A really interesting feedback on Adorine’s music video at Wildsound Fest.
A really interesting feedback on Adorine’s music video at Wildsound Fest.
One of the greatest interviews I’ve ever had, on Trito Live 94.8 with Robert Camassa.
One of the greatest interviews I’ve ever had, on Trito Live 94.8 with Robert Camassa.
Following the release of his stunning album Dysphasia, we were blessed with the opportunity to interview artist and songwriter Lemesios to find out more about the music and how it all came to be. Here’s the conversation in full.
* * *
Hi Constantinos, thank you for your time and congratulations on the EP.
Thank you for having me and thank you for the great review.
For those who don’t know, could you give us a brief rundown of your background in music, and how you would you describe yourself, currently, as an artist?
I’ve always liked music, obviously. Although at times, I had different reasons for liking it. When I was younger, I used to pay much more attention to lyrics. At other times, different melodies and the sounds of instruments – especially those of strings and guitars – were of greater importance to me. During my school years, I remember songs getting stuck in my head and playing them on repeat. I have been into music ever since I can remember myself, yet without ever considering the possibility of me actually making a living out of it. I started taking classical guitar lessons at the age of 12. Later, in high school, I played in various local rock bands. At 18, I decided to take the leap… I completed my mandatory military service and then I went off to London. In 2011 I got my degree from Goldsmiths University and ever since I came back to Cyprus, I’ve been working as a film composer, songwriter, producer, guitarist, vocalist, sound designer and sound engineer.
Who or what inspires you the most, artistically?
This is an easy one. Everything could inspire me. Aside from my personal experiences, which play the most crucial role in the process of inspiration, and aside from everything that happens around me, I would say circumstances themselves inspire me. Now, this may sound a bit ‘Marxist’, but circumstances push you to explore something that you may not have thought you’d ever do. This process itself is an experience that gives rise to a range of emotions. Whether these emotions are positive or negative, it doesn’t matter; they are still an endless source of inspiration.
The soundscapes you craft are always complex and detailed, expressive in so many ways.How do you get started with a new piece, how did this entire project come to be, and howdo you know when something is truly finished?
I will answer this in a way that you will understand my biggest problem. I usually write my songs with a classical guitar, at least the first concept of a song. Then I move on to the computer, where I start the orchestration. Where’s the big problem?, you are wondering… The problem is that I get bored too quickly. So then I start “sabotaging” myself. I deconstruct and debunk all my musical ideas. It’s the whole ‘shoulder angel-devil’ thing. The angel naturally wants me to get on with the song, since it’s a good one, and the devil urges me to drop it.
So, I start changing the song – production wise – experimenting with different sounds and maybe modifying the original structure of the composition, in order to prove the angel right! I guess this is how the whole project came to be. So you can appreciate the endless and stressful self-debate. I usually know that a track is finished, when I can admit that I have no more energy to fight it. I wish and hope that I find a better, calmer process in the future. (laughs)
Why the term Dysphasia, and in what way does this as a concept connect the songs in the project?
Funny story! Two-three months before the EP came out, I was talking with my sister, about the name of the record. She asked: “how do you feel about this project?” and even though I’m usually very eloquent, I couldn’t utter a single word. As the neuroscientist that Athena (my sister) is, she asked me: “What’s wrong with you bro? Are you suffering from dysphasia all of a sudden?”. This turned out to be a eureka moment, as that’s when I knew Dysphasia was going to be the name of my album. And that’s also how the concept for the album artwork was born. A lesioned brain, often the cause of acute dysphasia.
If people only have time to listen to one of your tracks right now, which one would you recommend, and why?
Hm…. I don’t know. That’s a tough question, I don’t even know if I want to answer it! (laughs)]
Do you put a lot of truth or a lot of yourself into your music – or is there an element of fiction involved in it all?
As far as Dysphasia is concerned, there’s no fiction involved. All of the songs are stories that I either lived through or touched me in a way, like Little Boy, for example, which has a pretty clear theme. As far as my film scoring is concerned, there are a lot of factors that contribute to my composing process; the director’s vision, the picture itself, the colours, the vibes.
The visuals for Adorine are incredibly well thought out – how did you come up with this,and what was the process like in comparison with making the music?
