Artist of the Week: Alpha Sect

Interview by: Ruth G. Núñez de Arenas

– Spanish Below –

With a path shaped by sonic introspection and a musical identity that resists easy classification, Alpha Sect has become one of the most compelling voices in the European underground. From his roots in Greece’s punk and post-metal scenes to his evolution into a sound where EBM, darkwave, and experimental electronics converge, the artist invites us into his world — a space of catharsis, meticulous detail, and a constant search for meaning. In this interview, we dive into his beginnings, influences, creative process, and the scene that surrounds him. An intimate journey into the heart of his sonic sect.

Why Alpha Sect? 

This is like an invitation to something really personal and deep concerning the music. To start with the idea behind Alpha Sect is the importance that music has for me, the importance that music has for me in my life. Music, I started, you know, my parents bathed me into music, into classical music, into Greek music, into all kinds of music, rock. 

So you have had contact with music since you were a child? 

Totally, totally. I grew up, I have photos of me when I was young with me having like the old Walkman, with cassettes, tapes, and listening to it when I was like five, six, not even five, six years old. So, I was always into music, and music is a really important place in my life. I went by different stages of different genres of music, from rock, metal, metalcore, hardcore to electro, more commercial, minimal, you know, it was this in 2010, this minimal vibe with Extrawelt, and afterwards you have this psychedelic trance everywhere, in Greece at least, between 2010 and 2014. So, I was really listening and getting a lot of influences, and I was playing in a band at that moment, like I was playing post-rock and post-metal as a guitarist, I started learning music with the piano first, and then I went to the guitar, and then back to the synthesizer and the pianos later on.  So, Alpha, it has this symbolism, so it’s a symbol of importance for me, it has in my life, it’s the music, it’s the first element that defines me and I identify myself with. Alpha is the number one in Ancient Greek, it’s the letter, it’s the number one written Alpha in Ancient Greek. So, in Ancient Greek, when they used to say 1, 2, 3, they said Alpha, Beta, Gamma, it was the word for 1, 2, 3, forever, you know, the numbers. So, it has this idea, it’s the first thing that really matters to me and it’s really important. The idea behind sects is what I explained a bit before, that the kind of music that I write is influenced by many things, I mean, I listen to jazz, I listen to classical music, I listen to everything, so the things that I compose, they are influenced by many elements, and this is what I really like to put in music, that it’s not the same every time, I try to evolve and add new elements every time I make something, and I don’t want to create the same thing, I don’t want to be just, it works or this is what works at this time, ok, let’s put all the effort, it doesn’t work like this for me, and this idea of a sect is like inviting someone to a world, my world, with my music, to let him come inside and become a member of the sect and understand this kind of music, this vibe that I’m trying to put out. So, this is why Alpha sect, the music is very important and it has a specific audience, let’s say, that needs to come and understand and feel the music, this is what I aim for, people that come and listen and take time to delve into it, it’s not like, ok, let’s listen to a song and drink and dance, no, I really like to have more thinking into it, more sophisticated.

Yes, maybe more conscience.

Exactly, conscious listening is something that I aim for, so people listen, find details and find depths into it, and that’s why I try to do different stuff every time.

Do you remember the moment when you decided to do it professionally? 

Yeah, I think it came by itself, it came alone, on its own, let’s say, that when I had free time I was doing music and I didn’t feel that I have to do it, I have to, I mean, it came alone, like even by unable to, nor by playing the guitar and composing stuff, it came by itself. It felt really nice to be able to express myself through music. It was somehow kind of, you know, a way of putting out emotions, putting out some feelings that I have, so it’s like psychotherapy, let’s say, or whatever. 

Yeah, absolutely, music is like, you know, that’s going to be another question, like how you use the music, for example me, it’s like transmuting emotions. 

