Costis Drygianakis

The task of Costis Drygianakis might not have enjoyed very much recognition outdoors Greece, but his activities as composer, teacher, and label director (Edo) produce him a significant animator from the avant-garde music scene outdoors Athens. He provides published recordings using the collective Optical Music and under his name. Drygianakis was created in Volos, an area he remained focused on as he battled with other performers through the realms of music, movie theater, and visible arts to maintain an experimental ethnic picture alive. He researched physics on the College or university of Thessaloniki, but by 1985 (at age group 20), he previously already made a decision to spend himself to music. He started playing keyboards in his teenagers with Egopigo, a semi-professional group that still left no recordings. In the summertime of 1984, he developed the name Optical Music, which he put on a loose collective of music artists (including Yiannis Argyropoulos, Christos Kaltis, Kostas Pandopoulos, and Alexis Karavergos) functioning being a studio room unit. Getting close to music being a source of pictures, applying principles from visible arts to improvisation and structure, the group combined acoustic instrumentation with consumer electronics and Greek folk affects with contemporary traditional, avant-garde, rock and roll, and jazz. An initial album arrived in 1987 as well as the group split up. The introduction of sampling and documenting technologies concentrated Drygianakis’ interest for another couple of years. He performed in Ross Daly’s group and added to the consumer electronics laboratory/studio room Graffiti in Larisa where he fulfilled Stathis Theocharakis (he shows up in the EP Egkainia). His brand-new interest in audio collage resulted in Optical Music’s Tomos 2 in 1994, a very much different affair with a fresh lineup (including Theocharakis, Daly, Christos Foulias, and Dimitris Yiagas) offering source materials for him to put together in a far more ambient method. Around once, Drygianakis began to teach on the recently inaugurated section of pc music on the Volos municipal conservatory and his actions multiplied. He composed music for documentaries and movie theater (excerpts from the latter could be noticed on Dilemma in Volos: Sound Docs 1994-2001) and exhibited an set up at Alli Poli, a skill space maintained by longtime close friends and collaborators Thanasis Chondros and Alexandra Katsiani. In 1997, Optical Music produced several uncommon live apparitions delivering conceptual performances mixing up audio, visuals, and movie theater, but by the end of that season, Drygianakis retired the name and “proceeded to go solo,” prepared to presume his work rather than using the protecting shield of the collective. When Pandopoulos made a decision to incept an archive label of experimental music, he provided him the creative path. Among albums by additional Greek electro-acoustic composers, he released a string of single CDs, including Post-Optical Scenery (1999). In the turn from the hundred years, he started to perform like a laptop computer/electronic artists, getting involved in improv classes. He supplied digital textures to Theocharakis’ Want You a good Resurrection (2002).