Pantheïst, a band deeply rooted in the Funeral Doom genre, is known for their atmospheric depth and emotive compositions. The current lineup includes Kostas Panagiotou on brutal vocals and keyboards, Linda Dumitru with operatic vocals, Atanas Kyurkchiev on guitar, Fanel Lefterache on drums, and Matthew Strangis on bass. Each member brings a unique influence, from classical training to personal experiences, crafting music that transcends traditional boundaries while remaining profoundly impactful.
In this in-depth interview, the members of Pantheïst share their personal journeys, creative processes, and thoughts on the evolution of their music. From Kostas Panagiotou’s early fascination with atmospheric compositions to Linda Dumitru’s transition from operatic excess to the restraint required in Doom, each member reveals their unique contributions and perspectives. They delve into the themes that inspire their work, from spirituality and solitude to ecological concerns, offering a glimpse into the philosophies and passions that drive their sound. This conversation also touches on the band’s experiences in live performance, collaborations, and their enduring connection to the Funeral Doom genre.
Oh, and of course you’ll get to know each member’s favourite colour and ice cream flavour.
If you’re the type of reader who likes to listen to music while reading, I suggest checking out their latest release:
How did you first discover your passion for music, and what drew you to the Funeral Doom genre?
Kostas: As a child I was always a casual music listener, singing along to traditional songs and pop hits like most kids I guess, because the appreciation of music comes naturally. I only became an active music listener by the age of 12-13 or so, when I bought Words by The Christians and Queen’s Innuendo on 7” which were my first proper music purchases. Over the years my musical interest shifted from genre to genre based on my innate curiosity to discover sounds which feed my heart and soul. I was always interested in the exploration of darkness and atmosphere in musical compositions, so I explored subsequently atmospheric synthesizer music, classical music and then Greek traditional music (rebetiko) which is also the first genre which I ever performed musically in a band.
Funeral doom came later down the line. When I was studying at the university, a fellow student who saw that I was into creating gloomy compositions on the piano and synth started giving me albums such as Turn Loose the Swans and The Silent Enigma to listen to. Another student had a copy of Tales from the thousand lakes which was also an intriguing listen as it’s such an atmospheric album. In the beginning I couldn’t get into some of that stuff, as the heaviest music I was listening to by that stage was bands like Uriah Heep, Deep Purple or Black Sabbath. But over time I got into music which most people seemed to label as Doom Metal.
The appreciation of Funeral Doom came when I started reading reviews of a person called Kurt Demeulemeester in a free Belgian metal publication called Mindview Magazine. His reviews were short but dramatic and tickled my interest in bands like Unholy, Esoteric, Skepticism and Thergothon. It was a different era as I only had dial up internet at the time, which was extremely slow for music downloading, and in combination with the sheer obscurity of the genre as well as the dark atmosphere it exudes, I imagined this music being created by mysterious creatures living in caves or dark dungeons. I started hunting down these mysterious bands through word of mouth and through the discovery of the doom-metal.com website. A pivotal moment was finding a copy of Gracefallen by Unholy in a local record store and asking them to play the album so that I can listen to it through headphones. As soon as I heard the massive guitar sound coming through in combination with chilling synths, the monotonous threnody of female singer Veera and Pasi’s deep, frustrated grunts, I knew that I was going to fall in love with this genre.
Linda: Out of all of us, I am the least familiar with the genre, coming from a purely classical, conservatoire- trained background. I always loved metal but knew nothing about the Doom sub-genre. Initially, our drummer—Fanel—reached out to me on Facebook and, admittedly, I was sceptical. He sent me a link to Strange Times and when I clicked and saw it was almost a half an hour long, I fully expected to start skimming it and reply “thanks, but no thanks”. Well, that half an hour flew by and over an hour later I was still clicking on song after song and was completely sold. I was entranced by the huge scale and the sense of drama and grandeur definitely appealed to the diva in me, haha.
