“We all have to roll with the times, I suppose, but it’s a pity that everyone’s attention spans have decreased so dramatically and that artists and labels have to pander to the instant gratification dynamics of streaming platforms,” reflects Stelios Vassiloudis, a composer, producer, and DJ whose voice has resonated throughout the evolution of electronic music since the early 2000s. Born in Athens, Greece, his sound transcends the dance floor, weaving intricate harmonies into narratives imbued with his rich sensibilities.
Vassiloudis is no stranger to experimentation, and his extensive repertoire showcases his talent, demonstrating an interwoven tapestry of influences that span the spectrum of dance music. A preferred artist for John Digweed’s Bedrock imprint, Vassiloudis now returns to his familiar domain with his latest, audacious studio album, ‘Human Damage Human‘. Teetering between electronic programming and classical composition, the album immerses listeners in a variety of sonic terrains, ranging from Trip Hop and Electronica to Jazz, Downtempo, and Left Field. And despite current trends, the album stands as a cohesive unit, one of those albums that one listens to from beginning to end to take and enthrall on the entire journey.
Our conversation delves deeper into his creative process, personal philosophies, and the challenges of maintaining artistic integrity in a rapidly changing industry.
photography by Thomas Tam
‘Human Damage Human’ is designed for start-to-finish listening, building in energy and intrigue. What are the challenges you face when crafting an album with this type of listening experience in mind?
Correct sequencing of the tracks, for sure. When the material has been recorded and collected, it’s a case of trimming the fat and achieving cohesion – without sacrificing variety and interest. I find this difficult to do with any degree of impartiality as I’m usually pretty invested in the music and also far too over-analytical.
In a fast-paced world, such albums are becoming increasingly rare, everything wants to be to the point too quickly. Is this something that scares you personally, this speed?
We all have to roll with the times, I suppose, but it’s a pity that everyone’s attention spans have decreased so dramatically and that artists and labels have to pander to the instant gratification dynamics of streaming platforms. It makes perfect sense as a business model but I fear that very soon we’ll be making tracks that last 30 seconds, in order to stay relevant.
What inspired the choice of having Alex Avdis, a Metalcore vocalist, feature on your album?
Alex and I go back a long way and we’ve always shared similar tastes and (artistic) sensibilities. Although our career paths diverged a long time ago, I always admired his sense of creativity and his dynamism. The tracks he delivered vocals for needed some real character and individuality – I couldn’t think of anyone better that embodies those two.
“This album title is descriptive of our capacity and penchant as a species to harm each other but also reflective of a dark and unhappy time in my personal life.”
I noticed your album titles have a more darker note. Does this reflect any personal philosophies or views you hold?
Absolutely. This album title is descriptive of our capacity and penchant as a species to harm each other but also reflective of a dark and unhappy time in my personal life.
In general, I’d be lying if I didn’t admit I’m a moody bastard but I’m not quite as doom and gloom as the titles suggest. I’m thinking I’ll subvert expectations and go with “Teddy Bears & Cuddly Stuffed Animals” for my next one.
Your work has been released on various labels, but Bedrock seems to be a recurring platform. In terms of artistic development and reach, how significant is the role of a record label for you as an artist?
It’s vital, especially for someone who is used to releasing music in a traditional sort of way. I’m sure there are many producers who can sing the praises of the DIY / self-release model out there, but I still like the idea of a team of specialists all pooling their competencies and talents to achieve a goal. In that sense, having a group of people that are invested in what you do and how you do it (hopefully), is very empowering.
In terms of reach, I think it’s plainly obvious that unless you’re willing to invest/gamble on/learn about marketing, get seriously creative with your complementary activities and spend an inordinate amount of time coordinating the entire product cycle, then collaborating with someone that provides you with a great working platform is well worth the %.
“You can’t please everyone all the time, obviously, but I’d really hate to go down as someone who never tried to get better.”
As an artist with a richly diverse background, how do you balance the need to push your own creative boundaries while ensuring your music remains accessible to your listeners?
You can’t. If you start paying too much attention to what you think people want, you either become contrived or go mad. Something changed in me during the pandemic lockdowns and that’s probably that I stopped giving too much of a shit about all this stuff – which is justifiable, given the circumstances. In relinquishing those fears, I discovered that I was getting more creative, experimenting further than before and allowing the results to truly shape me and my music. You can’t please everyone all the time, obviously, but I’d really hate to go down as someone who never tried to get better. I think it was Anthony Bourdain who said “mediocrity is the ultimate sin”.
You’ve expressed interest in working on a full film soundtrack. Is there a specific type of film or genre that you would particularly enjoy composing the soundtrack for?
Definitely Sci-Fi. It’s been too long since I left music school and I fear that my musical theory lexicon would let me down if I tried to work on anything that required any sort of classical arranging. Also, I think the type of skills I’ve developed and tools I’ve worked with over the years are best suited to the genre.
“The modern day musician is essentially an entrepreneur; so collabs are basically like a short term venture or merger (and we all know what disasters they can be)!”
In an interview, you mentioned your mixed feelings about collaborations and how the realities of the music business can impact collaborations. Can you elaborate on the most challenging aspects of maintaining a cooperative and artistic focus in the face of these pressures?
I think what I was referring to in the quote you mention was that collaborations (of any kind, in the music business) are challenging. There are ego-related considerations, agendas at play, differing work ethics and schedules and all other kinds of dynamic nuances. At the end of the day, the modern day musician is essentially an entrepreneur; so collabs are basically like a short term venture or merger (and we all know what disasters they can be)!
I’m definitely not the best at navigating or mitigating any of these pressures but I guess being communicative and open to someone else’s perspective is a good starting point.
The most important thing in life is?
Variety.
Thank you so much for your time!
Thank you for having me.
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www.beatport.com/artist/stelios-vassiloudis