Thank you for your kind words! Adorine was the greatest challenge of the album. Imagine that we started recording it in June 2016 and it wasn’t finished until May 2017. We had to switch both the theme and the lyrics, I don’t even know how many times. I even changed the melody of the voice several times. Something similar happened to the music video, too. I went through 3 different directors before finally choosing Savvas Stavrou, who kept saying to me “dude, the song is too ‘strong’. I can’t think of something that would fit in the context. It’s ‘bipolar’! It has two climaxes and I am not sure how to represent that visually to do it justice”. Despite his original struggle, Savvas then started brainstorming and sending me different scenarios. The final outcome is the result of almost 9 months of hard work. I am very satisfied with it. Savvas and his crew did a fantastic job. Looking at the Spotify statistics, I realise that Adorine is number one in audience preferences. I admit that I never expected that, not because I don’t like the song, quite the opposite. I just never expected such a complicated song, structure wise, to sell as much as it did.
Does your creativity manifest itself in any other ways?
Yes! I try different things at different times. I make videos and lately, I have been making wooden creations. I always look for creative outlets when time allows.
You put out a beautiful Radiohead cover on YouTube recently. What is it about Radiohead’s music that connects so well?
Radiohead is Radiohead. There’s nothing to say here!
In addition to the loop pedal, what do you bring on stage for a live show – what can audiences expect?
For the live shows, my guitar, my guitar pedals, and a vocal processor pedal, which I use to give my voice different musical effects, are absolute necessities. My band consists of 5 members, Antonis Koumbari who is on electric guitars, Andreas Hadjipandelis on electric guitars and live electronics, Constantinos Pavlides on drums, and Nektarios Cassar on bass guitar. I believe we have a very rich sound which completely renders our studio work. The band’s name is Lemesios, which is my last name. We all love performing together and I think this is evident during the live shows.
What makes a great and memorable live show for you?
Great sound on stage, great vibes from the people and no concept of time.
What’s the music scene like in Cyprus when compared with the UK or London specifically?
The music scene and the music venues in Cyprus have really evolved in the last 10 years. There’s better equipment now, great professionals are finally in charge of sound and lighting. The same as in the UK. The biggest difference would be the crowd, the target audience. Southern Cyprus has an estimated population of about 800.000. You can imagine, of those 800.000, how many are interested in underground rock music, especially if that kind of music is in English. Let’s not forget that Southern Cyprus is Greek-speaking, so the average listener relates to a Greek-speaking artist more easily than to one who sings in a foreign language. On the other hand, there’s the people who study and/or live abroad; their minds are more open and their taste is more similar to our kind of sound.
What does the future hold – what are your hopes or plans?
I am considering moving back to England to work on studio productions and film scoring, while I continue working on my personal discography.
Is there anything else we should know?
Well, if you happen to be in Cyprus in August, make sure you come and see our band! We’ll be playing live at Fengaros Festival 2018, one of the biggest music festivals in Cyprus. We’re very excited about it, Fengaros is a remarkable summer festival, with a stellar line-up.
Source: Stereo Stickman
Following the release of his stunning album Dysphasia, we were blessed with the opportunity to interview artist and songwriter Lemesios to find out more about the music and how it all came to be. Here’s the conversation in full.
* * *
Hi Constantinos, thank you for your time and congratulations on the EP.
Thank you for having me and thank you for the great review.
For those who don’t know, could you give us a brief rundown of your background in music, and how you would you describe yourself, currently, as an artist?
I’ve always liked music, obviously. Although at times, I had different reasons for liking it. When I was younger, I used to pay much more attention to lyrics. At other times, different melodies and the sounds of instruments – especially those of strings and guitars – were of greater importance to me. During my school years, I remember songs getting stuck in my head and playing them on repeat. I have been into music ever since I can remember myself, yet without ever considering the possibility of me actually making a living out of it. I started taking classical guitar lessons at the age of 12. Later, in high school, I played in various local rock bands. At 18, I decided to take the leap… I completed my mandatory military service and then I went off to London. In 2011 I got my degree from Goldsmiths University and ever since I came back to Cyprus, I’ve been working as a film composer, songwriter, producer, guitarist, vocalist, sound designer and sound engineer.
Who or what inspires you the most, artistically?
This is an easy one. Everything could inspire me. Aside from my personal experiences, which play the most crucial role in the process of inspiration, and aside from everything that happens around me, I would say circumstances themselves inspire me. Now, this may sound a bit ‘Marxist’, but circumstances push you to explore something that you may not have thought you’d ever do. This process itself is an experience that gives rise to a range of emotions. Whether these emotions are positive or negative, it doesn’t matter; they are still an endless source of inspiration.
The soundscapes you craft are always complex and detailed, expressive in so many ways.How do you get started with a new piece, how did this entire project come to be, and howdo you know when something is truly finished?