Atanas: I remember discovering metal through my dad. After the first gig he brought me to, my headphones became inseparable from my head. This relation between sound and thought stayed with me throughout my evolution as a person. To me, Funeral Doom offers enough time between each note to be able to fully immerse myself in the emotion we try to portray.
Fanel: I think I was 16 or 17 when music was the most important thing to myself and my group of friends and at one point we decided to make a band. We all then chose to play an instrument and for some reason I chose to play the drums and I stuck to it until present with a few odd gaps through the years. Until about 3 years ago, until I met Kostas, I wasn’t listening to any type of Doom Metal… other than a bit of My Dying Bride, Type o Negative, and Paradise Lost, so everything was new to me, but then I was lucky to discover a lot of great bands in the genre.
Can you talk about the evolution of your music over the years? How has your style and approach changed?
Kostas: I guess that my journey as a creator of music debuted at the age of 12-13, when I started to ‘hear’ music in my head. In the beginning it was nothing more than variations of existing popular songs, but experience made it evolve into something more original. I only got my first musical instrument (a Roland E-15 keyboard) at the age of 15, so until then I could only play and develop music in my head. I studied 7 years of piano plus music theory and music history, which naturally gave me a good grounding in and appreciation of classical music. My first few compositions reflected this influence. However, once I got into doom metal things changed completely, as I found my niche and decided straight away to play music in this genre. And as a keyboard player this meant collaborating with other musicians who play the instruments I don’t play and which are essential for rock or metal music. I always incorporated my influences from other genres (synth music, classical music, Greek folk music) into my metal compositions. However more recently, and especially since the pandemic, I started developing a solo career alongside these metal compositions, where some of these influences are coming to the fore in a more direct fashion.
Linda: When I first joined in with the guys in rehearsal sometime in the middle of 2023, I was coming from a place of ‘more is more’. In opera, sopranos, altos, tenors and basses are further subdivided into what are known as ‘Fächer’. Basically, sub-genres of operatic singing. My voice falls into the ‘dramatic coloratura’ category and it is all about excess, flashiness- how fast can you attempt these runs, how high can interpolate on a cadenza etc. So I remember going in and just singing CONSTANTLY. I felt the need to try to shoe-horn fireworks into every section and it took me some time to understand that isn’t so appropriate in the Doom world! I like to think that in my short time working with the band, that I have developed more taste and sensitivity regarding the greater narrative of each of the works (I almost hesitate to call them ‘songs’ because of the sheer scale of them!). I am still trying to sneak in some fun flashy moments but I hope, at least, that they are more respectful of the genre.
Who are some of your biggest musical influences, and how have they shaped your work? If I remember correctly, you told me during one of our chats that Pink Floyd is your favourite band. Have they been an influence on your work?
Kostas: Absolutely, Pink Floyd remain a favourite and a constant source of inspiration, not just sound wise but in the way the approached each album conceptually rather than in a formulaic fashion. As major influences I can also cite artists such as Vangelis, J.M. Jarre, J.S. Bach, Beethoven, Chopin, Ennio Morricone, Ludovico Einaudi, Greek artists such as Hadjidakis and Markopoulos, Joy Division, King Crimson, Slowdive, Lycia and closer to home artists such as Saviour Machine, Type O Negative, early My Dying Bride, Anathema, Skepticism, Esoteric, Unholy, Thergothon etc.
Linda: Absolute number one for me is the late great, Stephen Sondheim. The man had an inimitable gift for capturing , perfectly, the human experience in a flawless little four-minute package; think ‘I’m Losing My Mind’, from Follies. Perfection. I adore Kate Bush, Francis Poulenc, Le Monte Young, Neil Hannon, Olivier Messiaen, Florence Welch and Mark Lanegan. Glen Hansard is another favourite songwriter of mine- he can rip your heart out and you can’t help but forgive him because he does it so beautifully.
Atanas: I try to learn from many musicians in different genres who have gifted us incredible albums and have inspiring backgrounds. If we talk metal, I will first have to mention bands who at first had all odds stacked against them. Like Sepultura, Rotting Christ or Eyehategod; or ones with very special personalities and journey like Metallica; or bands whose classic albums taught me why I should take my music seriously like Isis, Paradise Lost, Amenra and many others.
