Hi Konstantinos, we are happy to have you with us on AltroVerso.
Hi, the pleasure is all mine.
What one should have to expect who hasn’t heard the third chapter of Vibrant Forms? Compared to the previous releases did you decide to focus on continuity or renewal?
Vibrant Forms III is a continuation from the other two albums. Even after the completion of Vibrant Forms II, I felt that there was some more “digging” to be made. I left it aside to move on to other conceptual albums, and when the time was right, I started working on some new ideas, motifs, that lead to Vibrant Forms III. The way of working and the compositional method is in direct link with the previous two albums. It was always about the process, and how momentary decisions can give birth to new ideas. Those albums as a whole share the same philosophy in writing and production.
Electronica, ambient and dub arrangements are fundamental parts of your sound. How is your relationship with technology? And how do you approach it at the time of composing the tracks?
When I started writing and recording music, I was around 20. I have this tendency to believe that we lay the foundations of our influences at the beginning of our explorations, and then we evolve from that. We educate ourselves and we become better.
My foundations were quite diverse in terms of influences. I really liked film scores, early Howard Shore soundtracks, Ennio Morricone.
Phillip Glass’s experimentations on rotating motifs of “Music With Changing Parts”, which had a deep impact on my ability to be able to focus on minor changes, which additionally, in a duration of a composition lead to major changes. In other words the smooth transitions.
Brian Eno’s music had an influence on me as well. “Apollo” is a great listening experience.
At the same time I really like electronic music and the sustainability of rhythmical and other patterns such as low frequencies for long durations. I also had, since the beginning, an urge to create my own sounds.
So, I guess that, subconsciously, I brought all this different elements into the project, and the whole process felt like where I belong. Like having my own space to function. I never felt that this space I’ve created, is closing in on me, I feel that there are endless avenues to explore.
My relationship with technology is based on the requirements of the projects I am working on, any given time. I am never ahead of those requirements, in studio equipment or software, or feel the need to rush to the latest gear, to feel updated.
For Vibrant Forms III, I used the same set-up and processing techniques I was using on the VF & VF II albums.
My approach on this album is more about motifs, processing, and accidents that shape the songs, or rather define it. So for VF III as well as for the prior two VF albums my approach was laying the foundation and doing the whole mix live in one take.
On other projects I may have to be more meticulous and re-visit the arrangements again and again, to get to the desirable outcome before I do the mix down.
So I guess it varies and it’s up to the material itself, and/or the concept of an album.
Have you enriched your instrumentation in your last records?
I may have coupled patterns of different sound sources more, to enrich the frequency activity. I’ve also worked a lot with the space the music exists as well as sound design.
In terms of composition, I am always trying to find ways so that a melodic, or a repetitive play of meeting frequencies, exists in my music. Not in a very revealing way, but as an underscore.
Do you prefer the recording studio or playing live? And how is your relationship with the stage compared to when you started?
Recording is my day work, which feeds my creativity.
Playing live feeds the need I have to communicate with the audience, and share an experience with them. This has a strong impact, which can lead you back into the studio.
So I can’t really select. I like the balance of both.
I think when I first started playing way back, It was a transitional period of opening up to people in real time, and realizing the possibilities in this relation between artist-audience. Now it’s all about the storyline, feeling of the space, getting from people reactions and trying to return this back the best way you can.
You come from Athens like many other artists of the international electronic scene. Can you tell us about your childhood and what do you remember of your first musical experiences? How many of your tracks took inspiration by your Country?
I think the scene in Athens is relatively small, but it’s getting bigger and stronger every year. There is a certain artistic freedom of expression, hubs, multicultural venues, and some art institutions, that play a key role, bringing people together and exposing them to new ideas.
I had a really happy childhood upbringing, with strong family ties. My family always encouraged us (my sister and me) to select and find our paths. They never tried to push us towards a certain direction. They had given us options to try out new things. I am really grateful for that.
So at the age of 15 they bought us a piano, and I did piano lessons for 3 years, then stopped. I used to listen to something that caught my ear, and then trying to play it. Then I was trying to play randomly. I remember being fascinated with the inside of the piano and fiddling around with the inside elements, playing with the strings, hitting them. From then on I bought a synthesizer and so on…
I think everything I write is directly or indirectly influenced by the country I am living in, and in this case, it’s Greece. But I don’t think it’s something that is clearly noticeable in my music.
What would you like to recommend to the future djs and producers?
To the artists-producers, I would suggest:
-Listen to your instincts, learn your craft (the one that suits your purposes), and block out the noise.
To the djs I would suggest:
-Please people’s need for good music, diversify it, and educate the crowd. People are lost sometimes, in a sea of music, and a good DJ should be the beacon of what good music is, far and foremost. The rest, mixing, formats, techniques, gadgets etc is secondary.
Thank you, we wish you the best.
Thank you for the nice interview.
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