester Bennington during emotional Live Lounge performance

Friday, 22 September 2017 17:20

  Jay-Z delivered an emotional rendition of Numb/Encore and dedicated it to Chester Bennington as he performed in BBC Radio 1’s Live Lounge.  The rapper, who collaborated with the late Linkin Park frontman on the track, dedicated the performance of it to Bennington after speaking of his hope that the singer’s death will spark a wider discussion about male mental health. “I really think that hopefully his death serves as a wake up call that mental health is a real thing. You never know that people are going through. You think that because they’re performers and he’s sold millions of records… that doesn’t equate to happiness. Money or fame, that doesn’t mean anything if you’re not happy inside”, the rap icon told host Clara Amfo. You can watch the performance below. “A lot of people, we don’t deal with what’s happening to us, we just keep going. Especially for a performer like that, you just start numbing yourself. You become numb. He’s singing it, he’s telling you become numb”, he added.  “You get bigger audiences, you move further away from yourself and it’s tragic. I knew him well, a really nice person with like five kids and it’s just really tragic. Hopefully his death wakes a lot of people up and a lot of people start taking care of themselves. Men, we have this bravado, we have to armor up. Nah man, you have to take care of yourself – physically and spiritually.”  During the Live Lounge performance, he also gave a rendition of ‘Family Feud’ taken from recent album ‘4:44’, which was backed by a choir. Meanwhile, NFL bosses recently responded to reports that the rapper turned down the chance to perform at the Superbowl halftime show next year, and claimed that no decisions had been made yet.  The post Jay-Z dedicates Numb/Encore to Chester Bennington during emotional Live Lounge performance appeared first on NME.

Rising artists from Liverpool that you can’t afford to ignore

Friday, 22 September 2017 17:17

It goes without saying, that Liverpool’s impact on British music scene, particularly indie, has been admired within the UK and all around the world. It’s no surprise, then, that the current crop of Liverpudlian bands are carrying that spirit into a new age. Here’s the cream of the crop from the magnificent city. The Night Cafe Who: Indie pop four-piece. Sounds like: Soaring, Sundara Karma-esque indie perfect for festival season. For fans of: Circa Waves, The Sherlocks Best track: ‘Felicity’ Paris Youth Foundations Who: One of the stand-out bands from this year’s Reading & Leeds. Sounds like: Like all your favourite indie bands rolled into one. Think The Strokes meet Wolf Alice, and you’re halfway there. For fans of: Spring King, The 1975 Best track: ‘Losing Your Love’ Her’s Who: Duo who dabble in psychedelic-indie Sounds like: Like The Drums covering Mac DeMarco. Surf-rock given a psychedelic makeover – bloody brilliant. For fans of: Real Estate, Unknown Mortal Orchestra Best track: ‘What Once Was’     Aystar Who: Rising rapper from the streets of Toxteth. Sounds like: Murky rap that thrives on spacial beats, and Aystar’s distinctly unique flow. Grizzly stuff. For fans of: Giggs, Ghetts Best track: ‘I Got This’ She Drew The Gun Who: Winners of Glastonbury’s Emerging Talent Competition in 2016 and a bloody great band. Sounds like: Some parts folky, and then others straight up rock – they’re a unique and intoxicating concoction. For fans of: The Coral, The Big Moon Best track: ‘Since You Were Not Mine’   The Vryll Society Who: Groovy psych-rock five-piece. Sounds like: Early Tame Impala vibes on their latest material, but they know their way around a meaty pop chorus. For fans of: Blossoms, King Gizzard and The Lizard Wizard Best track: ‘A Perfect Rhythm’  The post Rising artists from Liverpool that you can’t afford to ignore appeared first on NME.