Fanel: For me, I can say that Mike Portnoy was a big influence- not only for his amazing technique but mostly for his musicality he has when playing drums and his creativity.
What do you think sets Pantheïst apart from other bands in the Funeral Doom scene?
Kostas: The fact that I’m a keyboard player rather than a guitarist is a key factor, as I tend to think differently about music. I compose in terms of music structures, arrangements and atmospheres rather than building on guitar riffs (I love riffs by the way). My appreciation of classical music and symphonic/prog rock has given me a grounding in how to structure and arrange tracks which I think has been making our music different from the start. I also naturally appreciate melodies and strong hooks and once again this makes us different than bands that choose dissonance and nihilism to express themselves.
Linda: From what I can tell, Pantheïst are not bound by the strict rules that often seem to govern these more niche sub-genres. There are elements of tremendous theatre and melodic drive combined with crushing riffs. I am proud to be part of a project that refuses to be confined within a box.
Atanas: I feel like the music of Pantheist has already broken most musical boundaries of funeral doom pretty early in the band’s discography. When I joined, I was also greeted with humility, experience and dedication that are worth taking inspiration from. The mixture of these 3 words is probably what sets Pantheist apart.
What is your creative process like when writing music? Do you start with a concept, a melody, or something else?
Kostas: Over the years I found that this has varied considerably. I am often inspired by non musical things such a natural landscape, a movie I have watched, a certain emotion I would like to express. Sometimes I just sit on the piano and improvise and an interesting melody or chord progression emerges naturally. I tend to always have a voice recorder with me which is full of recordings I hum whenever they flood my mind, which can happen at any time and completely unprompted. Some of these recordings sit there forever unused, others can be the inspiration for new tracks many years later.
Linda: Kostas and I have had some fun reworking the vocal material he wrote for the upcoming album, haha. I can spend weeks and weeks pondering over one sentence and trying different things and settings with my voice to make it as 1) singable as possible and 2) make sure it maintains the original vision. I think he might have had a moment of regretting everything one day where I sat in his house and pretty much stared at a few words on the page for four or five hours until they revealed the right order to me haha. I probably owe him a drink for that level of tedium.
In my personal songwriting- I write Art Pop!- I start with a concept, always. Sometimes I will be reading and a word will jump out at me and completely set me off. Then I start writing text in a complete stream-of-consciousness and, at the same time, a tonal palette begins to suggest itself to me. I will then go back and refine the lyrics until they are, again, the most singable and beautiful version of themselves.
Atanas: I want each riff I play on the stage or record to represent a story from my life. If I come up with something good, then I will treat it like an essence of a lifetime. This piece of music will play in my head constantly and it will grow bigger and more detailed with each moment of hardship or realisation. I also believe in maniacal band rehearsals as Ive found this to the best way for one idea to reach its maximum potential.
Your music often incorporates themes of spirituality and philosophy—how do you approach translating these abstract ideas into sound?
Kostas: I don’t think they need to be translated into sound. Spirituality and philosophy permeate my lyrics and these lyrical concepts are translated musically through an unconscious process. If you have spent enough time listening to, analysing and creating music you develop an implicit map for how sad, dark, epic or hopeful translates into sound. Then it just becomes a matter of following your instinct and trusting that the overall feel of the music will reflect the atmosphere of the lyrical themes.
Atanas: Coming back to my previous answer, for me is really important my music to accurately represent my quest for personal enlightment. I am lucky enough to find Kostas’ lyrics to be something I can truly relate to and they guide me into translating them into a distorted sound.
There’s a strong spiritual and almost “church-like” quality to your music. Do your personal or your band members’ religious or spiritual beliefs play a role in shaping Pantheïst’s sound?
Kostas: I wouldn’t say so. At least speaking for me, Pantheïst is a completely agnostic musical entity where my personal beliefs are blended in equal measure with fantasy, fiction, philosophy and personal anecdote, producing a whole new experience. They are not directly shaping the sound any more than personal experiences or fleeting emotions do.
