Methexis: Suiciety 2015

 

Founded in Athens, Greece in 2011. Greek project METHEXIS (ΜΕΘΕΞΙΣ in Greek) is the creative vehicle of Nikitas Kissonas (ex-VERBAL DELIRIUM, ex-YIANNEIS). Methexis means the communication between the sensible world and the world of ideas, the mental encounter.
                                                                    

[τὰ μὲν εἴδη ταῦτα ὥσπερ παραδείγματα ἑστάναι ἐν τῇ φύσει, τὰ δὲ ἄλλα τούτοις ἐοικέναι καὶ εἶναι ὁμοιώματα, καὶ ἡ "ΜΕΘΕΞΙΣ" αὕτη τοῖς ἄλλοις γίγνεσθαι τῶν εἰδῶν οὐκ ἄλλη τις ἢ εἰκασθῆναι αὐτοῖς.  : οι μεν ιδέες υπάρχουν στη φύση σαν πλαίσια, τα δε άλλα μοιάζουν προς αυτές και είναι σαν

ομοιώματά τους, και η μέθεξή τους με τις άλλες ιδέες έγκειται στην αφομοίωσή τους μέσα σε αυτές και τίποτα άλλο (Πλάτων, Παρμενίδης, 132) "The ideas exist in nature as frames, the others look like them and are like their dummies, and their intermingling with the other ideas lies in their assimilation into them and nothing else". PLATO. (Plato was a Greek philosopher born in Athens during the Classical period in Ancient Greece. He founded the Platonist school of thought ...)]
                                                             

And it was following the release of VERBAL DELIRIUM's debut album that Kissonas hit the studio, to

record music he had been working on for many years himself. With the aid of drummer Nikos Miras, and invaluable assistance by sound engineer Leonidas Petropolous, an album's worth of material unfolded, and was finalized as the CD "The Fall of Bliss" in 2011. An album aspiring to acknowledge the heritage of 1970's progressive rock whilst incorporating elements from music of a more contemporary origin, placed within a conceptual framework.
                                             

Following the release of this initial production, preparations for a second Methexis CD have begun.

This time also involving additional musicians applying their skills to the proceedings. In February 2015 METHEXIS release their second album "Suiciety", which is a concept album about the exterior influences a human gets from his childhood, the interior research for a guiding instrument, the exposition on a suicidal society that doesn't listen to the clear warnings and the unavoidable collapse.
                                                   

Nikitas teams with members of THE ENID, ÄNGLAGÅRD, BIRDS & BUILDINGS, AGENTS OF MERCY and YIANNEIS to deliver this second album, including, among others, Joe PAYNE (Vocals), Linus KÅSE (Keyboards), Nikos ZADES (Sound Design), Walle WAHLGREN (Drums), and

Brett D'ANON (Bass). For a new direction in 2016 Nikitas Kissonas joined forces with Mampre KASARDJIAN (bass), Haris BOTSIS (keyboards) and Theodore CHRISTODOULOU (drums) turning Methexis into a four piece formation, but already one year later Methexis went down to a power trio, performing all around Greece. In 2018 Methexis released its third album entitled "Topos", it is instrumental CD, and for the first time also available on vinyl.
                                                      

About making music in Greece. "Nowadays it is easier to make an album thanks to today's technology,

even collaborate through the internet! But the problems come with doing concerts. And you need an audience for this. Unfortunately Greece's prog audience isn't vast so we have to limit ourselves in few gigs. It is also difficult to do rehearsals because everyone is working the whole day or doesn't have a job so they don't have money to pay a rehearsal studio or even transport.
                                                                         

Touring is expensive both in Greece and even more trying outside Greece because of heavy airport

taxes. Making music is cheap nowadays but trying to put out a CD or even more on vinyl and distribute it is expensive. It all comes down to the matter of cost and the fact that for rehearsals, making music and doing concerts I end up paying way more than receiving. The same goes to all independent groups. At least in Greece." (Nikitas)
                                                

About the press reactions. "Well, in a nutshell, they didn't notice The Fall Of Bliss, they received Suiciety well (thanks to Joe Payne) and I feel that the reaction for Topos is quite numb so far. It makes sense because it is a quite difficult album compared to the previous two, but I will have to wait and see the worldwide reactions when it will grow into the listeners." (Nikitas)

SUICIETY - 2015

                                                         