Yeah, you need to express something and I’ve listened, you know, many times, people saying, oh, if you don’t have difficulties in your life, so you cannot make art, you know, or you cannot express yourself, if everything is perfect and everything is fine in your life, and at some point this is true, and growing up in Greece, in a place which had a big Greek economic crisis, there was a lot of revolt, a lot of energy, a lot of power, that’s why I started, you know, playing and expressing myself through post-rock and post-metal bands, because they have this energy, this, let’s say, silent volcano eruption kind of vibe with the melodies, and now most in my tracks there’s this energy in my performance, you know, I try to put out this punk influence that I have from the past, from Greece, the Greek scene is mostly DIY, punk scene, metal scene, and we have a strong scene in Thessaloniki and Athens, and it really influenced me not going to autonomous places, watching people play live bands, and it was something that really motivated me more and more, and gave me more influences. So I think it’s a mixture of many things, to be honest. 

If you have to define your music to someone that has no idea about what you do… 

If I meet someone who has maybe no connection to this kind of scene, I go really basic, you know, I say, do you know The Cure? Do you know Depeche Mode? I’m trying to go deep and deep, you know, and see to which level the other person knows. So most of the time we stop around Cure and Depeche Mode, you know, we don’t get more deep inside, or, you know, Bauhaus, Skinny Patty, Coil, or something like that. Imagine some kind of Depeche Mode, this kind of vibes, more energetic, a bit more club, and at the same time experimental approach, same sound, same synthesizer, this kind of eerie voices. It’s like, oh, okay, yeah, you know, people react like this. This is how I define it to someone who doesn’t have any connection. 

And if you have to choose five bands that really influence you to make music, or, you know, that are definitely something that, you know, like, put you in the mood to make music, what are the bands? 

The different influences come totally from the past. I mean, when I was growing up, my older brother, he was listening to many different things that I, at the moment, you know, I had no idea as, you know, the first time maybe I listened to Pink Floyd, I was, I don’t know, maybe seven or eight years old, and, you know, I remember listening to a CD at the moment, and you have this guitar coming from the right side, and you have some very interesting details, and I was really surprised, you know, and this was like, caught my ear, I will never remember, I’ll forget this moment. So I think maybe the first group was Pink Floyd for me, let’s say, that I started with when I was like less than 10 years old, and then slowly, slowly I started discovering, I had found another band at the moment, it’s called Static X, which is like a very metalcore band, and I was like only 11 when I started listening to that thing, and I was like, yeah, I like this energy, all that stuff. I think after that, I found my way into, you know, the more romantic stuff, like The Cure, Bauhaus, and mostly like post-emo scene at the moment, like Skinny Puppy, you know, this American emo scene after the 2000s, which really defined me, my sound, a lot of melodies, the guitars, etc. So I have many, many bands, but I’d say there’s five, let’s say, that they are the main, that started, like, putting the basis of what it is today, I would say. And of course, I mean, maybe it’s cliche to say, like Front 242, it’s, you know, it’s something unique.

Do you remember the moment when you created your first track? How was it?

It was terrible. This first track was terrible. The first ever track, I mean, before Alpha Sect, you know, I was doing a guitar, I had another project, doing some other music or more experimental. I mean, the first one is always, you know, something you think… No, 

Do you remember how you did it? I mean, how was the creative process? And from there to now, how was the evolution? 

I mean, the art. It was a discovery, you know, I felt like I discovered something new, new horizons, and I opened up. It was really interesting to see that, like to have this developing and combining sound. And you have an idea on the guitar, and then you combine it with some drums and then some bass, and then it becomes an ensemble, becomes a whole thing, and said, wow, you know, I like it, you know. To your ears, it’s fine, it’s not something that you could maybe sell or play somewhere, but I don’t know, it’s something personal, you know, and I really like… I really… Even though it was… With today’s year, it was bad, you know, I really like it at the moment. I still have some private SoundCloud links somewhere in another profile. I found them one day, I was listening, I said, oh, okay. That you are not going to show to anyone. No, no, no. It stays in the bag of the time, in the time, you know, wardrobe. Yeah, but the evolution was… It took time. It took time, a lot of time, a lot of practice.

How was the process to rediscover the elements that you have now in your set? How do you do this process? 

