Interview: Christos Antoniou (SEPTICFLESH, CHAOSTAR)

 Hello Chris nice to talk to you again. First of all, How are you? And where I'm catching you at the moment.

I'm fine at the moment. We're composing material for the new album, so there is some pressure, but we enjoy the challenge. We're quite busy right now.

So, the good news is that there is a new record coming that was actually one of my questions that I prepared for the interview, but let's obviously talk about the elephant in the room. You guys are coming for a massive show that will be happening in September 19 in Plovdiv.

Yes

It is not just a regular show. It is Septiclesh with orchestra and choir. It will the only such show this year. What amount of time goes into preparation for such event?

Well, these kinds of projects need a lot of preparation, but we have already done, I think, seven orchestral shows—three in Mexico, three in Greece, and one with a string ensemble in Turkey. So, we have already done much of the work needed for this.

Now we are thinking about which setlist we are going to present. But, as I said, it still requires a lot of preparation, especially when it comes to the scores we have already done. We will also be in discussions with the conductor about certain elements that we need to present in the show and things like that.

I would say that the preparation of the scores for the orchestra is the most challenging part.

 I see, as you mentioned, you already done several times this project, but what did you learn about the way SEPTICFLESH’s music changes when it is performed with a live orchestra and choir?

Well, each of these shows is really important and very hectic. You have to face new challenges every time you perform with a real orchestra. It is a demanding process, and you have to be well prepared in order to present your music in its finest form, in combination with the orchestra.

For SEPTICFLESH, this feels like home. When we present these songs with an orchestra, it is like we are in our natural environment, because we are mainly an orchestral symphonic metal band. In many of the songs, the main structure starts with the orchestra and then the metal elements are added, or sometimes it happens the other way around.

As I said, every show is important. I remember the first one we did in Mexico for the DVD. There was a lot of pressure because, as the architect of the orchestral parts, I get a bit nervous. But after doing so many shows, I have started to enjoy them more and worry less about the things that could go wrong.

So far, we have been lucky and have not faced any technical issues. Hopefully, it will continue that way.

I see, as you mentioned the orchestral and symphonic elements are huge part of the music of the band nowadays, but for the fans, “Communion” is often seen as a turning point in SEPTICFLESH’s history — the moment where the band’s death metal roots and its symphonic identity truly became one. Do you personally see the band in terms of “before” and “after” Communion, and what changed the most for you after that album?

We're talking about two very different periods. The first period was the beginning, when we were mainly recording albums and didn't tour very much. I think we did one or two tours at most.

Then came our return with Communion, as you said, and the band's status changed radically. We had a big label behind us, and for the first time, we had the budget to record with a real orchestra. We also started working with management agencies. So, Communion was a vital point for our return.

We are proud of the first period as well, but to be honest, the band as we know it today really started with Communion and everything that came after it.

I see. Okay, so let me take you back again to the show that is going to happen. You said that you're already working on the set list that is going to be presented. How do you choose the setlist for a concert like this — based on the popularity of the songs, their orchestral potential, or the overall feeling?

I would say both. We need to present songs that are mainly orchestral, but also our biggest hits. For example, “Anubis,” which is our biggest hit, doesn’t have a lot of orchestral elements.

So, we combine these two sides—the most popular songs and the most orchestral ones—and start building the setlist from there.

 I see, so what should the Bulgarian audience expect from an evening like this — more of a metal concert, more of a symphonic experience, or something in between?

Something in between, because at the end of the day, we're a metal band.

It's an amazing feeling, and I'm sure the fans will enjoy every second of it. There is something magical about an orchestra. Even when it plays a single note, you can feel the goosebumps. I'm sure the fans will really enjoy this show.

I'm pretty much sure also, but you have worked with orchestras from Greece, London, Slovakia, and with the Filmharmonic Orchestra and Choir of Prague. Now, for the Plovdiv symphonic show, you will also be working with Bulgarian musicians. What do you look for when collaborating with a new orchestra and choir, and do you expect the Bulgarian performers to bring a different energy or character to SEPTICFLESH’s music?

Of course, each orchestra has its own attitude and its own colors. There is a big difference between the Mexican orchestra, the orchestra in Prague, and the orchestra in Athens.

If you have a really good orchestra, it can cope with the project and present the music in its finest form. Bulgaria has a strong tradition in classical music, and I think it will be a great collaboration. I'm really looking forward to it.

I had some contacts about recording with a Bulgarian orchestra earlier, around the time of Communion, but it didn't work out. We only exchanged emails and didn't go any further than that.