I will answer this in a way that you will understand my biggest problem. I usually write my songs with a classical guitar, at least the first concept of a song. Then I move on to the computer, where I start the orchestration. Where’s the big problem?, you are wondering… The problem is that I get bored too quickly. So then I start “sabotaging” myself. I deconstruct and debunk all my musical ideas. It’s the whole ‘shoulder angel-devil’ thing. The angel naturally wants me to get on with the song, since it’s a good one, and the devil urges me to drop it.
So, I start changing the song – production wise – experimenting with different sounds and maybe modifying the original structure of the composition, in order to prove the angel right! I guess this is how the whole project came to be. So you can appreciate the endless and stressful self-debate. I usually know that a track is finished, when I can admit that I have no more energy to fight it. I wish and hope that I find a better, calmer process in the future. (laughs)
Why the term Dysphasia, and in what way does this as a concept connect the songs in the project?
Funny story! Two-three months before the EP came out, I was talking with my sister, about the name of the record. She asked: “how do you feel about this project?” and even though I’m usually very eloquent, I couldn’t utter a single word. As the neuroscientist that Athena (my sister) is, she asked me: “What’s wrong with you bro? Are you suffering from dysphasia all of a sudden?”. This turned out to be a eureka moment, as that’s when I knew Dysphasia was going to be the name of my album. And that’s also how the concept for the album artwork was born. A lesioned brain, often the cause of acute dysphasia.
If people only have time to listen to one of your tracks right now, which one would you recommend, and why?
Hm…. I don’t know. That’s a tough question, I don’t even know if I want to answer it! (laughs)]
Do you put a lot of truth or a lot of yourself into your music – or is there an element of fiction involved in it all?
As far as Dysphasia is concerned, there’s no fiction involved. All of the songs are stories that I either lived through or touched me in a way, like Little Boy, for example, which has a pretty clear theme. As far as my film scoring is concerned, there are a lot of factors that contribute to my composing process; the director’s vision, the picture itself, the colours, the vibes.
The visuals for Adorine are incredibly well thought out – how did you come up with this,and what was the process like in comparison with making the music?
Thank you for your kind words! Adorine was the greatest challenge of the album. Imagine that we started recording it in June 2016 and it wasn’t finished until May 2017. We had to switch both the theme and the lyrics, I don’t even know how many times. I even changed the melody of the voice several times. Something similar happened to the music video, too. I went through 3 different directors before finally choosing Savvas Stavrou, who kept saying to me “dude, the song is too ‘strong’. I can’t think of something that would fit in the context. It’s ‘bipolar’! It has two climaxes and I am not sure how to represent that visually to do it justice”. Despite his original struggle, Savvas then started brainstorming and sending me different scenarios. The final outcome is the result of almost 9 months of hard work. I am very satisfied with it. Savvas and his crew did a fantastic job. Looking at the Spotify statistics, I realise that Adorine is number one in audience preferences. I admit that I never expected that, not because I don’t like the song, quite the opposite. I just never expected such a complicated song, structure wise, to sell as much as it did.
Does your creativity manifest itself in any other ways?
Yes! I try different things at different times. I make videos and lately, I have been making wooden creations. I always look for creative outlets when time allows.
You put out a beautiful Radiohead cover on YouTube recently. What is it about Radiohead’s music that connects so well?
Radiohead is Radiohead. There’s nothing to say here!
In addition to the loop pedal, what do you bring on stage for a live show – what can audiences expect?
For the live shows, my guitar, my guitar pedals, and a vocal processor pedal, which I use to give my voice different musical effects, are absolute necessities. My band consists of 5 members, Antonis Koumbari who is on electric guitars, Andreas Hadjipandelis on electric guitars and live electronics, Constantinos Pavlides on drums, and Nektarios Cassar on bass guitar. I believe we have a very rich sound which completely renders our studio work. The band’s name is Lemesios, which is my last name. We all love performing together and I think this is evident during the live shows.
What makes a great and memorable live show for you?
Great sound on stage, great vibes from the people and no concept of time.
What’s the music scene like in Cyprus when compared with the UK or London specifically?
The music scene and the music venues in Cyprus have really evolved in the last 10 years. There’s better equipment now, great professionals are finally in charge of sound and lighting. The same as in the UK. The biggest difference would be the crowd, the target audience. Southern Cyprus has an estimated population of about 800.000. You can imagine, of those 800.000, how many are interested in underground rock music, especially if that kind of music is in English. Let’s not forget that Southern Cyprus is Greek-speaking, so the average listener relates to a Greek-speaking artist more easily than to one who sings in a foreign language. On the other hand, there’s the people who study and/or live abroad; their minds are more open and their taste is more similar to our kind of sound.
What does the future hold – what are your hopes or plans?