Yeah, it’s a very interesting question. I think the most important element is my ear, and it’s the ear in every person, because we hear, as humans, each frequency differently, because anatomically our ears are different, so for me there are some frequencies that speak to me, and I’m trying to always find these kinds of sounds, like the 80s, 90s synth sounds, but at the same time, I’m not searching exactly the same thing, I’m trying to find something really similar, that I change it a bit, to make it more mine, more unique, because otherwise everything would sound the same, so I’m always trying to tweak and find the sounds and make them a bit more bizarre, add effects, phasers and stuff like that, so it’s more interesting to the ear as well, and the process was a process of trial and error, so I spent a lot of time trying to do this, doing workouts, trying to do this, that, listening to other tracks as well, getting ideas from other artists, sometimes I have this process where I don’t do any music, I just listen a lot, a lot, a lot, a lot, and then I stop, let’s say, listening, and then I start doing more music. My brain got a lot of information, and now the brain is processing, and after 1, 2, 3, 4 months, it’s putting out through his own filter, what he listens to, so he gets these ideas that he likes and puts them out.

What inspired you to the lyrics? 

So with the lyrics, this is something quite recent, let’s say the last 1-2 years that I’m doing, and I really like, because I feel the melodies are one thing, they’re really the means of expression of feelings, a melody can express a feeling, if it’s a happy melody, or a sad melody, or whatever you put in a track. But I really like to add lyrics to it, because I think it adds another layer, another energy, something more personal to it. This is what I like, it’s personal, and also it’s aligned with the idea that I want about this project, that someone can come to my own world, and feel it, and become part of this bubble. It’s like the track that is at the moment the most famous, La Ultima Vez, so I found this moment, it was really important for me in my life, in a relationship, let’s say at the end of a relationship, so it has a more personal touch to it. So I think it’s something that I had to give out and talk about. 

What about your recent projects? Because you collaborate with a lot of labels, like Banshees for example.

I’ve done it with Miseria Records as well, here in Berlin, with Carlos Grabstein. We’re doing a lot of, every time people are reaching out to me, if I have time at that moment, I’m always up, I accept to collaborate with artists that I admire and I really feel honoured to have them ask me to do a remix or to participate in VAs and stuff like that, so I always try to do it. Sometimes I don’t always have time because I have full work at the same time and sometimes life is not easy every day. So I’m trying 100%, I’m trying really my best to be everywhere but it takes a lot of time because when I can’t put out a track, I don’t want to do something just to send it. You take your time to do it properly and you put your energy into it. I put my energy and a lot of detail into it because when I do remixes I don’t just take the track and change the sounds and change the tempo and add some elements. I redesigned it, you know. I take the elements, I reshape them, I dismantle the track, then I take what I like, I put it again, I create it as a new track with different ideas. So I really took it away. It’s like, okay, I did redesign the track, keeping the same vibe as I did for the Banshees records, for example, you know. I gave it a bit more of an EBM approach to it. This takes time and it requires a lot of inspiration. Sometimes it can take, literally, it can take two hours. I have the idea, bam, I write it, tac-tac, open my scenes, I put the midi, I synchronize it and let’s go. In two hours I already have almost the track, then I can fine-tune it, change parts. But other times, you know, it takes days and days and days, takes some breaks and then comes back again to have a fresh ear and find the idea. But it takes a lot of time. 

Are you working on a new album? 

I have an EP coming out with Crave Tapes later this year, so at the end of 2025. I’m doing a couple remixes for a project in Athens called Kimisma, so I’m doing a remix for them. I’m also doing a remix for J.G. Outsider in Barcelona. The EP that Javier is putting out is very interesting, it’s very nice, it really inspired me directly. And at the same time, I’m working on an EP that I have to finish. It’s almost done, I need some more mixing, I need to add some more lyrics into it. It’s a totally different vibe. It’s still AlphaSect concerning the melodies, but it has a more post-punk vibe. It’s something that I will try to have ready for next year. Maybe before next summer, because I want it to be complete and be able to put this show with the guitar on stage and totally perform. 

https://bellaeterna.bandcamp.com/track/me-and-the-desert-alpha-sect-remix

And about the next gigs?

The next one is this Friday at Karmen Karmina in a very special Ombra Festival Night. I will play a DJ set, with Maman Küsters playing live and Oriana, Synths Versus Me B2B Max Headroom and a legendary local DJ duo Les Mutants Ont Des Oreilles will do their 12 years anniversary DJ set. 

