From the the Cypriot capital city of Nicosia (known by its Greek name Lefkosia, or Turkish name Lefkoşa), an ambitious bassist emerges. Christos Agathokléous (Χρίστος Αγαθοκλέους) is the composer for the international prog-thrash fusion metal project NinémiA, featuring musicians from Belarus and Poland as well as a renowned drummer in the metal community, serving up blast beats for Megadeth, Soilwork, Devin Townsend Project, Cadaver, Aborted, etc.
We spoke with Christos about the project’s roots, the new Oppenheimer film, a collaboration with the Dream Theater keyboardist, and their upcoming debut album.
NinémiA has an international lineup including Mikołaj Krzaczek (vocals; Thamnos) from Poland, Artur Hearhadze (guitar) from Belarus, and Christos Agathokléous (bass) from Cyprus. While all within Europe, does the spread of musicians across different countries cause cultural barriers in the writing process, or do you find that multiculturalism enhances the band’s sound?
Christos Agathokléous: To be frank I wasn’t expecting this project to become so colorful. Before contacting these amazing musicians (meaning Artur and Mikolaj), I was aiming towards finding local musicians. I tried working with a few here in Cyprus but things didn’t work out as intended.
The start of the Covid pandemic messed plans up too, yet it turned out good for the project. Like in any band, especially in the metal scene, chemistry both musically and on a personal level plays a large part in developing and forming your ideas. I just risked it and tried out musicians I met online. With video calls and zoom meetings, we managed to develop a relationship with one another, and cultural issues were never a problem. Music was our driving force from the start.
Indeed multiculturalism enhanced the band’s sound though, for instance, Mikolaj and Artur have this mentality of perfectionism, something most Mediterranean countries lack nowadays. Both Mikolaj and Artur have a systematic way in working, they do their best in what they do and it comes out naturally for them; it’s just who they are. Mikolaj does literally everything by himself in his solo project, Thamnos. The guitars, bass, vocals, lyrics, storylines, and his own original video content is created in a masterfully aesthetic way. Artur also has great experience in guitar playing, being in so many projects (NDNP, The 40 Thieves).
It must be a wild feeling to also be accompanied by drummer Dirk Verbeuren (Megadeth, ex-Soilwork, Cadaver, etc.) in NinémiA. Can you share your connection and how he adds to the band’s identity?
Christos: Trust me, I still can’t believe it. Dirk is an amazing personality. His communication was overwhelming, he showed much support on the project while being open to ideas and suggestions, and he elevated the tracks in a way I couldn’t imagine. I was always a fan of the bands and projects he played in, such as Devin Townsend and Soilwork. One of my biggest influences is Megadeth, so embedding that philosophy to the songs was a big add-on, since anyone who will listen to NinémiA will easily identify that. He recorded in two and a half weeks in Adair Daufebach’s studio in LA. It was kinda hard for me due to the extreme time difference, but I can’t complain, the whole idea is overwhelming. Being a really, really small footnote in metal history makes me humble and proud at the same time. Dreams can come true.
I’m strongly influenced by albums such as Rust in Peace, Countdown to Extinction, and the whole Menza era of Megadeth. Dirk brought that Menza energy back to the band, you can tell that from their latest release. I’m honored.
In 2022, you unveiled the single “Oppenheimer,” shining a negative light on the theoretical physicist and “father of the atomic bomb.” Did you watch the new Christopher Nolan film Oppenheimer; how do you feel about further publicity towards him?
Christos: Oppenheimer is one of the best films I’ve ever watched. The lyrics of the song and the main riff however, were written way back in 2014. There was a version of the song with a stoner band I played in called Cosmic Rider. We disbanded awhile back and carried the song on in a different way. The NinémiA song was released in October of 2022 way before the film. I only knew of the film from a few internet sources at the time, it was not my intention to be a reference to the film at all. Oppenheimer is mostly used allegorically in the song rather than trying to anathematize him; he was truly a unique scientist in the statue of many greats before and after him, still a human with his errors and passions. You can see that in the film while he battles with his obsessive denials. The whole song and the story behind the lyrics try to shed light on the misuse of science against humankind instead of good.
Throughout your recent singles, a diversity of musicians have been featured such as a bouzouki player, a cellist, a theremin performer, a turntablist, a shakuhachi player, and various flutists and vocalists. Can you discuss any memorable moments when fusing these instruments into your heavy music?
Christos: Each song has one or two featured artists in unique ways. As you mentioned a few of the instruments are a bit eccentric but added such a colorful and universal touch into the songs. In “Oppenheimer,” the Japanese shakuhachi flute is played on the breakdown where a theremin is used in “Dust to Stars.” Both instruments make sense in the song’s universes and themes. The turntablist also is an amazing dude; DJ Puzzle is a Los Angeles-based producer. Alia Fay is an amazing ethnic vocalist in two of our songs. My personal friend of mine, Costas Iacovou, is also featured and is one of the best bouzouki players.
The most memorable collaboration is with Igor, a shamanic vocalist, on an upcoming track.
On your track titled “The Acquired Savant,” Derek Sherinian (ex-Dream Theater, etc.) adds a keyboard solo. Has any of his work influenced you?
Christos: I was listening to Dream Theater before they released Metropolis Pt. 2 in 1999. I already had the previous albums: Falling into Infinity, the Change of Seasons EP, and Once in a Livetime, where Derek was featured. He had this raw Van Halen-like energy. To be honest, I don’t know if Change of Seasons would’ve been as good with Kevin Moore or Jordan Rudess. I’m also a fan of Derek’s solo material, such as Mythology or his many great collabs with Al Di Meola, Zakk Wylde etc. I’d also reccommend Ice Cycles from his Platypus project with John Myung.
Your upcoming album Weapons of Math Destruction will be released sometime in 2024. How would you describe the overall sound of the record?
Christos: Well, the album is a whole mess of influences over the years. When people mention what their favorite song is, they always lean to the one that is closer to their taste. Weapons of Math Destruction has thrash, prog, heavy metal, and even alternative metal moments. It could best be described as “fusion metal.”
Are there plans for NinémiA to ever perform live?
Christos: Hopefully. It’s not impossible but it’ll be hard to find a live drummer to fill-in since Dirk was the recording artist. It’s my lifelong dream to perform this music on stage.