I am considering moving back to England to work on studio productions and film scoring, while I continue working on my personal discography.
Is there anything else we should know?
Well, if you happen to be in Cyprus in August, make sure you come and see our band! We’ll be playing live at Fengaros Festival 2018, one of the biggest music festivals in Cyprus. We’re very excited about it, Fengaros is a remarkable summer festival, with a stellar line-up.
Source: Stereo Stickman
Άλλο ένα εξαιρετικό τεμάχιο αταμπέλωτης rock, από έναν Κύπριο πολυοργανίστα/συνθέτη που με την πρώτη του solo προσπάθεια καταφέρνει και εντυπωσιάζει.
Το EP “Dysphasia” περιέχει έξι κομμάτια progressive-ίζοντος alternative rock που δεν διστάζει να βαρύνει, μιας και οι δομές των κομματιών συμπεριλαμβάνουν επιρροές που παρά το “ετερόκλητο” τους, συγκεντρώνονται μαεστρικά γύρω από μια κεντρική ιδέα αυθεντικότατη και αποδιδόμενη εξαιρετικά.
Ανάλαφρη δουλειά που ανακατεύει τους Radiohead, τους Muse, τους πολύ σύγχρονους Pain Of Salvation και τους παλαιούς Chroma Key σαν βάση, αλλά και με διάσπαρτες λοξές ματιές προς ευρύτερους στιλιστικούς χώρους.
Αυτό που προκαλεί θετικότατη εντύπωση από την πρώτη ακρόαση είναι η τελειότητα του ήχου και η κινηματογραφική φύση των συνθέσεων. Αψεγάδιαστη παραγωγή που αποκαλύπτει πλήρως τις αρετές του καλλιτέχνη.
Περιπετειώδη τα “Little Boy”και “Stepping Down” (και με πολλά κοινά συνθετικά σημεία με τους Mother Turtle ως προς τη σινεφίλ χροιά τους με το ύφος να συγγενεύει χωροχρονικά με τις δουλειές των Θεσσαλονικέων prog rockers), το “Adorine” στο οποίο ένιωσα τις παρυφές του Leprous-ικού prog, το “Picture Perfect” με τις ηλεκτρονικές παρεμβολές που με παρέπεμψαν στους πειραματισμούς των θεών του post σύμπαντος 65daysofstatic, όπως και τα “The Eights” και “No Fret”, ασυνήθιστη προοδευτική μουσική υψηλού ενδιαφέροντος.
Ο Λεμέσιος είναι επαρκέστατος τεχνικά, οι εκτελέσεις του φανερώνουν αέρα καταρτισμένου μουσικού. Φωνητικώς ανήκει σε θεατρικότροπα πεδία, άλλοτε Radiohead-ικά “θηλυκός” και άλλοτε αναγόμενος σε The Mars Volta-ικά επίπεδα “συγκρατημένης” τρέλας.
Το “Dysphasia” είναι ένα άψογο δείγμα γραφής από έναν ταλαντούχο μουσικό που ξεκινά το δισκογραφικό του ταξίδι απολύτως επιτυχημένα. Ένα γλυκό ανοιξιάτικο άκουσμα, προσγειωμένη μουσική που η μοναδική υπερβολή της εστιάζεται στην καλαισθησία, είτε τη μουσική είτε την οπτική. Ο γράφων δεν έχει κανένα ενδοιασμό να απονείμει αριστεία, έχοντας στο πίσω μέρος της κεφαλής του ότι – συνυπολογίζοντας τις δουλειές των Arcadian Child και των Delirium Elephants – η Μεγαλόνησος εξελίσσεται πλέον σε μια από τις ισχυρότερες εστίες εναλλακτικού rock. Εύγε και εύχομαι και αναμένω μια λαμπρή πορεία για τον Κωνσταντίνο.
Πηγή: rockway.gr
Άλλο ένα εξαιρετικό τεμάχιο αταμπέλωτης rock, από έναν Κύπριο πολυοργανίστα/συνθέτη που με την πρώτη του solo προσπάθεια καταφέρνει και εντυπωσιάζει.
Το EP “Dysphasia” περιέχει έξι κομμάτια progressive-ίζοντος alternative rock που δεν διστάζει να βαρύνει, μιας και οι δομές των κομματιών συμπεριλαμβάνουν επιρροές που παρά το “ετερόκλητο” τους, συγκεντρώνονται μαεστρικά γύρω από μια κεντρική ιδέα αυθεντικότατη και αποδιδόμενη εξαιρετικά.