How was the Ombra experience? 

It was very good. It’s like a mess. It’s the service of all the rituals and you go there and it’s very, very good. It’s the occult. Everyone is there. It’s the gathering. It’s the best gathering. From the scene, from the EBM scene. It’s a very good experience because everything is very professional and you play with artists that make sense to play with. The lineup is well done. It makes sense to have all those people playing together. Technically-wise, it was perfect. People welcome you. It was very professional. I know it’s very hard to make money out of it in these kind of events because I know it’s not mainstream music. But it was very, very well organized. So that’s what matters. And I met many cool people. I had many discussions with friends. And everyone mostly was satisfied with the last Ombra. So I’m looking forward to the next one.

What do you think about the Greek music scene? 

In Athens, in Thessaloniki, everywhere. It’s crazy that even in Creta you have festivals happening in the summer like the TOTEM and the Sougia festival. Many artists like Phase Fatale, Reka have played in Creta in the summer at this festival. It’s like EBM in the south of Creta. It’s… the scene in Athens, as I told you before, since we had the crisis and we had all the events in Greece happening with almost leaving the European Union in 2015 with Tsipras and other political elements, people are very angry. And when people are angry, they make art. So we have a lot of punk groups. There’s a group that I really like from Greece. It’s called Chain Cult and they do a lot of really nice post-punk punk bands. Eddie Dark, you have Blackout as well from Athens. There’s one label upcoming now very promising, Ferma. Of course you have the Vanilla and Pi label from Athens. Of course you have those labels. So the scene in Greece, it’s very thriving. It’s developing, developing. And for the little means that they have, because the money is not enough and everything is expensive. So people are trying a lot to put out things of quality. I’m really happy to see many Greeks outside Athens. I mean, you have in Paris Greeks like Boris Barth today, living in Paris. He’s putting out insane music. In Berlin you have many Greek artists living here as well, putting on music. In Spain, I mean, the Greek scene, whatever it is, is trying to be very good. 

And if you have to choose a message that your music expresses, what is? A message that my music expresses? 

So I think it’s the curiosity that I would like to invite people to try to see and discover new things. So if I wanted to express something, it’s like to incite them to try to discover new things, to go to new places, listen to new artists, go to clubs, go out, because now there is a phenomenon I think, at least in the places I lived recently, that people go less and less to clubs, because maybe it’s the corona character. After corona, there were 6 months where everyone was crazy, going out, going out, but then this thing just went out. Even people that are like 22, 23 years old, they spend mostly like the most important university years at home. Playing video games, socializing, staying at home and now we don’t really have this club culture, this club. I don’t want to generalize, but this is what most of the promoters and clubs are saying, that we see less and less young people coming over, they’re not interested in this music or when they’re coming they misbehave, they pass their limits. So it’s not just in France, I’ve heard about it here in Germany too, in Greece, it’s problematic too, so people need to be more and more curious, more and more curious and have a critical thinking of, you know, if you go, like for example here in Berlin, you can go to a bar-kino, you can go to a small cinema. I mean, I’m surprised this thing is still alive, you know, in Greece everything like this is dead, in France everything like this is dead.

Con una trayectoria marcada por la introspección sonora y una identidad musical que desafía etiquetas, Alpha Sect se ha consolidado como una de las figuras más inquietas del underground europeo. Desde sus raíces en la escena punk y post-metal griega hasta su evolución hacia un sonido donde conviven el EBM, el darkwave y la electrónica más experimental, el artista nos invita a entrar en su universo: un espacio de catarsis, devoción por el detalle y una búsqueda constante de significado. En esta entrevista, hablamos de sus orígenes, influencias, procesos creativos y de la escena que lo rodea. Un viaje íntimo al corazón de su secta sonora.

https://alphasect.bandcamp.com

¿Por qué Alpha Sect?

Esto es como una invitación a algo muy personal y profundo en relación con la música. Para empezar, la idea detrás de Alpha Sect es la importancia que la música tiene para mí, la importancia que tiene en mi vida. La música… empecé, ya sabes, mis padres me introdujeron en la música, en la música clásica, en la música griega, en todo tipo de música, rock…

¿Así que has tenido contacto con la música desde que eras niño?