Linda: Personally, I am not religious at all. In Ireland, I was raised and schooled very strictly Catholic and I hated every second. However, I absolutely believe in the energy of consciousness and ‘life’ on a greater scale. I would say rather that I have some spiritual awareness- I’ve had two quite strange supernatural experiences in my life so I tend to believe mostly that we know nothing and live mostly in awe, haha!
Fanel: I am an atheist but the “church-like” music that Pantheist is playing takes me back to the moments when, as a child, I was going with my family to the Christian Orthodox church, mostly to the Easter mass, and I recall that peaceful, warm feeling.
Matt: As an atheist, my answer would obviously be “no”, but I’ve always liked the fact that music, and the feelings it can trigger, can (usually) transcend religious belief.
Can you share a story or moment of inspiration behind one of your most meaningful tracks?
I will disclose something I never have before. The lyrics of the track ‘The Loss of Innocence’ are strongly inspired by a poem of one of my favourite Greek poets, Constantine P Cavafy called ‘Ἀπολείπειν ὁ θεὸς Ἀντώνιον’.
The original poem deals with coming to terms with the realisation that you have never materialised your deepest dreams and hopes in life, it’s about facing the loss of your dreams with dignity and courage and moving on. My lyric offers a variation of that idea, based on the realisation I had in life that becoming an adult meant ‘losing my innocence’, the ability to have that child-like wonder and curiosity about life. The lyric is written from all seeing third person point of view offering timeless wisdom, however the last verse suggests that the main character is not all that wise at all and needs help to cope with that psychological loss of innocence too:
“Don’t let me quench blinded by my guilt
But like a Good Samaritan
Lend me a hand
Salva me”
Your lyrics often feel deeply personal and introspective—what are the main lyrical themes you explore, and how do they connect to the music?
Kostas: As stated above I draw inspiration from a variety of sources, whether it’s personal experience, reading or immersing myself in nature or art. The connection with music is mostly an unconscious one, as I usually first ‘hear’ a combination of certain words or phrases and sounds in union before they develop into proper lyrics and musical structures. Some of the themes I have explored throughout the years are feelings of isolation and solitude, philosophical reflections about religion and one’s personal relationship with the concept of ‘God’, explorations of the human unconscious, fictional stories, misanthropic thoughts, reflections on personal experiences etc.
The name “Pantheïst” reflects a spiritual and philosophical concept—what’s your reason for choosing that name for the band?
Kostas: Actually, it was a quite straightforward choice of a name. My worldview coincides with the idea of Pantheism, in particular what most people would define as ‘Naturalistic Pantheism’. When I was thinking of a band name it became apparent that, as this is a very personal project, the name should reflect some of these beliefs. Then I came across the band name ‘Atheist’ and then the deal was sealed. It occurred to me that, if an atheist can claim the word that reflects his personal belief as a musical project, then I can do the same with my beliefs.
How do you prepare for live performances, and how do they differ from the studio experience for you?
Kostas: Preparing for live gigs is completely different than preparing for recordings, these are two different worlds as far as I’m concerned. When you prepare for studio recordings you just reach the final stage of a process that has been going on for months, often years. You know exactly what to do by that stage, however I always want to leave a small element of chance and flexibility because good ideas can come flooding at the last moment, particularly when the recording itself is a collaborative process with an experienced engineer.
However, I don’t like to leave any element of chance at all when it comes to live gigs. You have a set stage time in which you need to fit a small number of songs (since our tracks are that long) and you have some idea of what audience you play for as well as the atmosphere at the venue. That means you have everything you need to prepare every detail in advance during rehearsals including the choice and order of the tracks, clothes you wear on stage, the props you use and even the movements you make in between the notes you play or the words you sing. In short, you need a well-rehearsed band on stage, but mostly a relaxed, confident and open-minded band in the studio.