[Review by Bruford Freak COLLABORATOR Honorary Collaborator

A concept album following the life cycle of a human being, childhood to citizen adult, the lyrics (and music) are replete with references to all of the odd destructive and self-destructive patterns our 'civilized' race has attached itself to. Brainchild of Athenian Nikitas Kissonas, Methexis' music is never predictable and always unexpected. Begin with The Enid's Joe Payne's amazing and enigmatic voice. (Please excuse my previous error in that I mistakenly thought it was Nikitas singing.) It seems that Joe can sound like anyone he chooses. Then focus on Nikitas' eclectic and stunningly diverse guitar soundings and stylings. Then try to pinpoint his influences, the styles he is drawing from in order to make his eminently creative and original songs. It is nearly impossible. This is music that draws from so many diverse and unusual styles and ideas. This is music that tests the capabilities, the combinations and permutations, that are possible within the realms of human expression using sound and music.
                                              

1. "Chapter IV - Ruins" (4:49) starts the album with 'the end'! The fourth and final suite in the album's song-cycle, entitled "ruins," is what Nikitas chooses to begin his album with. I love it! It is an atmospheric 'post-apocalyptic' song much in the vein of Mariuz Duda's LUNATIC SOUL or even Norway's ULVER.
                                        

2. "Chapter 1 - Exterior - Remember, Fear's a Relic" (6:11) opens with the energetic force of a great blues-based jazz-rock song--complete with Hammond organ, sassy horn section, and bluesy GINO VANELLI-like vocal. A surprise as this was quite unexpected but I have to admit: it is quite refreshing and enjoyable. The falsetto chorus is also quite unusual, but then, everything Nikitas creates is quite unusual and unexpected. Quite fun. (9/10)
                                            

3. "Chapter 1 - Exterior - The Windows' Cracking Sound" (1:46) is another unusual song for its surprising mix/engineering: the entire time a heavily treated electric guitar is slowly strumming the accompaniment to Joe Paynes' delicate, untreated voice, a drummer is jamming away at a very fast pace

in the background. Once, at the end, the drums are brought up to front and center before being faded back to deep background for the horn opening of the next song, 4. "Chapter I - Exterior - Who Can It Be" (6:34) is a song performed by a horn ensemble with occasional whispered vocal and mid-song classical guitar interlude (including a brief slightly angular/diminished replication of Beethoven's "Ode to joy"). The post-guitar interlude shifts into PETER HAMMILL territory with some odd jazz instrumentation for accompaniment and the PH vocal. When thing amp back up--first via return of the horns and then full TOBY DRIVER-like band to spacey end. So odd! So outstanding! (10/10)
                                        

5. "Chapter I - Exterior - The Origin of Blame" (3:27) starts out as a piano-accompanied cabaret-like vocal much in the MATTHEW PARMENTER style. The cacophonous 'chorus' is equally 'out there'--but so creative and idiosyncratic! This is such an amazing mind that can successfully weave such odd and unusual sounds and styles into the flow of this, a concept album. I call it genius! (10/10)
                                          

6. "Chapter I - Exterior - Prey's Prayer" (6:07) is an instrumental support/setup for an amazing guitar solo. The guitar play reminds me of JEFF BECK, ROY BUCHANAN, HIRAM BULLOCK, or RAY GOMEZ! Great horn support. This is not a song to be missed! Guitar this sublime is too seldom recorded! (10/10)
                                              

7. "Chapter II - Interior - Sunlight" (8:20) opens with some more adventurous guitar sounds before shifting into a sensitive acoustic guitar supported ballad--not unlike the recent work of JOHANNES LULEY including the voice (though on this song Joe's voice is more similar to that of RITUAL lead vocalist, Patrik Lundström). Quite unusual song structure and sound combinations. So like our enigmatic chameleon Nikiitas! Excellent song. The final section sounds like recent ECHOLYN before the solo voice closes in Peter Hammill fashion! (10/10)
                                              

8. "Chapter II - Interior - The Relic" (8:28) opens with a minute of purposefully picked chords on acoustic guitar which are eventually joined by Joe Payne's equally composed yet emotional vocal. By

the end of the second minute piano and then full band have joined in to support a multi-voiced chorus. In the instrumental fifth minute the music builds in layers and intensity before crescendoing and crashing into silence with a brilliantly placed audible sigh to restore the gentle yet plaintive sounds and structures of the opening. Piano and violin--and later cello--perform some nice soli to accompany the synth orchestral sounds. Nice Post Rock song. (9/10)
                                                

