“I called my friend Kuzich and asked him if he had any ideas as he’d already listened to the album. I said to him the album was about breaking through an incredibly troubling part of my life to find peace and love again.” In the warm glow of the setting sun in a small village in Greece, Nikodimos, a Greek-Australian multi-instrumentalist, finds calm in the harmony of vibrant colors, a symbolic representation of his journey from anguish to serenity, wrapped up in his upcoming album ‘What Colour is the End?’.
His latest single, “GREEN EYE$,” is not only a preview into the album but also stands out as a genuine hidden gem. The song demonstrates a talent for blending multifaceted musical elements, as it gently oscillates between an edgy contemporary vibe and a nostalgic nod to the late 2000s, creating a rhythmic journey punctuated by smooth vocals and a subtly vibrant aesthetic.
In our interview, we explore the stories and emotional landscapes within Nikodimos’ upcoming album, delving specifically into why “GREEN EYE$” is a standout track for him and why he thinks that sometimes taking a small break from music is important.
photography by Jack
I love the title, ‘What Colour is the End?,’ from your upcoming album. Can you share the inspiration behind it and the overall theme of the project?
It took me a long time to conceptualise the title for this record. I called my friend Kuzich and asked him if he had any ideas as he’d already listened to the album. I said to him the album was about breaking through an incredibly troubling part of my life to find peace and love again. I also mentioned that I wanted the title to be themed around colour as I have synethesia, and also sunsets as they possess the most beautiful colours. The sunset also represents my partner Tori, as they both share characteristics of being the favourite part of my day. Tori was the peace and love that I found at the end of my years of turmoil.
Kuzich suggested the name ‘What Colour is the End?’ which I instantly thought was perfect. It’s a question, and the answer to this question is that the sunset is the colour of the end as it presents itself at the end of the day. The sunset was the one entity that truly made me happy when I was in my village in Greece in 2022. I was pretty much at my lowest during this period of my life, and the only thing that would give me life was watching the sunset over the sea. The sunset and its colours healed me and gave me hope, much like what Tori provides for me day in day out. I found her at the end of my hardest days, much like the sunset, she’s the best part of every day.
Given that the album will be released via a Berlin-based label, XYZ123, how does the release reflect your experiences or influences from the Berlin music scene, if at all?
I had most of the record finished by the time I went to Berlin and met the XYZ homies, so there’s not much overlap in terms of drawing inspiration from Berlin’s music scene on this record. I did however collaborate with Wayne Snow on this album who in my opinion represents a lot of what the Berlin music scene is about – hard-work, great musicality and is free in spirit.
“Sunsets, the ocean and mountainous terrain are what keep my brain warm and functional.”
Did any unforeseen challenges or happy accidents during the album’s production shape the final outcome in a way you hadn’t originally planned?
I can never really plan anything musically as a lot of what I seem to produce is a result of happy accidents. I rely heavily on improv when I write music as I want to cut out the instance where you have to sit and think about what it is that you’re doing as it can kill flow. I usually sit on a loop for a while and jam to my own compositions until I’m happy with a take, and keep layering different instruments from there as needed. The accidents become the whole purpose of the writing.
“GREEN EYE$,” featuring Jordan Dennis, is a standout track from the album and the first taste we get. Can you share the creative process behind this piece?
This song has 3 main pieces to it – myself writing the main melodies and rhythms, my house mate Jack Eden layering spoons as percussion as well as electric and bass guitar, and Jordan Dennis coming in and creating a world with me vocally and lyrically. We all have a distain for people with lots of money, so creatively we were all in flow with this whilst making this banger.
“It’s almost impossible to explain the spiritual connection that playing an instrument that’s been at the forefront of my culture and musical framework provides.”
Why is “GREEN EYE$” your favorite single? Is there a specific element or moment in the track that resonates with you more deeply?
It’s definitely one of my favourite singles as it represents a pivotal point in my career as producer – I found the command shift D shortcut on ableton during this project and it literally has changed the way I produce and think about song-writing.
On a more emotional type beat, every song holds a profound place in my heart and I can’t pick a favourite.
Drawing from your rich Greek-Australian heritage, is there a Greek musical instrument or a traditional piece of music that you would like to explore or incorporate in your future projects?
Tori got me a Tzouras for my birthday this year of which I’ve been busily recording. I felt an instant bond to this instrument the first time I picked it up and played it. I haven’t been able to put it down since. It’s almost impossible to explain the spiritual connection that playing an instrument that’s been at the forefront of my culture and musical framework provides. You will definitely hear more greek instrumentation on the next project.
“I’ll never say I hate the city, but it’s the last place I want to spend my retirement.”
As someone who ‘lives and breathes music’, how do you re-charge your creative spirit, and do you ever experience creative burnout?
Burnout for me is a time that represents a need to step back from your creative endeavour and understand what the space represents. Every time I take a small break from music, I often venture into other avenues of creative output being drawing and painting. It’s a healthy and important part of the creative process, because every time I come back from a spell of rest, the music I create from a result of this break is always better than what I have done before. Neuroplasticity is so lit, rewire your brain fam!!!!
In a recent interview, you mentioned something that might surprise some fans: ‘I don’t like parties or loud venues. I don’t like standing up for ages in the dark, there’s always a smell, and people are usually yelling at each other about nothing.’ Could you share more about how you navigate the seemingly contrasting worlds of being a performing artist—often associated with loud venues and lively atmospheres—and your personal preference for quieter, more subdued environments?
I wear earplugs when I’m out and will go hide in the toilet for like 30 minutes at a time if I need to and have a doom-scroll. Also I’ll often say that I have to get a glass of water or get some fresh air when I need a break from someone yelling in my ear and spraying their kebab spit on me at the club.
I honestly just enjoy being in the studio and making music either alone or with 1 or 2 other people. Don’t get me wrong I love performing, I just don’t thrive around club-like situations.
So, given your aversion to loud, bustling environments, do you find solace and inspiration in nature rather than cityscapes?
Absolutely. Sunsets, the ocean and mountainous terrain are what keep my brain warm and functional. There is a certain sense of doom that comes with the city which can be great to write about, but hard to always be around. However, I spent a lot of my childhood around the city, so there are certain pockets of Naarm’s metropole that will hold a special place in my heart forever. I’ll never say I hate the city, but it’s the last place I want to spend my retirement.
In a world without music, what would Nikodimos be doing?
INVENTING MUSIC
Thank you so much for your time!
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