Linda: For live performance, I start by doing annoying things like SOVT exercises- basically, like resistance training for your voice! I tend to be a bit antisocial before we go on if it is loud at the venue because while singing loudly is my forte- pun intended- I absolutely hate speaking loudly and find it more tiring than anything else. Our recent preparations to enter the studio have been very collaborative and I think that it’s good that we have spent a lot of time honing the music together and making sure everyone understands everyone else’s intent.
Atanas: Performing live is indeed completely different than being in the studio. On the stage is all about charging the people with the right energy. I try to tap into the inspiration behind the songs, think about my family and goals as a musician, enjoy the blessing of being in a crowded venue. In the studio there is little space for that! There being surgical in your vision and performance is vital. Every second is money and it should be spent on crafting the best product we can.
Fanel: For the live performance I usually like to retreat backstage and disconnect from distractions and the stresses of the day. I will also warm up and make sure that I feel physically ready for the set.
Matt: Practicing until the point of confidence is obviously essential for both, but for me, feeling absorbed and lost in the moment is very important in live shows, whereas with recording, I’m naturally more future-fixated, critical, and hyper-aware – satisfyingly stressed so to speak.
What has been your most memorable live performance, and why?
Kostas: There are a few I can pick from. However, it’s hard to beat our experience in June 2023 where we played at Huddersfield Town Hall in front of a seated audience of 300 people with a live pipe organist. It was one of these experiences that can never be forgotten, and that’s why we found it important to document the experience and put it on record in our ‘Kings Must Die’ EP.
Linda: I will never stop being sad that I was not with the band for that performance in Huddersfield but, for me, the most memorable performance so far was at ‘Darken the Moon’ in Mechelen, in September of last year. The venue was beautiful, the sound was beautiful, the crowd was beautiful. I had a moment where I was looking at a man and he was taking off his glasses with one hand and wiping tears with the other. It felt very special. That human connection during live performance is what I crave.
Atanas: Looking back at my time in Pantheist, I am very happy to see that this journey is filled with quite a few memorable performances and it allows for every member to have their own different favourite one. I vote for the time we flew to Milano, Italy. It was a childhood dream come true. Viva L’Italia!
Fanel: For me, I loved playing ‘Darken the Moon’ in Belgium. The venue was so majestic and had a nice church- like feeling. The attendance was great and there were so many bands working together to create a great atmosphere.
Matt: Yeah, Huddersfield was indeed a truly immense experience, as it was so unique, with such a tangible sense of “occasion”. Performing at Darken the Moon in Belgium was also an extremely special one – a fantastic crowd in a stunning venue, with huge sound, serving one of the best Belgium beers I’ve ever tasted (Gouden Carolus Triple).
You’ve worked with several musicians over the years—how do collaborations influence your music?
Kostas: It’s a fun and dialectical process. if you are on the same wavelength then the interaction with another musician always lifts your ideas to a higher level and you inevitably produce a whole which is more than the sum of its parts. That’s why you see so many great and creative musicians not being able to recreate the same magic of their band work once they go solo.
How do you feel the Funeral Doom genre has evolved in recent years?
Well, I don’t think it has evolved very much. It’s a stagnant genre and it seems to me that the better bands which develop their own sound and direction, mostly inspire tonnes of copycats rather than bands who capture the same spirit of wonder and exploration which characterises these better bands. I feel that I have discovered 3-4 worthwhile bands in the last 5-10 years which is hardly a representative sample to talk about a coherent musical movement.
Where do you see the Funeral Doom genre heading, and what role do you think Pantheïst will play in its future?
Kostas: I don’t see it heading anywhere. You will get a few more interesting bands with their own sound and vision, and a lot of less interesting bands that will borrow elements from better bands to make forgettable records. As for Pantheïst I don’t expect we will play any significant role in it, as we will probably distance ourselves further from the genre, only converging with some of its elements rather than its overall spirit.
Atanas: My prediction is more positive. Popular music is incorporating more and more dark, occult and flat out morbid themes. I think its a matter of time for more people to decide to go even further, look for something more real and reach genres like Funeral Doom. That can bring new rising names and new ideas to the genre.