9. "Chapter - Suiciety" (6:40) opens with a fast-paced, hard-driving PORCUPINE TREE-like sound of drums, odd spacey synth sounds and ominous keyboard bass chords until 1:37 when the drumming cuts the pace in half while the pile of ominous incidentals and washes mounts higher and higher. Then at 2:20 everything drops away to leave the slowly picked notes of a solo classical guitar. Cymbol play accompanies the addition of orchestral participation (I especially like the horns sections' contributions). This is then followed by a creative section in which the drummer creatively fills orchestra-supported 'space' with his cymbol and kit play. A return to full force in the ominous chord progressions crescendoes and decays while Joe Payne's treated voice alone fills the album's sad finale. (9/10)
                                              

This is an awesome album of eclectic music! Being a concept album with songs integrated to express this elevates it a notch above Methexis' previous 2011 effort, The Fall of Bliss (which I also love). A brilliant masterpiece of modern progressive rock music--one that gets me so excited to come back to it and hear it again. Special shout out to Linus KÃ¥se and Nikos Zades, the keyboard player and sound design/D&B programmer, respectively. Amazing contributions! And Walle! Awesome play on the batterie! Check this one out, people!

Definitely essential: a Masterpiece of Progressive Rock Music.]

PROG ARCHIVES (Read Here)

                                                               

Methexis – Suiciety
Label: Not On Label (Methexis Self-released) – 002
Format:    CD
Country: Greece
Released: Feb 25, 2015
Genre:  Rock
Style:  Neo - Prog Rock, Art Rock, Symphonic Rock, Avantgarde
Distributed By – Sound Effect Records

TRACKS

                                                                                  

01. Chapter IV - Ruins    4:49
02. Chapter I (exterior) - Remember, Fear's A Relic    6:11
03. Chapter I (exterior) - The Windows' Cracking Sound    1:45
04. Chapter I (exterior) - Who Can It Be?     6:33
05. Chapter I (exterior) - The Origin Of Blame     3:27
06. Chapter I (exterior) - Prey's Prayer     6:07
07. Chapter II (interior) - Sunlight     8:20
08. Chapter II (interior) - The Relic     8:27
09. Chapter III - Suiciety     6:39

Total Time 52:21

Line-up / Musicians

                                 

Nikitas Kissonas / electric, acoustic & Classical guitars, composer, arranger & producer/Music and Lyrics.

With:
Joe Payne / vocals
Linus Kåse / keyboards, synthesizers, grand piano
Nikos Zades / sound design
Brett d'Anon / bass
Mickael Walle Wahlgren / drums
Lu Jeffery / violin
Bernard Kane Jr / viola
Juliet McCarthy / cello
Ron Phelan / double bass

Brass Quintet:

Tom Heath / trumpet
Catriona Christie / trumpet
Nerys Russell / horn
James Patrick / trombone
Alistair Clements / tuba

Artwork: Artemis Schubert and Nikitas Kissonas

CD self-released (2015, Greece)  

THE ORIGIN OF BLAME  LYRICS

 
             

You know,
you can call me shame
and I will call you pain
yiuhu, yiuha let’s play
my favourite game, the origin of blame

You know,
you can call me fame
and I will call you vain
yiuhu, yiuha you shake
fear always was the origin of faith

You know,
you can call me shrink
and I will call you shrinked
yiuhu, yiuha this fix
will take too long since I devised this role

Oh my brothers, can you hear me now?
Can you see the signs?
Resounds and revisions, our apathy to rebound

             

You know,
you can call me mate
and I will call you late
yiuhu, yiuha you lost
you should not count on shoulder’s to lean on.

You know,
you can call me fate
and I will call you GREAT
yiuhu, yiuha you make
a choice to stop and fight your inner war

Holy state lord; you say
Guide us, your flock; and you say
Our mortal souls; you say
Will be your home; and you say
Just give us hope; you say
Promise the world; and you say
And just like prey we pray!

Holy state lord; we say
Guide us, your flock; and we say
Our mortal souls; we say
Will be your home; and we say
Just give us hope; we say
Promise the world; and we say
And just like prey we pray!

MP3 @ 320 Size: 124 MB
Flac  Size: 326 MB

This post is dedicated to my friend Josef From Austria.