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For some musicians, there exists a separation between the inside world and the outside world, the public reality and the private fantasy.  With lyrics that recall incantations, dream-walking and wrestling with desires, the sound of Feathers lays at the intersection of isolation and pure emotion.


Before any notion of performing with a touring band, singer-songwriter Anastasia Dimou would lay on her back for hours staring at the ceiling and listening to music on her headphones.  This internal world of soundscapes is where Dimou felt most at home.  Becoming a performer seemed far-fetched at the time for an attention averting teen, but with music serving as her thought-haven, making music would be an inevitable next step.


Dimou began writing songs for Feathers, her nom de plume, while still with a previous band in New York in 2011— a collection that didn’t quite fit the band’s gothier sensibilities. “I have always had a hard time reconciling the two worlds of music I love. The obscure and moody, with the big, poppier songs I really want to sing along to.  Growing up I was in love with NIN, PJ Harvey, and also lots of hip hop, Motown, dance and pop, George Michael and plenty of guilty pleasures. I’ll always love a good chorus. This record is not an amalgamation of all of that, but I do think any of my songs could be swing dark or pop, depending on context.”


Feathers- Biography


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The press has echoed this sentiment.  One reviewer from the Austin Chronicle described her SXSW showcase performance as “a David Lynch movie, concert.” Another reviewer muses “If you go to a Feathers show expecting just to dance to heavy electro-pop, Anastasia Dimou's surprisingly haunting vocals will make you stop and listen. But if you go expecting to [hear sweet harmonies], you'll wonder if you accidentally took drugs and wandered into a rave.” Comparisons have run the gamut from Trust and Nitzer Ebb to New Order and Human League, to Madonna and “La Roux covering Shakira.” (NME)
 
Moving to Austin from New York in 2011 represented a fresh start for Dimou. In her new surroundings and with a new and unfettered self-possession, Feathers began to come together.

In just one year, things moved quickly.  After assembling a rotating cast of musicians that would become the touring band, shows with Washed Out, The Duke Spirit, and Robyn quickly followed, along with performances at All Tomorrow's Parties (Minehead, UK), Austin Psych Fest, SXSW, London’s Field Day, Dot to Dot, The Great Escape, and Fun Fun Fun Fest.  Soon after, tours with Little Boots, Blouse, and Nylon magazine took place. Most recently, “Dark Matter” was included on Grand Theft Auto 5, on the Twin Shadow DJed station, Radio Mirror Park. This fall, Feathers was handpicked to support Depeche Mode on part of their European arena tour in January 2014.

Described by Clash Magazine as having "epic atmosphere, thriving on huge moments, lavish textures and massive choruses” If All Now Here, Feathers’ debut full-length record, was released in May 2013 to widespread positive reviews.  “This is music designed to overpower and enthrall.”(thisisfakediy.co.uk)

Opening track, “Land of the Innocent”, is propelled by an instrumental backbone that is equal parts Kate Bush and Fad Gadget.  “Fire in the Night” finds Dimou’s resonant vocals over a Kompakt-esque schaffel beat, “I'd like to think that here, we'll find our piece of Heaven/I'd like to think that/ like the lonely owl/I'm searching.”  “Believe” is a glam stomper with enough swagger to fill an arena.  The feeling that love conquers all, wrapped in a provocative strut, fueled by blips and distorted synths. “There’s nothing I want/Nothing I fear/In all the things I can’t see/You make me believe/I want to believe.”

Mixed by Steve DePalo (Voxtrot, Cold Cave), the album has the pop sensibility to sit next to your Florence and the Machine album, but is also tinged with the grit of Depeche Mode.  

Feathers’ bolder live persona brings  together story and atmosphere. “Dimou always seemed to be attempting to conjure a mood, waving the audience to her and then pushing them away as if the stage was something she was floating on… It was impressive, and not just because the songs had hooks, but because they managed to create a sense of mystery." (Los Angeles Times)

Other reviews:

“Charming all who stumbled across them, their industrial-tinged synth sound might go directly against music’s current psychedelic love-in but that just makes them all the more crisp and refreshing.”
- NME

“[Land of the Innocent-] dystopian future-world aesthetic with a pop sensibility and rhythms tough enough to pass muster in the realm of the industrial."
- The Guardian

“Pulsing synths and siren-song harmonies”
- BrooklynVegan.com 

“Falling somewhere between sunset in a Michael Mann film (or maybe Talking Heads’ “Remain in Light”) and a car speeding through the desert in the middle of the night.”
- Austin American Statesman

"Feathers channeled the "Personal Jesus" electro-blues stomp of Depeche Mode…"
- Chicago Tribune

“ ‘Dark Matter’ hovers quietly at first, but soon reveals itself to be an understatedly brilliant song, showcasing Dimou’s voice like a silk thread being pulled through acid-washed denim. Feathers has a great debut in If All Now Here.”
- BUST Magazine

“Feathers' goth-hued electro thrives in the era of New Order… brought to life by a cast of heavy hitters, including a mix by Steven DePalo, who's worked with fellow dark wave synths Cold Cave.” 
- Austin Chronicle 

“If All Now Here” is a shimmering tribute to night-staking heroes like the Cure”
– Entertainment Weekly

“ ‘Land Of The Innocent’ is TOTAL heaven.”   
- -   InStyle Magazine