DAEMONIA NYMPHE

“Poems of something magical yet to come.“

What happens when you conjure the gods on stage? Since their formation in Athens in 1994, Daemonia Nymphe have been summoning the sound and spirit of Ancient Greece through music that’s as theatrical as it is timeless. Founded by Greek musicians Spyros Giasafakis and Pantelis Giasafakis, the project brings ancient instruments—lyres, auloi, pandouras—back to life, crafted by luthier Nicholas Brass, and used to breathe new energy into Orphic hymns, Homeric verses, and the poetry of Sappho.

Clothed in ritual masks and mythic atmosphere, their performances blur the line between ceremony and concert, rooted as much in visual art and pagan tradition as in sound. Since joining the band in 1998, Evi Stergiou has played a key role in shaping their stage presence and Ethereal sound. From their Bacchic debut and the haunting Psychostasia, to composing for the Greek National Theatre’s Macbeth, Daemonia Nymphe have consistently created worlds where the ancient and the experimental collide.

Now, as they prepare to release a new album—shaped across studios in Athens, London, and Thessaloniki—they continue to mask the modern and summon the past.

Hello Spyros. On behalf of Peek-A-Boo, let me begin with a heartfelt thank you for taking the time to speak with us. Your music awakens echoes from a world long passed—yet it carries a sound that remains profoundly current, bridging the ancient and the modern. What first called you to these ancient sounds, and what were those early days like, forging a path so far from the mainstream?

We appreciate your warm words and thank you sincerely. Our focus is not on creating music from the past, but rather on producing contemporary compositions. One could argue that we occasionally explore uncharted territories of music that have remained untouched for centuries. The ancient Greek instruments were unfamiliar to us, as they had not been present in Greece for many centuries. Since Nikolaos Brass provided us with his remarkable ancient instruments in the 1990s, we have been able to explore different sounds and incorporate them into our new works. Although these instruments hail from a distant past, their sounds are not actually known; one might even assert that they generate a novel sound for our contemporary age. Consequently, we needed to uncover these new sounds and combine them with the sound of our contemporary instruments. Initially, this proved challenging as we were quite careful about how the instruments should be played. We conducted extensive research over the years to determine their performance techniques, studying ancient vases, sculptures, paintings, and reliefs to gather insights. After several years, we came to the realisation that these instruments should be utilized in the same manner as any other instrument, as that is their intended purpose: to integrate into the modern world. Our music celebrates life; our songs are, in essence, hymns to life, hymns to the beauty of existence. Engaging actively with the everyday, whether in the present or thousands of years ago, is of no consequence. Beauty remains timeless, and there is beauty to be found in everything, even in what may be perceived as ugly. Through our music, we do not aim to convey a specific message; rather, we interpret the everyday, the ceremony of daily life, and the ritualistic nature of our ordinary experiences, even though nothing is entirely mundane. We create art to experience the work we wish to see or hear ourselves. If others appreciate it, that is a bonus; if not, it is beyond our control. Art is an esoteric endeavour, a process of creating something from within, a work we wish to share with others, which is why we choose to publish it.

In relation to the acceptance of our artistic work, having amassed a total of 13 million streams for one of our albums, specifically Psychostasia, is quite surprising yet immensely valued. Our approach to music composition does not revolve around the pursuit of success; the audience will always select what resonates with them and what does not. Some creations just find the way in people’s hearts! A recent example is the track ‘La nana de las brujas’ from our earlier EP ‘Witches’ Lullaby’, which has been shared an extraordinary number of times on social media, reaching a distinctly different demographic compared to the usual followers of Daemonia Nymphe (this is the true beauty of the internet). Another noteworthy example is ‘Hypnos’, a composition featuring an ancient Greek Kitharis and female vocals/whispers by Evi Stergiou, which was requested twice by the prestigious fashion house Gucci for their shows. Furthermore, tracks like ‘Deo’s Erotas’, ‘Dance of the Satyrs’, ‘Daemonos’, and ‘Thracian Gaia’, among others, have accumulated millions of streams on Spotify. Did we intend for any of these pieces to achieve success? Did we engage in promotion or advertising? Absolutely not, yet here we find ourselves… It is impossible to predict what will resonate and what will not. This unpredictability represents the fundamental nature of art; you unveil a work of art, and it attracts its own audience.