Ανάλαφρη δουλειά που ανακατεύει τους Radiohead, τους Muse, τους πολύ σύγχρονους Pain Of Salvation και τους παλαιούς Chroma Key σαν βάση, αλλά και με διάσπαρτες λοξές ματιές προς ευρύτερους στιλιστικούς χώρους.
Αυτό που προκαλεί θετικότατη εντύπωση από την πρώτη ακρόαση είναι η τελειότητα του ήχου και η κινηματογραφική φύση των συνθέσεων. Αψεγάδιαστη παραγωγή που αποκαλύπτει πλήρως τις αρετές του καλλιτέχνη.
Περιπετειώδη τα “Little Boy”και “Stepping Down” (και με πολλά κοινά συνθετικά σημεία με τους Mother Turtle ως προς τη σινεφίλ χροιά τους με το ύφος να συγγενεύει χωροχρονικά με τις δουλειές των Θεσσαλονικέων prog rockers), το “Adorine” στο οποίο ένιωσα τις παρυφές του Leprous-ικού prog, το “Picture Perfect” με τις ηλεκτρονικές παρεμβολές που με παρέπεμψαν στους πειραματισμούς των θεών του post σύμπαντος 65daysofstatic, όπως και τα “The Eights” και “No Fret”, ασυνήθιστη προοδευτική μουσική υψηλού ενδιαφέροντος.
Ο Λεμέσιος είναι επαρκέστατος τεχνικά, οι εκτελέσεις του φανερώνουν αέρα καταρτισμένου μουσικού. Φωνητικώς ανήκει σε θεατρικότροπα πεδία, άλλοτε Radiohead-ικά “θηλυκός” και άλλοτε αναγόμενος σε The Mars Volta-ικά επίπεδα “συγκρατημένης” τρέλας.
Το “Dysphasia” είναι ένα άψογο δείγμα γραφής από έναν ταλαντούχο μουσικό που ξεκινά το δισκογραφικό του ταξίδι απολύτως επιτυχημένα. Ένα γλυκό ανοιξιάτικο άκουσμα, προσγειωμένη μουσική που η μοναδική υπερβολή της εστιάζεται στην καλαισθησία, είτε τη μουσική είτε την οπτική. Ο γράφων δεν έχει κανένα ενδοιασμό να απονείμει αριστεία, έχοντας στο πίσω μέρος της κεφαλής του ότι – συνυπολογίζοντας τις δουλειές των Arcadian Child και των Delirium Elephants – η Μεγαλόνησος εξελίσσεται πλέον σε μια από τις ισχυρότερες εστίες εναλλακτικού rock. Εύγε και εύχομαι και αναμένω μια λαμπρή πορεία για τον Κωνσταντίνο.
Πηγή: rockway.gr
Ποιος είσαι;
Είμαι μουσικός. Ασχολούμαι κυρίως με τη σύνθεση, γράφω μουσική για μικρού μήκους ταινίες και ντοκιμαντέρ, κάνω κατά καιρούς productions σε διάφορες παραγωγές και σαν performer τραγουδώ και παίζω κιθάρα. Πρόσφατα κυκλοφόρησα το πρώτο προσωπικό άλμπουμ Dysphasia.
Τι θέλεις;
Θα ήθελα κάποια στιγμή να βρω την ευκαιρία να πάω ξανά στο εξωτερικό, όχι σαν φοιτητής, αλλά ως εργαζόμενος μουσικός. Ιδανικά σαν συνθέτης ταινιών, συνεχίζοντας παράλληλα τη δισκογραφική πορεία ως συνθέτης-ερμηνευτής.
Τι ακούς;
Είμαι λίγο bipolar στα ακούσματα. Όχι, γενικά bipolar δεν είμαι, σε προλαβαίνω. Αυτή την περίοδο έχω πάθει κόλλημα με το Slavonic March in B-Flat Minor, Op. 31 του Τσαϊκόφσκι και το καινούργιο άλμπουμ των Queens Of The Stone Age, Villains. Δεν είναι εύκολο να συνοψίσω όλες μου τις επιρροές σε μια κουβέντα, επειδή φαντάζομαι ότι πρέπει να πάμε αρκετά πίσω, όμως ακούω γενικά από κλασική μουσική και συνθέτες μουσικής ταινιών μέχρι σύγχρονες rock μπάντες, ελληνική underground μουσική σκηνή και techno.
Τι επιλέγεις;
Καλούς φίλους και καλό φαγητό, άσχετα αν δεν μου φαίνεται.
