Destroy False Idols

Constantine Skourlis is no stranger to long works that inspire violence and darkness in the mind. As

reflections of the sociopolitical climate, the ongoing human rights struggles we witness, and the

suffering so many endure, Skourlis follows the theme of his highly acclaimed debut album Hades with

distinct, thematic strength; a dualistic nature of beauty and of violence. Seeking balance and peace

with abhorrent horror and inescapable strife, his sound is reflective of his mission statement.

Gorgeous, unique vocal and electronic music with the decisive addition of the legendary

Halldorophone clash with the decimating percussion by Serapheim G. Of legendary Greek heavy rock

band Planet Of Zeus evoking moments of both lucidity and discomfort. Be that of hopeful outcomes or

unfettered doom, the motion is there. Loops cascade in on themselves, implode, get lost in

frequencies, and reemerge. Every work that Skourlis makes is oceanic in scale. Deep, cold sensations

from sub-bass butt up against sunbaked heat from high-pitched string ensembles. Although adjacent to

neoclassical composition, Skourlis finds the permutations between past musicalities and creates a

new, distinct invention. It's a sound that could as well come from deep in your skull as much as it

could come from the very back of a cave so deep you cannot see the end of it. It's the sound of a

bullet leaving a chamber and the sound of it entering bone. Constantine is, without a doubt, one of

the composers of the 21st century that will be reflected back upon, no matter what world is left for

the future.

Words by the Composer:

My long-form works have an inevitable tendency to be marked and consequently inspired by socio

political events. My debut album HADES was haunted by the refugee crisis and the events that

unfolded as most of Europe stood in silence. With ETERNAL RECURRENCE I delved deeper into the abyss

that is the human psyche and the inevitable dualistic nature of beauty and violence. The eternal

struggle for balance and the destruction that follows. One could describe the process of the

composition as an instinctive response to an imminent danger, a "weapon" of self healing amidst

global catastrophe. In a way it is a thread in the continuum of the inescapably social/ political

themes that are infused in my perception of the purpose of Art and the role of the Artist as a

social being capable of creating positive feedback loops that have the prospect of creating

awareness. Albeit it forges ahead on the clash between technology and spirituality and the deep

abyss that has been tunnelled as a result of society being pushed to a breaking point.