Daemonia Nymphe’s self-titled debut album introduced listeners to a sound both unfamiliar and ancient—ritualistic, immersive, and unlike anything in the scene at the time. Can you tell us how that first album took shape?

Before the launch of our self-titled album, we had already put out the LP 'The Bacchic Dance of the Nymphs' via Solistitium Records in 1998, which was our very first release. At that time, we had not yet met Nikolaos Brass, and thus we did not possess the ancient Greek instruments. After listening to this debut LP, Nikolaos Brass quickly decided to place his trust in us by sharing his collection of ancient Greek instruments. This represented a significant moment for us, a turning point, as it provided us with the chance to incorporate the ancient Greek instruments into our music, a dream we had long held. At that time, I was studying sculpture at the School of Fine Arts at Aristotle University of Thessaloniki, where I was in contact with many artists and musicians. The School of Music Studies was conveniently located nearby, allowing me to foster close relationships with other musicians. It was there that I met Evi Stergiou, with whom I began to explore the sounds of the ancient instruments. We delved deeper into ancient Greek scripts, images from ancient vases, and sculptures to discover how to perform with these instruments. This first full-length CD is essentially the product of our exploration with the ancient Greek instruments. A few years later, in 2004, I released the CD 'Improvisation in Ancient Greek Instruments,' which further examined the endless possibilities of performing with these instruments and their inclusion in the contemporary music landscape.

Evi Stergiou joined in 1998, and her presence has since become inseparable from your project’s visual and vocal identity. How did your paths first cross, leading her into your creative circle?

Evi Stergiou is a highly skilled musician, recognised for her talents as a composer, instrumentalist, and singer. She has a distinctive approach to transforming basic melodies into remarkable compositions. Her addition has provided the essential feminine touch that the band needed. With her involvement, Daemonia Nymphe have achieved completeness. We are convinced that the integration of both male and female elements is vital for the fulfilment of our artistic goals. These elements exist everywhere, as they are integral to the same universe, contributing to its wholeness. Our creativity is fuelled by the ordinary aspects of life, which are steeped in history, reflecting the remnants of the past.

Focusing on your compositions for powerful theatrical works such as Macbeth, Medea, and Oresteia, there’s a delicate balance between translating raw human drama and ancient myth into soundscapes that support the story while evoking its timeless spirit. What lies at the heart of this work?

After moving to London, we have engaged in several theatre productions. Each play was approached with a unique perspective. Furthermore, the instruments played a crucial role in guiding our decisions for each piece of work. Our method of composing music is similar to that of creating a film soundtrack rather than writing music specifically for a play. This is particularly noticeable in our production of Macbeth. In our previous performances of ancient Greek dramas and Aristophanes’ comedies, we performed live on stage, thus becoming part of the play alongside the actors. Fortunately, the director shared our vision, and we collaborated as a team throughout the entire journey, inspiring one another.

You mentioned how Psychostasia alone has gathered over 13 million streams, even though success was never your goal. What do you think it is about that album that speaks so deeply to listeners?

I would prefer not to distinguish between the various works we have produced over the years. The reality is that one can never predict which songs or albums will resonate more with the audience. Therefore, regarding 'Psychostasia', I cannot explain the reaction it received.

Drawing on your experience as a composer, musician, and visionary artist, imagine you’re teaching at a prestigious music academy, facing a classroom of rebellious students who challenge every rule. What would you teach them?

This is a role I wouldn't really want to take on. Moreover, I would challenge every rule, just as I have done throughout my life. The things I've done in music and art were often doubted, especially at the beginning, but I never stopped pursuing what I loved. I can't understand people who create art and music just for the sake of making money, seeing it purely as a business. I'm not saying it isn't hard work; it truly is, and it comes with significant costs. You need to earn money to afford the production expenses, but it shouldn't be viewed as a way to become wealthy. Many who have taken that route have faced serious consequences, both physically and psychologically; it's not something to be taken lightly. In fact, this is a valuable lesson to impart.

Before moving on to the present, I’d like to pause for a moment on a few releases we haven’t yet touched upon — The Bacchic Dance of the Nymphs, Daemonia Nymphe Remixed, and Krataia Asterope. Each of these works reveals a different facet of Daemonia Nymphe’s artistry, from invocation to reinvention and renewal. How do you look back on this evolution?