Πηγή: parathyro.com
Ποιος είσαι;
Είμαι μουσικός. Ασχολούμαι κυρίως με τη σύνθεση, γράφω μουσική για μικρού μήκους ταινίες και ντοκιμαντέρ, κάνω κατά καιρούς productions σε διάφορες παραγωγές και σαν performer τραγουδώ και παίζω κιθάρα. Πρόσφατα κυκλοφόρησα το πρώτο προσωπικό άλμπουμ Dysphasia.
Τι θέλεις;
Θα ήθελα κάποια στιγμή να βρω την ευκαιρία να πάω ξανά στο εξωτερικό, όχι σαν φοιτητής, αλλά ως εργαζόμενος μουσικός. Ιδανικά σαν συνθέτης ταινιών, συνεχίζοντας παράλληλα τη δισκογραφική πορεία ως συνθέτης-ερμηνευτής.
Τι ακούς;
Είμαι λίγο bipolar στα ακούσματα. Όχι, γενικά bipolar δεν είμαι, σε προλαβαίνω. Αυτή την περίοδο έχω πάθει κόλλημα με το Slavonic March in B-Flat Minor, Op. 31 του Τσαϊκόφσκι και το καινούργιο άλμπουμ των Queens Of The Stone Age, Villains. Δεν είναι εύκολο να συνοψίσω όλες μου τις επιρροές σε μια κουβέντα, επειδή φαντάζομαι ότι πρέπει να πάμε αρκετά πίσω, όμως ακούω γενικά από κλασική μουσική και συνθέτες μουσικής ταινιών μέχρι σύγχρονες rock μπάντες, ελληνική underground μουσική σκηνή και techno.
Τι επιλέγεις;
Καλούς φίλους και καλό φαγητό, άσχετα αν δεν μου φαίνεται.
Πηγή: parathyro.com
A junkyard. Two people. The rope that binds them, and what they must do to break free. Savvas Stavrou’s video for Lemesios, shot in Cyprus, explores these issues through dramatic choreography and performance.
“Adorine is a song about tugging and pulling at the heartstrings. About promises and expectations broken, and the consequences of learning how to let go,” says Stavrou. “By using the visual metaphor of a rope and framing the characters in a car junkyard as the arena for the narrative dance sequence, we explore the dynamics of a broken relationship.”
Source: promonews.tv
A junkyard. Two people. The rope that binds them, and what they must do to break free. Savvas Stavrou’s video for Lemesios, shot in Cyprus, explores these issues through dramatic choreography and performance.
“Adorine is a song about tugging and pulling at the heartstrings. About promises and expectations broken, and the consequences of learning how to let go,” says Stavrou. “By using the visual metaphor of a rope and framing the characters in a car junkyard as the arena for the narrative dance sequence, we explore the dynamics of a broken relationship.”
Source: promonews.tv
Υπάρχει και είναι πολύ καλό!
Παρότι κάποιος θα μπορούσε να χαρακτηρίσει την εγχώρια μουσική σκηνή κάπως κολλημένη με το λαϊκό και το έντεχνο, αφού αυτό πουλάει, ψάχνοντάς το λίγο διαπιστώνεις -με ευχαρίστηση- ότι υπάρχουν και κάτι τύποι που δοκιμάζουν να ρισκάρουν μουσικά δημιουργώντας ένα πολύ ενδιαφέρον αποτέλεσμα.
Ο Λεμέσιος, τον περασμένο Ιούλιο με το άλμπουμ του Dysphasia έκανε τη διαφορά προσελκύοντας το ενδιαφέρον του μουσικόφιλου κοινού τόσο για το στίχο όσο και για την ιδιαίτερη μουσική του. Το Dysphasia είναι σε μουσική και ερμηνεία του ίδιου και στίχους της Qliona.
Πριν λίγες ημέρες μάλιστα, κυκλοφόρησε και το βίντεο κλιπ του σε σκηνοθεσία του Σάββα Σταύρου, στο οποίο δόθηκε έντονη κινηματογραφική αισθητική.
Πηγή: city.sigmalive.com
Υπάρχει και είναι πολύ καλό!
Παρότι κάποιος θα μπορούσε να χαρακτηρίσει την εγχώρια μουσική σκηνή κάπως κολλημένη με το λαϊκό και το έντεχνο, αφού αυτό πουλάει, ψάχνοντάς το λίγο διαπιστώνεις -με ευχαρίστηση- ότι υπάρχουν και κάτι τύποι που δοκιμάζουν να ρισκάρουν μουσικά δημιουργώντας ένα πολύ ενδιαφέρον αποτέλεσμα.
Ο Λεμέσιος, τον περασμένο Ιούλιο με το άλμπουμ του Dysphasia έκανε τη διαφορά προσελκύοντας το ενδιαφέρον του μουσικόφιλου κοινού τόσο για το στίχο όσο και για την ιδιαίτερη μουσική του. Το Dysphasia είναι σε μουσική και ερμηνεία του ίδιου και στίχους της Qliona.