But I'm sure it will be an amazing feeling to perform with a Bulgarian orchestra that, as I said, has such a strong tradition in classical music.

Excellent. I'm pretty much sure it will open the doors for future collaboration.

Of course, of course, you never know.

 Yeah, you never know. The Mexico City symphonic show was filmed and released as DVD Are there any plans for the Athens/Acropolis concerts — or perhaps the upcoming Plovdiv show — to be captured in a similar way?

At the moment, no. It is a very difficult project, and you need a lot of additional work in order to film and record the show properly.

For Plovdiv, we will give our best with the performance of both the band and the orchestra, and that is our main focus. I think filming it would create more complications and additional issues than simply presenting it as a live show.

But I don't know what might happen in the future. Also, DVDs are not as popular nowadays, and that is something you have to consider as well.

I agree. As you mentioned, DVDs are not as popular anymore, and people’s attention has also changed. Nowadays, they tend to watch short videos, short clips, and similar content. How do you think the massive and highly cinematic music of SEPTICFLESH fits into today’s music business, where everything seems to need to be simplified and made much easier to access?

Well, we don't care about that. We create music from our soul and from our heart. This is the most important thing for us, and we will not compromise our art.

We don't care about trends. As you said, everything has become very saturated in a way, but we follow our own path. We will not change for any trend, just to show off or sell more.

Our vision is to create something that has its own identity, both for us and for our listeners.

I see. Okay, so again, you also mentioned that you are working on new material currently. After “Modern Primitive,” where is the band looking creatively — toward even greater symphonic scope, more aggression, or something completely different?

Well, we cannot play jazz. But from what I can hear so far, it is a faster album—probably our fastest album until now.

I don't want to use typical phrases like “darker” or “more evil.” We shall see how it develops in the end, but at the moment, it looks like it will be a very fast album.

We already have many albums behind us, and that is something that challenges the band. Still, we will try to create a new album that is definitely different from Modern Primitive. I think it has some elements of Communion and, generally, of the modern era that began with that album.

 Okay, but you know, often the journalists and fans are adding you the label “Symphonic Death Metal” or “symphonic metal”, but Symphonic metal often runs the risk of becoming too beautiful, too polished, or too safe. SEPTICFLESH, however, have always used the orchestra as something darker and more threatening. Is that a conscious approach for you — and can an orchestra, in the right context, become even more brutal than the guitars?

Well, labels are mainly for the shelves in music stores. And I don't agree that symphonic music is always something polished and beautiful. For example, there are many symphonic works that are much darker than many heavy metal, black metal, or death metal albums.

We don't care about labels; we care about our art. Of course, we have an orchestra and the symphonic element, but if we feel that we have to write something melodic, we will do it. If our inspiration leads us to write something darker, we will do that as well.

It is good to have the orchestra because it gives us another weapon at our disposal. It is very important to have the orchestra almost as a fifth member of the band. We will follow our inspiration, not labels or trends, as I said before.

You mentioned art. You have been working with your brother, Seth, for many years — not only musically, but also in shaping the whole visual identity of SEPTICFLESH. What are the biggest advantages and challenges of working so closely with family, and how important is the visual concept for defining the identity of a band like SEPTICFLESH?

Well, SEPTICFLESH is like a factory for us—we can produce everything ourselves. From the orchestral side, we don't have to hire an orchestrator because I do that work. The same goes for the visuals—we don't have to hire a visual artist because my brother does them.

This is definitely an advantage because we can present exactly what we want to express. Of course, there are also some disadvantages, because we fight all the time. But at the end of the day, we are a family, and for the future of the band, we overcome our disagreements and focus on achieving the best possible result.

As I said, SEPTICFLESH is like a factory where we create everything from scratch. Sotiris writes the lyrics and the music, my brother creates the visuals and also writes music, and I work on the music and the orchestration.

I would say this is our greatest weapon: we have been a team for so many years, and the main members have not changed. That is a big advantage.

You mentioned Sotiris. Million dollar question? Is he joining you for this show in Plovdiv?

Of course, of course he is, that's for sure!

Excellent. Okay

We have also some other guests that we will present soon.

Oh, okay, that's interesting. That was actually my next question. Can we expect some other guests to join you on stage, but let's keep it as surprise?

Yes

SEPTICFLESH have always sounded like a band that thinks on a grand scale — mythology, antiquity, ritual, cataclysm. How natural was it for Plovdiv and the Ancient Theatre in particular to fit into that aesthetic?