All albums are distinct, each adhering to specific aesthetic patterns and values. Nonetheless, within a single album, every song exhibits its own unique characteristics. Sometimes, the instrument's voice is the most prominent in each track, while at other times, the male or female vocals take centre stage as the primary instruments. The work does not progress to improve but rather changes, reflecting our own transformations as we mature and as time elapses.

Throughout this evolution, who or what has inspired you most — whether musicians, composers, or other forms of art?

I believe there is no evolution regarding the compositions and aesthetic value of the artwork. Each piece is unique due to the varying phases of the creator and the distinct era in which it is produced.

Turning to your more recent work now, Witches’ Lullaby: Whispers from the North, South and East, which followed the Witches’ Lullaby EP from 2021, is like a collection of poems — like whispers of something magical yet to come. What was it about that piece that made you return to it and expand it into a larger work?

''Witches' Lullaby'' does not constitute the primary focus of our work; it is more accurately described as a side project. The initial piece, ''Witches' Lullaby'' for the play Macbeth, received favourable responses from audiences worldwide. For example, we heard from a mother in Ukraine who mentioned that she listens to the lullaby every day with her 3-month-old son! For some individuals, it is a deeply emotional experience, while others find serenity or even feel as though they are cradled by Orpheus while listening. The various interactions with our music serve as a vital source of inspiration for us to embark on such projects. ''Witches' Lullaby - Whispers from the North, South and East'' is a continuation of the 2021 EP. The underlying concept is largely similar, with the key difference being the more pronounced ASMR-like whispers, which this time include actual words. The specific content of the stories is not particularly significant, as the words are mostly inaudible due to our method of working with each sound, voice, and instrument; our intention was to create a soundscape that allows the mind to drift away from the routine of everyday life. The ideal way to experience the lullabies is through headphones in a dark room, away from other distractions. For the first EP, we collaborated with vocal artists including Japanese Hatis Noit, Spanish Priscilla Hernandez, British Victoria Couper, and Rey Yusuf, who are also part of the band. Evi Stergiou of Daemonia Nymphe also contributed with her version, which is more akin to a 'proper' song than a soundscape. For 'Witches' Lullaby - Whispers from the North, South and East', we collaborated once again with Victoria Couper and Rey Yusuf to produce a rendition of the track that is more aligned with the original composition than any of the previous improvisations. The EP features contributions from German artist Joran Elane, Palestinian musician Enas Al-Said, and English artist India Blue, each providing their unique adaptations. We have had the privilege of meeting several of these artists face-to-face, while others we have connected with through online platforms. We hold their musical talents in high esteem and are genuinely grateful for their willingness to be involved. We have received numerous positive responses from listeners who found the music to be quite therapeutic. After all, these are soundscapes; they evoke imagery and atmospheres rather than simply delivering a catchy hook. The EP possesses a cinematic quality, not in the grandiose style of Hollywood soundtracks, but rather in its soft ambience and vivid portrayals. As I mentioned earlier, it is a natural progression for us to engage in various projects, and we will persist in doing so while collaborating with other musicians. The life of an artist can be solitary, but when artists come together, it leads to a state of bliss.

And what is yet to come is your forthcoming full-length album — a work you describe as being of great importance. Shaped across studios in Athens, London, and Thessaloniki, what can you share with us — and with your fans — about this release? What can we look forward to?

The majority of the recordings for the upcoming album have been completed. The studio sessions took place in Athens, Thessaloniki, London, Colmar, and Herakleion. At present, we are in the mixing phase and are finalizing the last components required to complete the album. I prefer not to disclose too much regarding the upcoming album. I realise that a lot of people are looking forward to it, and the truth is that we haven't offered many insights yet. We've shared a few behind-the-scenes moments from the studio with our followers on social media, and there are more surprises ahead, so keep an eye out!

One final question. Imagine the sky above us opening into a dimension never seen before — the forces of nature unleashed: storm, thunder, lightning. The gods you once summoned on stage have entered our world. On behalf of humanity, you are allowed to ask them one truth — what would it be?

…

Spyros, let me once more give you a heartfelt thank you for taking the time to speak with us. It has been a true delight. On behalf of Peek-A-Boo, I wish you — and all of Daemonia Nymphe — a beautiful, enchanted, and inspired musical future. Here’s to what is yet to come!

Thank you very much for this interesting discussion.
Please check our links and follow us if you wish to connect with our world…

linktr.ee/daemonianymphe

Hayley CLX
05/03/2026