Πριν λίγες ημέρες μάλιστα, κυκλοφόρησε και το βίντεο κλιπ του σε σκηνοθεσία του Σάββα Σταύρου, στο οποίο δόθηκε έντονη κινηματογραφική αισθητική.
Πηγή: city.sigmalive.com
Constantinos Lemesios exerts a certain musical prowess and level of experience on this project, his background in scoring music for film – among other creative endeavors – has resulted in a totally unique, cinematic experience, which at the same time offers a definite level of provocative songwriting; the likes of which you don’t often get alongside of such masterful soundscapes.
It seems strange to think of him as an independent, these tracks are well crafted, well honed, leaning back and forth between the sound of Muse, Radiohead, Manson, and a whole lot in between. Little Boy kicks things off with multiple layers of detail, depth, and intensity. Every moment is professionally executed so as to surround you with the story-line and the emotions underlined within it. Lemesios knows when to stop, when to start, and how to do each with skill and impact.
Adorine follows the opener and re-directs the mood distinctly. Lemesios as a performer is known to use live-looping to create his soundscapes, something you can quite clearly picture throughout this song. The softness reminded me of Incubus a little, the melodic development too – the build up is unique and clever, and this helps the whole thing captivate at every step. If you miss a lyric, which you may – there are many – you’re likely to feel inclined to go back and re-gather it all. Fusing personality and intrigue, Lemesios works hard to utilise the very art of musicianship in a powerful way.
What I like about this project the most is that whenever you feel complacent or like you know how things will be, Lemesios flips it all on its head – always keeping things fresh, creative, and unpredictable. Picture Perfect is a fine example, you form an expectation from those opening beeps, and later again from the smooth, delicate nature of the vocal delivery, but nothing falls where you think it will. The gentle energy of this one works well at this point within the collection, Lemesios whispers these ideas to you – as if to you personally, an intimate expression of thoughts and feelings; a vulnerable moment shared between artist and listener.
You’re always aware of the compositional aspects of the artist’s approach to music when you listen to this EP. Sometimes the voice, the lyrics, seem inherently connected to the instrumentation, so the songs just have a certain feel. You notice this as The Eights begins to play, as the energy and beauty of the music surrounds you – no lyrics are needed, and still it fits within the arena of Dysphasia; it feels like it belongs. As a musician, the passion and skill combined on this is phenomenal – a live show would likely make for a superb moment of performance.
Broadening your view of him as an artist even further, Lemesios showcases a deeply personal performance of poetry and passion on the song Stepping Down – a personal favourite. There’s something very nu-rock about the sound, the melody connects from the offset, and the contrast between the delicacy of the leading voice and the weight of the instrumental sections really captivates. It’s a beautiful track, an easy favourite alternative rock go-to from the year so far. Insanely haunting riffs accompanying an increasingly intense vocal performance that just oozes authenticity and honesty – complete with the inner demons and difficulties of real life.
No Fret finishes things up, a touch of beat-boxing sets a gentle rhythm and scene that emerges as notably bright and hopeful in comparison to all that came before. You’re likely to wish the project was longer, but by the looks of things this is merely the beginning for Lemesios. A journey well worth tuning in for.
Source: stereostickman.com
Constantinos Lemesios exerts a certain musical prowess and level of experience on this project, his background in scoring music for film – among other creative endeavors – has resulted in a totally unique, cinematic experience, which at the same time offers a definite level of provocative songwriting; the likes of which you don’t often get alongside of such masterful soundscapes.
It seems strange to think of him as an independent, these tracks are well crafted, well honed, leaning back and forth between the sound of Muse, Radiohead, Manson, and a whole lot in between. Little Boy kicks things off with multiple layers of detail, depth, and intensity. Every moment is professionally executed so as to surround you with the story-line and the emotions underlined within it. Lemesios knows when to stop, when to start, and how to do each with skill and impact.
Adorine follows the opener and re-directs the mood distinctly. Lemesios as a performer is known to use live-looping to create his soundscapes, something you can quite clearly picture throughout this song. The softness reminded me of Incubus a little, the melodic development too – the build up is unique and clever, and this helps the whole thing captivate at every step. If you miss a lyric, which you may – there are many – you’re likely to feel inclined to go back and re-gather it all. Fusing personality and intrigue, Lemesios works hard to utilise the very art of musicianship in a powerful way.