What direction would you like to see the genre take in the future?
Kostas: I would like it to become more flexible, thrilling and brave so that it genuinely evolves into something relevant and diverse, like so many black metal bands have done in recent years. I hear a lot of pretentious terms being thrown around such as Atmospheric Funeral Doom or Nihilistic Funeral Doom; however, all I’m hearing is musicians playing slow and simplistic musical themes that try to sound either sad or dark but often lack heart and soul and an idiosyncratic temperament.
Atanas: I want the fog to get thicker, figures even more mysterious, riffs even heavier and each harmony to make us cry.
What are your favorite contemporary or recent Funeral Doom bands or releases? Are there any newer acts or albums that have caught your attention and inspired you?
Kostas: Yes, there are a few acts that have caught my attention as they genuinely offer something individual and exciting. A few examples are Bellwitch, Slow, Dauðaró, Föhn and Lake of Depression.
Fanel: My favourite contemporary Doom acts include the likes of Dauðaró, Esoteric, AHAB, Evoken and Ataraxie.
What are your favourite old school or classic Funeral Doom bands or releases?
Kostas: You can’t go wrong with the classics in the genre such as Thergothon, Skepticism, Esoteric, Unholy, Shape of Despair, Evoken and Mournful Congregation.
Can you tell me about your other projects describe them in terms of sound and themes?
Kostas: Sure I can give you an overview of some of them. The other band I’m currently involved with is Arð, a Northumbrian monastic doom project where I play live piano. The music is close to Funeral Doom, however it distinguishes itself by clean chanted vocals and beautiful melodies on guitar and piano. I have a solo project under my name Kostas Panagiotou where I explore non distorted, keyboard-based music. Still dark and atmospheric but not metal. I used to be involved in Belgian Funeral Doom band Wijlen Wij (RIP). It played a raw and heavy type of Funeral Doom with a characteristically fuzzy production. I also had a neoclassical project called Ereipia together with Andy Koski-Semmens who also used to sing and play drums in Pantheïst. I guess that project was the predecessor of my current solo music. I also used to play in Crippled Black Phoenix, an experimental atmospheric rock band with a wide range of influences.
Linda: In my own music, I like to explore very personal themes but much of the music I have released at the moment is more on the mystical, fantastical side of things. I have a catalogue of extremely personal music that I am currently building up the courage to release. They involves themes of abuse, PTSD and other more vulnerable things. I hope to have the courage to release at least one of those in 2025. In terms of sound, I love to play with modulations that are flowing but surprising. I am very attracted to some key signatures more than others, like G♯ minor. Perhaps, because I’m a Celt I also often find myself writing in the Dorian minor mode which is extremely dominant in Irish traditional music. I have a song ready to release soon actually that does just that and is sung in Irish so I am looking forward to that.
Fanel: Family life and work takes up most of my time so at the moment I am focussing all of my musical and creative energy on just one thing and that is Pantheist.
Matt: Musically, I’ve always felt compelled to keep myself very busy. Outside of the band, I’ve got Doubtsower (my one-man-doom-band) as a cathartic, open-minded metal-orientated outlet, as well as my Kyam alias, which focuses on jungle / electronic / soundscape stuff etc.
What drives you to explore all these different musical directions in your various projects?
Kostas: I have also been involved as guest in a variety of other bands and projects over the years. At some point I counted participation in something like 40 albums and then I lost count. I think they all give me something different and unique. I see music as a great mosaic where the bands and projects are all puzzle pieces, some bigger than others. The test is always ‘would this track fit on my other band/project’? If not, then a new project becomes worthwhile.
Linda: I think for anyone who just loves sound, that drive is impossible to ignore!
Is there a particular project of yours, outside of Pantheïst, that holds a special place in your heart? Why?
Kostas: I would say my solo music is the only other project i see as something that can eventually lead its own life in the future. I have a lot of non metal ideas that I would like to see expressed there.