Fergie: 'I really opened my heart' on 'emotional' new album, Double Dutchess

Friday, 22 September 2017 17:06

More than a decade after her solo debut, The Dutchess — which spawned five Top 5 singles on the Billboard Hot 100 after its 2006 release — the newly single Fergie, 42, returns with her soul-baring second album. Below, EW catches up with the star to discuss motherhood’s effect on her music, working with Nicki Minaj, and why she’ll never record only one genre of music. You married actor Josh Duhamel (Transformers, Safe Haven) in 2009, and then in 2013 you welcomed your son, Axl. Is that why this record took so long?Yes! They can keep banging on my door [to release an album], but I’m like, “I’m with Axl. I’m off the grid! Bye!” [Ed. note: After this interview took place, Fergie announced that she and Duhamel had separated earlier this year. “We are and will always be united in our support of each other and our family,” she said in a joint statement.] How else did becoming a mother change your relationship with music?Becoming a mom and getting pregnant reset me. I just got on my game. I’ve never taken on this much responsibility — I’m executive- producing [the album] — and I kept wanting to make it better and better. I wanted to strive for greatness. You tackle a wide spectrum of genres on this LP, from the hip-hop sounds of “Hungry” to the tropical vibes of “Love Is Blind.” The Dutchess was all over the place too. That album had all kinds of different styles, but the common thread was that they’re all organic to me. I can’t put out an album of just one style of music — of just what’s “on trend.” I would feel like a fraud. You also teamed up with Nicki Minaj on the funky “You Already Know.” What was that like?We’re both highly detail-oriented. I like when people are like that, because I can understand that. I can’t see something that’s unfinished and be okay putting it out. I don’t want to put out “okay” stuff. She and I just get along. I know she’s had beef with other people, but for me, she’s great! What were your lyrical goals for the album?There was a lot of emotional stuff that I needed to clean out from inside me. I really opened my heart on this album. I’m not holding anything back. It’s funny, because I would go to these different producers and I’d have this stack of composition notebooks. They’d be like, “What are you doing?” Everybody else texts, and I’m like, “Nope, I’m old-school, these are my life experiences here!” It feels like you really went through something to get songs like “Love Is Pain.”For sure! That song is not just about one person. It’s about several relationships in my life. It was nice to be able to focus on a feeling and really take it there. I went [for] big drama. That’s a big ’80s rock-anthem ballad. Like, get out the lighters! Being in a high-profile relationship, though, means that everyone is going to make assumptions about the lyrics.Of course, but some of these relationships [that inspired the songs] are not romantic at all! In July, the album leaked onto the internet. How did that feel? You know how they say, “God only gives you as much as you can handle?” Yes.Well, sometimes I wish he wouldn’t trust me so much! [Laughs] That was like a punch in the gut. It was the same thing when I joined the Black Eyed Peas. I was so excited, and then everyone had their comments about how this girl is terrible. That just happens to be the way everything has happened for me in my life. I’m used to going to battle. For more on Fergie’s new music, stay tuned to EW and pick up the new issue of Entertainment Weekly, on stands Friday.

How Kingsman: The Golden Circle brought Colin Firth back to life

Friday, 22 September 2017 17:01

The question of whether Harry Hart a.k.a. “Galahad” aka “the main reason Kingsman: The Secret Service ruled in the first place” didn’t last long. Almost as soon as director Matthew Vaughn has confirmed a sequel to 2014’s insane spy movie riff, there was talk about how Firth could returns despite his character’s mid-movie demise. Last year, a poster not-so-subtly suggested that Harry would be back and that maybe he didn’t die outside the church in Kentucky at the hands of Samuel L. Jackson’s Richmond Valentine afterall. “Reports of my death have been greatly, exaggerated,” the poster reads, quoting Mark Twain. So with Kingsman: The Golden Circle in theaters now, how does Harry make his death-defying return? Don’t continue reading unless you want the beginning of the new film spoiled. All good? That wasn’t a false alarm in The Secret Service. Valentine actually did shoot Harry in the head. What we didn’t see, however, is the Statesmen — Kingsmen’s American counterparts — swooping in to save the day. Alerted by the killer frequency from Valentine’s phones, the Statesmen dispatch members to the church, which isn’t far from their Kentucky-based distillery HQ. It’s there that they find Harry with a gunshot wound to the head. Thanks to some techno mumbo-jumbo about a healing gel headwrap with nano-bots, the Statesmen are able to freeze the damage to Harry’s brain before the bullet can kill him. There is a minor side effect, however — temporary amnesia. But, you know, not too bad considering.

