1.When I try to descibe your music I am thinking of a mix of noise and psychedelia both harsh and trippy. What is noise for you?
For me, image of noise is coexistence of destruction and creation. That is, perhaps, the ideal music form to me and when I play, I always mix the two extremes without thinking.
2.What has changed after C.C.C.C.?
The playing style of C.C.C.C. was focusing on the dynamism of sound by plural members, but after I became solo, my attention went for the contour and details of sound. Lately, my style has changed to the one which got more influenced by music concrete.
3.Do you prefer working with field recordings and pre-recorded material or with oscillators/generators/feedback/ect?
As I mentioned on the former answer, my style has changed to the one like music concrete using some field recordings and sampling sounds as materials. But of course not only with them, I take some oscillating and feedback sounds. My current basic playing style is mixing all of them during live performances.
4.Some years ago you visited us for a performance at Knot gallery. What were your impressions? Do you think of coming again?
Yes, of course. I was really happy that many audiences came to the venue, in spite of the city’s transportation network disfunction for a strike or so. And they listened to our playing enthusiastically. I also remember the atmosphere of the place was so nice too. I am really thinking of going back to Greece in 2019 again.
5.Can you describe me your most memorable live performance?
I’ve played at some special places other than ordinal venues and galleries. Playing at such irregular spaces gave me good memories. For example, ruins of a mine, ruins of a tourist hotel, ruins of a factory, at a strip show theater, in a boat, on a desert, in a church, in a pizza shop, in the site of a temple, and etc.
Among of those, the space in Sofia, Bulgaria, was also a ruins of a theater which was squatted. There were carried sound system, but the walls and floors were full of holes and seemed nearly to collapse. When I was playing, small scraps fell from the ceilings at some time by the vibration of low sound or so. For this once, I couldn’t feel being safe totally through the performance. That was a performance at the risk of life, so that I remember well.
6.What are your criteria for good music?
As I mentioned on A-1, the ideal music form is the one of coexistence of destruction and creation, I’m attracted to the music including such elements naturally. And I like the music which can evoke visual images.
7.You have participated in many projects and have done many releases, which are your favourite ones?
Always next one.
8.Have you combined your music together with other forms of art?
I’ve collaborated with Buto-dancers a few times. I always get inspired much from them.
Especially, I’m very influenced from their delicate sense and the way of sublimation of their inner hidden energies.
9.What is your current setup and your favourite piece of equipment?
My recent setup is the one for mixing of the field recordings and samplings which were processed and modulated by effector modules. Equipments I use are always changing, so that I don’t have any favourites for now.
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10.Can you describe me the ideal conditions for listening to your music?
When you experience my live performance, the suited way I think is not focusing on hearing so much, just relaxing, and try to receive the waves and vibrations of the sound by your whole body. Then, if you can evoke some visuals from your imagination by my sound, it is my pleasure that you enjoy the image too.
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