How do you balance your creative energy across Pantheïst, solo work, and other musical endeavors?
Kostas: That’s not very difficult. I don’t live from music, so I feel no obligation to sustain anything I don’t like or which doesn’t give me the creative satisfaction I seek from music. So projects and bands only arise when there is a need for them and when I have sufficient energy and time to take them somewhere worthwhile.
Linda: I hate this. I make my living from music and find myself giving energy to the kind of gigs that pay the mortgage, singing repertoire I have grown so sick of. I also run a private voice studio and, while I am grateful, I often find myself resentful of having less energy to focus into the music that makes me happy.
What themes or ideas are you currently exploring in your work?
Kostas: My thoughts are more and more consumed by the concept of Solastalgia, the realisation that we are heading towards ecological breakdown and the destruction of the world we are familiar with. Our hearts are too much consumed by greed and egotistical need for self-validation and power to realise that we are self-destructing at a terrifying pace.
Atanas: The music we currently work on with Pantheist is a soundtrack for a crucial period for me when I am having a bird’s eye view on the last 8 years of my life. Started as a young inspired musician who left home on a naive quest, worked hard, made most mistakes that could’ve been made, had highs and lows and now is time to close a chapter and start a new one.
The concept of Solastalgia is interesting to me, I was previously unfamiliar with it. Is this a glimpse into the lyrical themes and/or concept of the upcoming Pantheïst release?
Yes, it’s definitely an important theme on the new album. There was quite a lot of it in ‘Closer to God’ too.
Which projects of yours can we expect new releases from in the near future? Are there any projects that you have completely abandoned?
Kostas: Pantheïst is currently working on a new album. I don’t think it will be released before early 2026 though. I also have an unfinished album with electronic music but still not sure whether to release it under my own name or under a different project. I used to have an electronic/ambient project called Sermones Ad Mortuos so it’s possible it will come out under that name too, even though the new music is less experimental and more structured.
When I ordered Closer to God, you sent me the Tor CD for free. I really appreciated and enjoyed it. It’s a nice mixture of synth music, organ-driven pieces, and piano work. Can we expect a similar release from you in the future?
Kostas: I would love to. I released this as a physical album because I felt it was too good to be released as a digital only work. However, the reality is that I still haven’t found a suitable niche for my solo music and physical releases take up a lot of time, effort and money to produce. I have therefore ‘parked’ any compositions in this style and it’s likely that my solo work will be a bit different in the future in order to stay commercially relevant so that I can continue to produce physical releases.
Another solo work of yours that caught my attention and impacted me a lot is Chamber of Isolation. You mentioned, if I remember correctly, that the release was the product of the covid pandemic in a way. The title seems very fitting in that regard, and the choice of “chamber music” is excellent to convey sentiments related to the pandemic. What more can you tell me about the creative process behind this album? Will there be more piano-centric chamber music in the future, or would that require a second large-scale pandemic?
Kostas: It was exactly as you said, a pandemic album. It perhaps sounds a bit artificial in places (as natural instruments are all performed on the synth) and there are even a few mistakes here and there, but it was important for me to keep that human element to it, almost like some guy struggling to express himself as a whole orchestra with only his ‘chamber of isolation’ at his disposal. I’m not sure I want to do a similar album in the future. However, I would be definitely up for re-recording some of its tracks with actual instruments and perhaps adding a few more classical/orchestral compositions to it.
Do you have any completely new projects or collaborations planned?
There is a dark ethnic project in the works with other musicians in the local scene, however it’s too early to disclose details about it. The idea is to make our own version of bands such as Dead Can Dance or Arcana.
Are there any artists or projects you’d love to collaborate with in the future?
Kostas: I’m always open to collaborations with artists which make creative and interesting music. I don’t mind the name or status of the artist, I just like to work with people who are creative and work at a reasonably fast pace, because I get quickly bored if things don’t move fast enough!
Atanas: Kostas is from Greece and I am from Bulgaria, so I believe we both have affinity for those unique ethno choral performances common for our lands. Id love to see us work with a balkan ensemble or “nestinari” dancers.