Gaga: Five Foot Two is a strangely unironic documentary about the trauma of fame: EW review

Friday, 22 September 2017 16:56

 It follows its subject through career high-lows, personal trials, Malibu banalities. She’s working on her latest album, Joanne, and preparing to play the Super Bowl. A relationship ends, distantly. It’s part of that odd and trendy new documentary genre: The Celebrity Trauma Hagiography, a sponsored celebration of a star’s splendid sadness. This isn’t a portrait of a famous person suffering trauma, mind you; the goal of a film like this is to portray the trauma of fame, forever up in the air, surrounded and alone. So there are moments in Five Foot Two that you recognize: The lonely grand hotel rooms, the mournful confessionals delivered in the backseat of a car or a plane, tears in the makeup room, a strenuous focus on how strenuous the subject is working, handheld camerawork that suggests the truth behind the advertising. Musicians release movies like this as brand extensions – Katy Perry had Part of Me, Metallica had Some Kind of Monster – but you could also point to a fashion doc like The September Issue, or the Icarus mythmaking of Conan O’Brien Can’t Stop (Harmontown if you’re cultier). If you had to pick the Ur-Moment for the Celebrity Trauma Hagiography, it the Tokyo scene from Paris, Not France, the forgotten portrait of forgotten Paris Hilton. The socialite’s being driven through the city; she’s on the phone, giving an interview or speaking to a loved one. “Where I travel, I’m always working,” she says. “Basically, it’s all work.” Paris, Not France is awful, as is much of what Paris Hilton brought to culture, but it’s important to recall how completely she helped form the idea of celebrity in the last decade and a half. That’s the fame Gaga sings about all across The Fame, her blithe and wonderful first LP, the paparazzi, the beautiful and dirty and rich. That Gaga appears in Five Foot Two only in flashback, as a reference point for what not to do. “Everyone thinks I’m gonna come out there on a throne, and a meat dress, and ninety shirtless men, and unicorns,” Gaga says, sounding a bit disparaging as she plans her Super Bowl performance. There’s a brilliantly crosscut sequence later, with Jean-Phase Gaga walking through a crowd of fans. As she walks and signs and selfies, we see cuts of Early Gaga, the wigs, the hats, the sunglasses, hair of every color, teeth crazy for the hell of it, Wiccan contact lenses, a general aesthetic that suggests an alien empress dressing for an Ascot Race in a Clive Barker hellscape. You think of, like, the Taylor Swifts at the end of “Look What You Made Me Do,” these nominally different “personalities” that symbolize trending topics from forty zeitgeists ago. Whereas you could pick any random Gaga style-persona from the turn of the decade – say, like, Sydney, 2010, Diet Coke curlers – and it still feels vibrant, weird, audacious, never in style and so never out. I guess I should admit here my curious, profound, frustrated Gaga fandom. There’s no pop star in my adult life I’ve loved more than who Gaga was back then. Meta and dramatic, sincerely sarcastic, she had an Andy Kaufman-esque instinct for media stuntcraft but also an old-fashioned willingness to put on a show! She could sing and still can, that’s indisputable. And director Chris Moukarbel captures her indelible performance of “Poker Face” at Tony Bennett’s 90th birthday. It’s mostly just Gaga on piano, decelerating the dance-pop groove to a hypnotic, John-Woo-Slow-Mo croon. There’s a noirish glamour to that sequence. Conversely, there are moments of raw and casual power. Early in Five Foot Two, we find Gaga at her house, feeding her dogs. She’s comfortably dressed, gray tank top, just-woke-up hair; she casually mentions a fight with her then-fiancé. The singer initially seems loose, having a ball working with producer Mark Ronson; she talks about Madonna, about being a woman in the music industry, about Marilyn Monroe, about Anna Nicole Smith. “We can use none of that footage,” she tells the camera. She’s a credited producer, so she must have changed her mind, or maybe she recognized something authentic in that moment, freewheeling, digressive. Her engagement breaks up, and there’s the hint of some genuine sadness on the margins. “I go from everyone touching me all day, and talking at me all day, to total silence,” she says at one point. “I’m alone, every night.” And there’s pain. Throughout the documentary, Gaga struggles with the after-effects of a hip injury, which causes full-body-pain so debilitating that it occasionally renders her unable to move. It could seem, a few years back, that the singer had gone messianic, had started believing what used to seem like playful self-hype. (It’s tough to be funny when you title an album Artpop, even tougher when you tattoo the title on your arm.) But she’s got a sense of humor, the trench wit you get from constant pain. There’s a moment when the whole right side of her body is spasming, and she lays on a couch, crying. The pain’s one thing, but also, while we’re going dark, what would it be like to carry a child, a hip this busted, a body so inflamed? “Let’s put Trump on,” she ruminates, turning toward the TV. “That’ll knock me out.” Example: You see Gaga on the set of American Horror Story: Roanoke, having some kind of argument about the dialect she’s chosen for her ghost-witch-forest-lady. There’s something interesting here: Is Gaga upset about the directions she’s receiving? Does she get bored after a couple takes? But you also get the sense the scene was largely kept in because of the brief shot of Cuba Gooding, Jr. The doc’s fascinated by fame – before the Bennett birthday party, there’s a lingering shot of the place cards, a close-up on the name “MARTIN SCORSESE.” There’s a moment at the Super Bowl when former First Lady Barbara Bush passes Donatella Versace, why not. In fairness, the old Gaga herself would’ve loved a moment like that. This doc captures her trying to change, become less a figure of artifice and conceptual style: “This is me with nothing,” to quote Gaga herself. The result of that transformation was Joanne, an album unquestionably more personal than her earlier work. Your mileage may vary. (I like “Million Reasons.” I miss the million wigs.) Five Foot Two wants to honor Stefani Germanotta, but it’s drawn to her great self-creation, a character she can’t shed. By the end, it’s trafficking in the kind of brand-building propaganda an earlier Gaga satirized. “There really isn’t anything bigger than this,” she says of the halftime show, and “It doesn’t get bigger than this.” So forget verité, embrace the huge. The film’s best moment is its first, an upward-facing shot of Gaga rising on wires to the top NRG stadium. She’s ascending, like Jesus always does in his movies, but he usually waits till the end. B