Totalmente, totalmente. Crecí así. Tengo fotos de cuando era pequeño con un viejo Walkman, con casetes, escuchándolos cuando tenía como cinco o seis años, ni siquiera cinco o seis. Así que siempre estuve dentro de la música, y la música ocupa un lugar muy importante en mi vida. Pasé por distintas etapas y géneros musicales, desde el rock, metal, metalcore, hardcore, hasta lo electrónico, más comercial, minimal… esto fue en 2010, esa onda minimal con Extrawelt, y luego vino el trance psicodélico por todos lados, al menos en Grecia, entre 2010 y 2014. Escuchaba mucho y recibía muchas influencias, y en ese momento tocaba en una banda, tocaba post-rock y post-metal como guitarrista. Empecé aprendiendo música con el piano, luego pasé a la guitarra, y después volví al sintetizador y al piano. Entonces, Alpha tiene este simbolismo, es un símbolo de importancia para mí. En mi vida, la música es el primer elemento que me define y con el que me identifico. Alpha es el número uno en griego antiguo, es la letra, pero también el número uno escrito como Alpha en griego antiguo. En esa época, para decir 1, 2, 3, decían Alpha, Beta, Gamma; era la palabra para los números. Así que tiene esta idea: es lo primero que realmente importa para mí y que tiene mucha importancia. La idea detrás de Sect es lo que explicaba antes, que el tipo de música que hago está influenciado por muchas cosas: escucho jazz, música clásica, de todo. Así que lo que compongo está influenciado por muchos elementos, y eso es lo que me gusta reflejar en mi música: que no sea siempre lo mismo, intento evolucionar y añadir elementos nuevos cada vez que creo algo. No quiero hacer lo mismo una y otra vez ni seguir la corriente de “esto funciona, así que pongamos todo el esfuerzo ahí”. Para mí no funciona así. Esta idea de “secta” es como invitar a alguien a un mundo, a mi mundo, a través de mi música, para que entre y se convierta en miembro de la secta, y entienda este tipo de música, esta vibra que intento transmitir. Por eso Alpha Sect: la música es muy importante y tiene un público específico que necesita entrar, entenderla y sentirla. Eso es lo que busco: personas que vengan, escuchen y se tomen el tiempo para profundizar. No es simplemente “escuchemos esta canción mientras bebemos y bailamos”. Me gusta que haya más pensamiento detrás, algo más sofisticado.

Sí, quizás más consciente

Exactamente, la escucha consciente es algo que busco, que la gente escuche, encuentre detalles y profundidad. Por eso intento hacer cosas distintas cada vez.

¿Recuerdas el momento en que decidiste hacerlo de forma profesional?

Sí, creo que llegó por sí solo. Sucedió de manera natural. Cuando tenía tiempo libre, hacía música. No sentía que tenía que hacerlo, simplemente pasaba. Incluso sin tocar la guitarra o componer, surgía solo. Se sentía muy bien poder expresarme a través de la música. Era como una especie de terapia, como una forma de liberar emociones y sentimientos.

Sí, absolutamente. La música es como… eso iba a ser otra pregunta: ¿cómo usas la música? Por ejemplo, para mí, es una forma de transmutar emociones.

Exacto, necesitas expresar algo. He escuchado muchas veces a personas decir que si no tienes dificultades en la vida, no puedes hacer arte ni expresarte. Y en parte es cierto. Crecer en Grecia, en medio de una gran crisis económica, con mucha revuelta, mucha energía, mucho poder… por eso empecé tocando y expresándome a través de bandas de post-rock y post-metal. Tenían esa energía, esa especie de erupción volcánica silenciosa en sus melodías. Y ahora, en mis pistas, también está esa energía. Intento reflejar esa influencia punk que tuve del pasado. En Grecia, la escena musical es en su mayoría DIY, punk, metal. En Tesalónica y Atenas tenemos una escena fuerte, y me influenció mucho ir a lugares autónomos a ver bandas en vivo. Eso me motivó cada vez más. Así que es una mezcla de muchas cosas, para ser honesto.

