Hailing from Melbourne, Greek-Australian multi-instrumentalist Nikodimos has gifted us with his highly anticipated new project, What Colour Is The End? — and it is a vivid display of his musical artistry and creative prowess. Seamlessly blending R&B, soul, and gospel influences into an immersive sonic world, Nikodimos has created a journey for listeners to get lost in. From start to finish, his technicolored essence shines through each track, making the album a captivating and unforgettable experience. The focus track “The Nikodimos Show”, which features Waari Jamahi Yami, is certainly a highlight, but it is impossible to pick a favourite.
We had the honour of sitting down with the talented visionary to talk all things 2023, early musical inspirations, and exciting upcoming projects.
Stream What Colour Is The End? now…
Read the exclusive interview below…
Hey Nikodimos! How has 2023 been treating you so far? What has been a major highlight?
2023 has been by far the most formative year of my life. I’ve released the most personal album I’ve ever written being What Colour is the End?, have worked with some incredible people being Eddie Chacon, John Carrol Kirby, Hiatus Kiayote, Wayne Snow and Kamaal Williams to highlight a few, and am in the middle of my first ever world tour having played all over Europe and soon, Australia.
I’m extremely exhausted and in desperate need of a manager and a booking agent and my brain is pretty much ready to explode – but in a good way… I think??
A major highlight of my year has been traveling Europe with the love of my life. I’ve also finally gotten up to date with One Piece. I’m up to episode 1081. I’ve been watching this anime since year 9 and it just keeps getting better. I took a fair few years off and it’s been amazing watching it now through a more mature lens.
Talk to us about how you first fell in love with music. What is the origin of your sound?
I started playing the piano at age 4, and the saxophone at age 6. Because of the foundations of these 2 instruments, I’ve been able to teach myself a plethora of other instruments, and am absolute obsessed with practising. I practise every day and want nothing more than to be surrounded by instruments every day for the of my life.
I have synethesia, so I see colour when I hear sound. I first experienced this listening to “Burning Down the House” by Talking Heads when I was still in nappies. I remember hugging the speaker in the lounge room of my home because I was so delighted by the experience. Colour is the ruler of everything I do music, and I am forever serving this energy. This sensory augmentation is the most grand blessing, and I’m thankful for this every day.
Your new LP, Colour Is The End, is highly anticipated. Can you tell us what inspired the album and the overall message behind it?
What Colour is the End? encapsulates a 2 year period of agonising depression and anxiety, and how I was able to overcome it. It is a chronicle in 3 parts: Intense Depression and Anxiety, Self Reflection, and My Love, My Saviour.
Intense Depression and Anxiety (tracks 1 – 7) covers themes such as suicidal thoughts, the struggles sexual and self identity, the ferocity of forced isolations, harrowing loneliness and money troubles
Self Reflection (tracks 8 – 12) reveals processes of growth, remorse and forgiveness, remaining present, and becoming more aware of who I am as a man, and as that of a Greek-Australian.
My Love, My Saviour (tracks 13 and 14) signifies the end of this chapter of my life, as I was able to overcome the hardest period of my existence. The reward for my struggle and my growth is the sunset, which is what I call my partner Tori, as she is my sunset – the most beautiful and cherished moment of my day. What Colour is the End? The colour is the sunset, as it’s the end of the day, and the end of this narrative.
How has your previous work influenced the direction and sound of What Colour is the End??
I play all the instruments on my records, and I produce everything and record it all on my own. I don’t make the music, the music makes me. This is the same with everything I’ve ever put out under my name, Nikodimos. Music is the teacher, and I’m no more than a vehicle for the spirit.
You’ve collaborated with a wide range of artists from different parts of the world. How has working with such a diverse group of musicians shaped your approach to creating music, especially on this new LP?
I can only work with people who I can be friends with. This album is extremely emotive and personal, and I can only share these experiences with people I can trust with my whole heart. Everyone on this record is incredibly precious to me, and the same applies to everyone I’ve ever had the pleasure of collaborating with. They expect the same trust from me, and I’ll always be there for my friends.
Can you describe the musical influences that have inspired this new LP, and how they come together to create a unique sonic landscape?
Good question. I have a new favourite artist every day – but Frank Zappa will always be at the root of what I do. To give a scope of the width that my influences go, I enjoy the following artists: Maurice Ravel, Remi Wolf, The Foo Fighters, Talking Heads, Debussy, Gustav Holst, Lil B the Based God, Soulja Boy.
Also – Melbourne/Naarm is such a boiling pot for brilliant music. I’m inspired by my friends every day. I’d recommend checking out Komang, Yusuf Harare Jr., Teether, Kuzich, 1300 and Eunuchs just to name a few. (1300 and Eunuchs are from Eora/Syd).
Your live performances at festivals like Lokatara Festival, Golden Plains, and Laneway Festival have been highlights of your career. Talk to us about these live experiences and how they have helped you evolve as an artist.
These experiences all happened when I was around 19. I was playing in various different projects as an instrumentalist and a MD. It was a really important time in my career as I was playing for thousands of people quite regularly, and I feel like I became a true professional as crowds don’t phase me in the slightest anymore. The bigger the crowd, the easier it feels now.
I still however wasn’t really believing in myself at this time. I was thinking that I could only play these festivals if I play in other people’s projects. I have a lot more self belief now, and my friend Agung Mango helped me realise that it is I who I need to focus on. Since then I feel like I can do anything if I focus and remain calm.
How do you feel your musical style and vision have changed over the years?
My style and vision will never change, as I’ll always just be doing me. I believe in my soul, and I believe in the power of music. My only goal is to leave behind timeless music so that I can live forever. Oh and also support a family – I’m working on that one.
Your involvement in producing Wayne Snow’s record in Berlin is an interesting highlight. How did this experience shape your own creative process, and did it influence the sound of your new LP?
Wow yea Wayne Snow is an man of precision and excellence. He expects the absolute best, so that’s what I had to deliver. It was a pretty surreal experience as a whole. Wayne and his management flew me out for a month to produce his record – total bucket list sorta shit.
I met my beautiful label XYZ123 during this time as well. Meeting them and producing this record has forever changed my life.
In terms of influencing the sound – the record was pretty much finished by this time so there wasn’t any real overlap in this sense.
“Protosynthesis” a record with Proto Moro, received positive recognition and was pressed to vinyl. What do you find most fulfilling about collaborative projects like this, and how does it compare to your solo work on What Colour is the End??
Proto Moro is my favourite band of all time. I love playing with these guys, they are brothers for life. We’ve got another record coming next year so stay tuned for that.
Working with these guys is like hanging out with a bunch of record heads who also happen to be geniuses of their instruments. Whenever I work on my own production I always think – how would Gene play these drums? What would Jack do an bass here? How would Harry approach the tone of this section? Like honestly they do more for me than I’ll ever be able to put into words. I love Proto Moro!! I wish I was home more so we could play together more often, but I’m sensing a large comeback!! Keep Dec 1st free if you’re reading this from Naarm!
Where do you wish to take your artistry in the forthcoming years?
I just want to keep practising, be able to support a family, and record a project in Antarctica. Anything else that happens is just a bonus. Oh and keep creating timeless music.
What is in the pipeline for 2024? Any exciting projects you can share?
Yea!! I’ll be releasing a lot of albums from many different projects – collaborations, Proto Moro stuff, my own stuff. There may be like 10 albums that could all come out next year. Maybe 1 millions albums I can’t keep up. Maybe 1 billion albums. I’m also gonna get ripped like John Cena or The Rock or something. That’s the aim.