What I like about this project the most is that whenever you feel complacent or like you know how things will be, Lemesios flips it all on its head – always keeping things fresh, creative, and unpredictable. Picture Perfect is a fine example, you form an expectation from those opening beeps, and later again from the smooth, delicate nature of the vocal delivery, but nothing falls where you think it will. The gentle energy of this one works well at this point within the collection, Lemesios whispers these ideas to you – as if to you personally, an intimate expression of thoughts and feelings; a vulnerable moment shared between artist and listener.
You’re always aware of the compositional aspects of the artist’s approach to music when you listen to this EP. Sometimes the voice, the lyrics, seem inherently connected to the instrumentation, so the songs just have a certain feel. You notice this as The Eights begins to play, as the energy and beauty of the music surrounds you – no lyrics are needed, and still it fits within the arena of Dysphasia; it feels like it belongs. As a musician, the passion and skill combined on this is phenomenal – a live show would likely make for a superb moment of performance.
Broadening your view of him as an artist even further, Lemesios showcases a deeply personal performance of poetry and passion on the song Stepping Down – a personal favourite. There’s something very nu-rock about the sound, the melody connects from the offset, and the contrast between the delicacy of the leading voice and the weight of the instrumental sections really captivates. It’s a beautiful track, an easy favourite alternative rock go-to from the year so far. Insanely haunting riffs accompanying an increasingly intense vocal performance that just oozes authenticity and honesty – complete with the inner demons and difficulties of real life.
No Fret finishes things up, a touch of beat-boxing sets a gentle rhythm and scene that emerges as notably bright and hopeful in comparison to all that came before. You’re likely to wish the project was longer, but by the looks of things this is merely the beginning for Lemesios. A journey well worth tuning in for.
Source: stereostickman.com
Έχοντας δημιουργήσει και συμμετάσχει σε διάφορα τοπικά συγκροτήματα της μεγαλονήσου τα τελευταία χρόνια, ο Lemesios (Κωνσταντίνος Λεμέσιος) πλέον επιχειρεί και κυκλοφορεί το πρώτο προσωπικό του EP με το όνομα Dysphasia. Το ύφος είναι κατά βάση progressive, με πολλά στοιχεία ψυχεδέλειας, εναλλακτικής και indie ροκ, με πολλές εναλλαγές στον ρυθμό και υψίφωνες – κοντρατενόρικες ερμηνείες.
Το EP άλμπουμ Dysphasia, αποτελείται από έξι κομμάτια των οποίων ο ίδιος ανέλαβε την παραγωγή, την σύνθεση και την εκτέλεση. Συμπαραγωγός είναι ο Γιώργος Σόλονως και τους στίχους υπογράφει η Qliona. Το EP έχει αποσπάσει ήδη διθυραμβικές κριτικές σε Κύπρο και Ελλάδα.
Μάλιστα, στο τέλος του Φλεβάρη κυκλοφόρησε και το πρώτο video clip του δίσκου στο κομμάτι Adorine, του οποίου σκηνοθέτης είναι ο Savvas Stavrou. Το video clip είναι σκηνοθετημένο ως μια μικρού μήκους ταινία και ομολογουμένως είναι πολύ ενδιαφέρον.
Πηγή: rockoverdose.gr
Έχοντας δημιουργήσει και συμμετάσχει σε διάφορα τοπικά συγκροτήματα της μεγαλονήσου τα τελευταία χρόνια, ο Lemesios (Κωνσταντίνος Λεμέσιος) πλέον επιχειρεί και κυκλοφορεί το πρώτο προσωπικό του EP με το όνομα Dysphasia. Το ύφος είναι κατά βάση progressive, με πολλά στοιχεία ψυχεδέλειας, εναλλακτικής και indie ροκ, με πολλές εναλλαγές στον ρυθμό και υψίφωνες – κοντρατενόρικες ερμηνείες.
Το EP άλμπουμ Dysphasia, αποτελείται από έξι κομμάτια των οποίων ο ίδιος ανέλαβε την παραγωγή, την σύνθεση και την εκτέλεση. Συμπαραγωγός είναι ο Γιώργος Σόλονως και τους στίχους υπογράφει η Qliona. Το EP έχει αποσπάσει ήδη διθυραμβικές κριτικές σε Κύπρο και Ελλάδα.
Μάλιστα, στο τέλος του Φλεβάρη κυκλοφόρησε και το πρώτο video clip του δίσκου στο κομμάτι Adorine, του οποίου σκηνοθέτης είναι ο Savvas Stavrou. Το video clip είναι σκηνοθετημένο ως μια μικρού μήκους ταινία και ομολογουμένως είναι πολύ ενδιαφέρον.
Πηγή: rockoverdose.gr