Nathan Fillion celebrates Firefly turning 15: 'My heart still lives there'

Thursday, 21 September 2017 17:28

Wednesday marked the 15th anniversary of Joss Whedon’s short-lived but beloved sci-fi series premiering on Fox, and Fillion, who starred as the spaceship Serenity’s owner and captain, Malcolm “Mal” Reynolds, celebrated the milestone with a message about how much Firefly means to him. Alongside a picture of himself on set with Whedon, Fillion wrote, “Has it really been 15 years since a little sci fi show that couldn’t, did? I would be hard pressed to list all the ways in which Firefly has changed, blessed, pushed, lifted, and humbled me. I made my closest friends there, and even lost one along the way. I’ve often said that Firefly is close to my heart, but I think more accurately, my heart still lives there. But, there’s no place I’d rather be- you know how it goes. For those of you in the fold, a knowing nod between us. For those that are not- we’ll see you soon enough. #Browncoats.” Has it really been 15 years since a little sci fi show that couldn’t, did? I would be hard pressed to list all the ways in which Firefly has changed, blessed, pushed, lifted, and humbled me. I made my closest friends there, and even lost one along the way. I’ve often said that Firefly is close to my heart, but I think more accurately, my heart still lives there. But, there’s no place I’d rather be- you know how it goes. For those of you in the fold, a knowing nod between us. For those that are not- we’ll see you soon enough. #Browncoats A post shared by Nathan Fillion (@natefillion) on Sep 20, 2017 at 3:32pm PDT Debuting in 2002, Firefly was canceled after 11 of the 14 produced episodes aired. Strong fan support helped continue the story on the big screen with the 2005 release of Serenity.

Astrid S’ video for ‘Think Before I Talk’ is a vibrant, one-take wonder

Thursday, 21 September 2017 17:21

Astrid S is the latest line in outstanding pop newcomers to emerge out of Scandinavia in the last few years, and her latest single – the shimmering ‘Think Before I Talk’ just went to number one in Norway. She’s just released the video for the track, which you can see below, so we got the lowdown on her chart-topping track and teaming up with Katy Perry. When you first recorded Think Before I Talk – did it feel like a hit? “I never think any song really feels like a “hit” – a song either feels good or bad, in my opinion. With that said, I felt really good recording ‘Think Before I Talk’, it was just a guitar demo, but still felt very bold.”  What’s the thinking behind the video? “We didn’t have a lot of time when it came to planning the video, so I went with a team I’ve worked with before, and we decided that we wanted to do a one-take video, walking from room to room with different lighting and looks. It’s supposed to show different moods. For me the song can be about friendship, family or a relationship.” The song went to number one in your native Norway – does that put pressure on you?  “Not really. The music industry has become so unpredictable. And I think people know that if someone has a Number One song, it doesn’t necessarily mean that you’ll have several ones after. I just want to make good music, and as long as I’m happy with it, the charting isn’t that important to me. Although, the best feeling is having a song you’re very happy with and also having it at Number One! It’s cool when people like what I do.”  You provided some backing vocals on Katy Perry’s album. Did you guys hang out much? “No, I just quickly said hi to her once and pet her dogs. They were so cute!” Would you be up for collaborating on your own songs? “Yes! I would love to do some collaborations for my album – the more the merrier! It’s fun to experiment and get to tap into different genres and sounds through collaborations.”  The post Astrid S’ video for ‘Think Before I Talk’ is a vibrant, one-take wonder appeared first on NME.