Well, we are Greeks, and we have a rich ancient history. For us, it is always a dream to perform in front of amazing places like the Acropolis or in Plovdiv. It fits really well with our traditions, our music, and our philosophy.

It is totally different from performing in a club with an orchestra. Theaters and historical places like these are always unique. They have a completely different atmosphere.

It is also something that not many people have the chance to do. You can play in almost any club, but you cannot easily perform in a place like the Ancient Theatre in Plovdiv or the Acropolis.

 Are there compositions that sound powerful on a regular stage, but take on an entirely different meaning when performed with an orchestra in a venue like that.

Well, for sure, songs like “Prometheus” and “Persepolis” fit the atmosphere and the vibe of the theater really well. These are unique songs that will have a different color compared to the others, especially because of their lyrics, titles, and subject matter.

I see. Can we actually expect some surprises in the set list? You know, why not songs from Revolution DNA, for example,

No, not really. To be honest, I don't think songs from Revolution DNA fit this kind of project.

For example, “Little Music Box”, I think could fit easily in the in symphonic manner.

Well, you can orchestrate many songs, but in order to include more songs from the past, you have to leave out some of the newer ones.

I see. Yeah, that's probably the most, the most challenging thing.

Yes!

 Okay, so you are both a guitarist in an extreme metal band and a classically trained composer. Which of these two sides is closer to your true self?

Both. I cannot say that one side is more important than the other. They both fulfil my artistic needs.

Of course, I am not a great guitarist. I can play my own SEPTICFLESH songs, but guitar playing is not my greatest strength. Still, the guitar started everything. My musical journey began with it, and it has played a vital role in my career.

After guitar, I studied composition and then a little piano. But I am not really a performer—I am not a great pianist or guitarist. I would say that my main subject is composition.

Still, these two different worlds are equally important to me.

As an artist, what frightens you more at this stage of SEPTICFLESH’s career — the danger of repeating a formula that already works, or the risk of pushing the band so far beyond its established identity that even long-time fans might struggle to follow?

Well, I’m sure that the fear of repetition is one of the biggest obstacles for an artist. Sometimes, an artist may not even realize that they are repeating themselves.

In our case, because we have several composers in the band, we have more options and different perspectives that help us avoid repetition. For example, when I compose, I research different things from those I explored on the previous albums. That helps me create something new and avoid repeating myself.

Each work is different, and you have to treat it as something unique. But, of course, the trap of repeating yourself is always there, and you have to be very careful to recognize and avoid it. Sometimes it is difficult to notice, especially when you are burned out or lacking inspiration, and that can lead you to make the wrong decisions.

 How easy is it for you to find inspiration, and where do you usually find it when composing music? As someone once said, all the good music is already out there—it has already been written. The only thing we can do now is understand it differently and present it in a different way. So, how do you find inspiration for music in general?

Inspiration can come from everywhere, but I don’t agree that all the good music has already been written. Of course, things are not like before, and the majority of music nowadays is rubbish.

As I said, I research new ideas and new material that can work as tools in my composition process, which is something I really enjoy. I am a composer, and I don’t write as a songwriter. I write music as a composer, and for me, it is a completely different process.

It is something I have always wanted to do, and inspiration can come from absolutely everywhere.

I see a lot of artists nowadays turning to AI—artificial intelligence—for artwork and even music. Where do you stand on the use of AI in music and art?

Unfortunately, the world of music and art is moving very fast, and you have to keep up with it. To some extent, you have to follow developments in AI, social media, and similar areas, but always with certain limits.

If you decide to work with AI, you should use it as a tool—something that can help and inspire you, rather than replace your creativity.

I am not happy with the way things are developing, but you need to adapt in order not to get lost. If you refuse to adapt completely, you may eventually find yourself left behind and isolated.

 I see I okay, We are really short on time so usually I ask or any final words.. but lets try something different. How will you describe the show in Plovdiv with only 3 words

Magical, Emotional, and Majestic.

I see. Thank you very much again for this interview. Unfortunately, we had a limited amount of time scheduled, but it was a real pleasure speaking with you. I’m looking forward to seeing you in Plovdiv. I’m pretty sure I’ll arrive a few days earlier, so I can walk around and spend some time in the city. Let’s end with a promise that we’ll have another interview sometime in the future.

Of course. Of course, See you there then!

Yes sure See you. Take care!

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Author: Nikola Petras
July 2026