Si tuvieras que definir tu música para alguien que no tiene idea de lo que haces…

Si conozco a alguien sin conexión con esta escena, voy a lo básico. Digo: “¿Conoces a The Cure? ¿Conoces a Depeche Mode?” Trato de profundizar poco a poco, según lo que la otra persona conozca. Normalmente nos quedamos en The Cure y Depeche Mode. No llegamos a Bauhaus, Skinny Puppy, Coil… Les digo: “Imagínate un Depeche Mode con más energía, un poco más de onda club, pero al mismo tiempo experimental, con el mismo tipo de sonido, mismos sintetizadores, esas voces fantasmales”. Y la gente reacciona: “Ah, ok, ya entiendo”. Así lo defino para alguien sin contexto.

¿Y si tuvieras que elegir cinco bandas que realmente te influenciaron a hacer música?

Las influencias principales vienen del pasado. Mi hermano mayor escuchaba muchas cosas diferentes que yo en ese momento no entendía. Recuerdo haber escuchado a Pink Floyd cuando tenía como siete u ocho años. Escuchaba un CD y me sorprendía cómo la guitarra venía del lado derecho, con detalles muy interesantes. Fue algo que me marcó. Así que tal vez la primera banda fue Pink Floyd, cuando tenía menos de diez años. Luego descubrí otra banda: Static X, muy metalcore. Yo tenía como 11 años y me encantaba esa energía. Después empecé a descubrir cosas más románticas como The Cure, Bauhaus, y sobre todo la escena post-emo americana de los 2000s: Skinny Puppy, etc. Muchas melodías, guitarras… Tengo muchas bandas, pero si tuviera que elegir cinco que sentaron las bases de lo que hago hoy, esas estarían entre ellas. Y claro, aunque suene cliché, Front 242 es algo único.

¿Recuerdas el momento en que creaste tu primera canción? ¿Cómo fue?

Fue terrible. La primera canción fue terrible. Antes de Alpha Sect, hacía música con guitarra, tenía otro proyecto más experimental. Pero esa primera canción… ya sabes cómo es.

¿Recuerdas cómo la hiciste? ¿Cómo fue el proceso creativo? ¿Y cómo ha sido la evolución desde entonces?

Fue un descubrimiento. Sentí que estaba descubriendo nuevos horizontes. Ver cómo una idea en la guitarra se convierte en un conjunto, con batería, bajo, todo, fue como: “¡Wow, me gusta!”. Aunque para otros no fuera vendible o reproducible, para mí era algo personal. Me gustaba mucho. A pesar de que hoy suena mal, en su momento me gustaba. Aún tengo algunos links privados en SoundCloud en otro perfil. Un día los encontré y pensé: “Ajá, ok…”

Que no vas a mostrar a nadie.

No, no, eso se queda guardado para siempre. Pero la evolución tomó tiempo, mucha práctica.

¿Cómo ha sido el proceso de redescubrir los elementos que ahora usas en tu set?

Buena pregunta. El elemento más importante es mi oído. Todos escuchamos las frecuencias de forma distinta, y yo trato de encontrar los sonidos que resuenan conmigo. Me gustan los sintetizadores de los 80s y 90s, pero intento no usar exactamente lo mismo, sino algo parecido que pueda modificar para hacerlo más mío, más único. Si no, todo sonaría igual. Siempre estoy probando cosas, añadiendo efectos, phasers, etc., para hacerlo más interesante. Ha sido un proceso de prueba y error. Paso mucho tiempo haciendo ejercicios, escuchando otras canciones, inspirándome. A veces, simplemente escucho mucha música durante un tiempo, y luego dejo de escuchar para empezar a crear. Es como si mi cerebro procesara todo y luego filtrara lo que le gusta para expresarlo.

¿Qué te inspira a escribir letras?

Es algo relativamente reciente, de los últimos 1-2 años. Me gusta mucho porque añade otra capa de energía, algo más personal. Las melodías expresan sentimientos, pero las letras le dan un toque más íntimo. Por ejemplo, en La Última Vez, que es mi canción más conocida, hablo de un momento muy importante en mi vida, el fin de una relación. Fue algo que necesitaba expresar.