Watch Adam Sandler and Ben Stiller do some serious acting in trailer for new Netflix film ‘The Meyerowitz Stories’

Thursday, 21 September 2017 17:18

  A new trailer for The Meyerowitz Stories (New and Selected) has been released, starring Adam Sandler, Ben Stiller and Dustin Hoffman – watch the clip below. The film, which is set to premiere on Netflix on October 13, has been directed by De Palma director Noah Baumbach. It was selected to compete for the Palme d’Or at this year’s Cannes Film Festival but lost out to The Square. Check out our collection of fantastic film merch in the NME Store With The Meyerowitz Stories now just a month away from wide release – it’ll also be screened in select theatres in the US – a new trailer for the film has been released. Hoffman stars as Harold Meyerowitz, an acclaimed modern artist who’s honored by the MOMA in New York City with a retrospective. This celebration of his work brings Meyerowitz’s family back together – including Matthew (Ben Stiller), Jean (Elizabeth Marvel), and Danny (Adam Sandler). Sandler’s performance as Danny has already been lauded by critics. Watch the new trailer for The Meyerowitz Stories (New and Selected) below. Back in April, it was revealed that Netflix users had spent “half a billion hours” watching Adam Sandler films. “We continue to be excited by our Sandler relationship and our members continue to be thrilled with his films,” Netflix said in a statement. The post Watch Adam Sandler and Ben Stiller do some serious acting in the trailer for new Netflix film ‘The Meyerowitz Stories’ appeared first on NME.

Foo Fighters and Queens of the Stone Age announce South American tour

Thursday, 21 September 2017 17:15

  Foo Fighters and Queens of the Stone Age have announced a new set of joint stadium gigs in South America. The two bands have been closely affiliated for many years, with Foos frontman Dave Grohl even enjoying a brief stint in Queens of the Stone Age as their drummer from 2001-02.  With Foo Fighters set to embark on a world tour in support of their ninth studio album ‘Concrete and Gold’, the band have now announced that Queens of the Stone Age will join them for a string of huge gigs in Brazil and Argentina – kicking off at the famous Maracanã Stadium in Rio de Janerio on February 25. A pre-registration for tickets to these shows is open now. You can see Foo Fighters and Queens of the Stone Age’s joint South American tour dates below. February25 – Maracanã Stadium, Rio de Janerio, BR27 – Allianz Parque, São Paulo, BR March 2 – Pedreira Paulo Leminski Quarry, Curitiba, BR 4 – Beira-Rio Stadium, Porto Alegre, BR 7 – Velez, Buenos Aires, AR Foos’ recent show at The O2 in London included a on-stage collaboration with Rick Astley – with the two artists performing a cover of the latter’s hit ‘Never Gonna Give You Up’.  However, the show was somewhat marred by confusion over ticketing – with hundreds of fans reportedly turned away at the door of The O2 for failing to present an ID which matched the name of their booking. The venue, Foo Fighters and promoters SJM Concerts have since released statements addressing the matter. The post Foo Fighters and Queens of the Stone Age announce South American tour appeared first on NME.

Dave Chappelle returns to Def Comedy Jam in trailer for Netflix anniversary special

Thursday, 21 September 2017 17:10

Many of today’s biggest comedians got their start on Russell Simmons’ Def Comedy Jam, a series that showcased stand-up sets by black comics — and now, those comedians are returning to the franchise for a Netflix special celebrating its 25-year anniversary. “Some of you millennials may be asking, ‘What the hell is Def Comedy Jam?'” Cedric the Entertainer says at one point in the just-released trailer, which also features throwback clips of Chris Rock, Dave Chappelle, Martin Lawrence, and more. “That’s why we hate you lil’ motherf—ers!” The stacked lineup includes Tracy Morgan, Adele Givens, Sheryl Underwood, D.L. Hughley, Deon Cole, Craig Robinson, Steve Harvey, and many more big names — including Chappelle, who released his first, highly anticipated specials since 2004’s For What It’s Worth earlier this year. According to a previously released press release, Def Comedy Jam 25 will celebrate “the impact and legacy of the long-running comedy series with surprise guests, tributes, and performances in a can’t-miss evening of unbelievably funny and raw moments.”




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