What does the future look like for Pantheïst? What can fans expect?
A new album as soon as it’s possible and many more atmospheric, powerful live experiences in whatever city or country would like to see us play.
I’m going to do things a bit differently than conventional metal interviewers normally do, and ask you a few “playground questions”. Let’s start with your favourite color.
Kostas: I would have to go with Green, as it’s the colour of the football and basketball team I support (Panathinaikos).
Linda: Green for me too- as your token Paddy, haha.
Atanas: Black.
Fanel: Easy to guess, mine is black!
Matt: Black – the least original of all the metal colours! And it shows up cat hair most beautifully.
What was your favourite childhood toy or game?
Kostas: I loved to play with Playmobil toys. I would spend hours and hours creating my own universe and characters who had their own personalities and individual histories.
Linda: My bike, 100%. I would disappear for HOURS and scare my parents haha. I felt so free and peace exploring on my bike.
Atanas: I am really big on wrestling games for PlayStation😁
Fanel: I loved playing hide and seek and kicking a football around my block of flats with friends.
Matt: Robocop arcade game.
If you could have any superpower, what would it be?
Kostas: It might be a huge cliche but I would love to see more equality in the world. So it would involve taking money from those who really don’t need it and giving it to those who really do. I still find it incredible that we live in a world where we applaud greed and the hoarding of wealth as if it’s some sort of higher value.
Linda: Have you seen the film Arrival? The ‘gift’ in that film, that would be my superpower! I think it would solve so many problems.
Atanas: To slow down time.
Fanel: I would absolutely say flying. I love travelling and seeing new places and cultures. Not having to go on an airplane would be a big bonus.
What’s your favourite ice cream flavor?
Kostas: I would have to go with something like coffee or mokka taste, especially in combination with vanilla!
Linda: I’m not a sweet tooth at all. Give me some crisps!
Atanas: The ones with alcohol flavours.
Fanel: Forest Fruit.
Matt: Cherry… or bubblegum, if a blue tongue isn’t going to be an issue for the next few hours.
Cats or dogs?
Kostas: Cats, anytime. I currently have two Birman cats and they are my world.
Linda: DOGS. The whole band are cat fellas and they are cute but my dog, I swear, he speaks to me with his eyes. When I’m working alone at the piano, he sits under there with his head on my feet, looking up at me. He is also capable of being very scary which is great because I live in a bit of a rough neighbourhood haha.
Atanas: Cats. Hordes of them.
Fanel: I like dogs more but I have a cat because one of my sons wanted a cat.
Matt: Definitely cats – I have an adorable pair of tabby brothers – the bosses of me.
An interesting thing comes up when one searches your name, Kostas Panagiotou, on Google. Your genre is listed as “New Age”. What are your thoughts on that?
Kostas: It’s a curious label as it makes me think of the early 90s pop music I grew up with such as Enigma or sacred Indian chants. I think it’s a catch all term for any atmospheric ‘light’ music nowadays and as the genre choices are limited when you register your music through digital distributors, I have to sometimes pick this over other labels which are way too far of the mark.
Closing Reflections: The Everlasting Depth of Pantheïst
Pantheïst’s journey is one of evolution, creativity, and unflinching authenticity. Through their reflections in this interview, it’s clear that their music is more than just sound—it’s a deeply personal and philosophical exploration. Each member brings a distinct voice to the table, blending their unique influences into a cohesive and powerful whole. Whether through their atmospheric compositions, memorable live performances, or future projects, Pantheïst continues to push boundaries and connect with listeners on a profound level. Their story is a testament to the enduring power of Funeral Doom, although their sound has moved a bit more into progressive doom territory, and the boundless possibilities of musical expression.
This interview has offered a glimpse into the minds and processes behind their music, leaving me even more eager to hear what they create next. Their dedication to exploring new themes and crafting deeply resonant compositions ensures that their next chapter will be as compelling as ever. I, for one, can’t wait to experience it.