¿Qué hay de tus proyectos recientes? Has colaborado con muchos sellos, como Banshees.

También he trabajado con Miseria Records, aquí en Berlín, con Carlos Grabstein. Cada vez que alguien me contacta y tengo tiempo, acepto colaborar, sobre todo si admiro a ese artista. Me honra que me pidan hacer un remix o participar en un VA. Pero a veces no tengo tiempo, porque también trabajo a tiempo completo. Cuando hago algo, quiero hacerlo bien, no enviar cualquier cosa. Me gusta rediseñar los remixes, tomar los elementos, desarmarlos, quedarme con lo que me gusta y crear algo nuevo. Por ejemplo, para Banshees, le di un toque más EBM. Eso requiere tiempo e inspiración. A veces puedo hacerlo en dos horas: tengo la idea, la escribo, abro los sintes, los midi, los sincronizo, y listo. Otras veces toma días y días, necesito descansar y volver con oídos frescos.

¿Estás trabajando en un nuevo álbum?

Tengo un EP que saldrá con Crave Tapes a finales de 2025. Estoy haciendo un par de remixes para un proyecto en Atenas llamado Kimisma, y otro para J.G. Outsider en Barcelona. El EP de Javier me inspiró mucho. También estoy trabajando en otro EP, casi listo, solo falta mezclar y añadir letras. Tiene una vibra más post-punk, pero sigue siendo Alpha Sect. Me gustaría tenerlo listo antes del próximo verano y presentarlo en vivo con guitarra en el escenario.

https://bellaeterna.bandcamp.com/track/me-and-the-desert-alpha-sect-remix

¿Y sobre tus próximos conciertos?

El próximo es este viernes en Karmen Karmina, una noche especial del Ombra Festival. Haré un DJ set, junto a Maman Küsters en vivo, Oriana, Synths Versus Me B2B Max Headroom, y un dúo local legendario, Les Mutants Ont Des Oreilles, celebrando su aniversario número 12.

¿Cómo fue la experiencia del Ombra?

Muy buena. Es como un ritual. Todo muy profesional, y tocas con artistas con los que tiene sentido compartir cartel. El lineup está bien curado. Técnicamente fue perfecto, muy bien organizado, lo cual es importante porque no es música mainstream. Conocí a mucha gente genial y todos estaban satisfechos. Espero con ansias el próximo.

¿Qué opinas de la escena musical griega?

En Atenas, Tesalónica… incluso en Creta hay festivales en verano como TOTEM y Sougia. Han tocado artistas como Phase Fatale y Reka. La escena griega es muy activa. Desde la crisis de 2015, con Tsipras, la gente está muy enfadada, y cuando la gente está enfadada, hace arte. Hay muchas bandas punk, como Chain Cult, Eddie Dark, Blackout, y sellos como Ferma, Vanilla y Pi. La escena se desarrolla a pesar de tener pocos recursos. Me alegra ver a tantos griegos haciendo música en París, Berlín, España…

Y si tuvieras que elegir un mensaje que exprese tu música, ¿cuál sería?

Creo que sería la curiosidad. Quiero invitar a la gente a descubrir cosas nuevas. A explorar, a escuchar nuevos artistas, ir a clubes, salir. Últimamente veo que la gente va menos a los clubes. Tal vez por el efecto post-corona. Durante seis meses todo el mundo salía sin parar, pero luego bajó. Incluso los jóvenes de 22 o 23 años pasaron sus años de universidad en casa, jugando videojuegos, socializando online. Ahora no hay tanta cultura de club. No quiero generalizar, pero muchos promotores lo dicen: la gente joven ya no viene tanto, o cuando viene, no se comporta. Pasa en Francia, en Alemania, en Grecia… La gente necesita ser más curiosa, más crítica. Aquí en Berlín aún puedes ir a bares-cine o a cines pequeños. Me sorprende que aún existan. En Grecia o Francia, ya no hay nada de eso.

https://alphasect.bandcamp.com