With a deeply tender voice, just as the words are on the verge of crumbling down, cardiologist and musician John Efthymiadis has been sound-walking for many years now, coloring the cobblestones of the soul with his notes and performances.
John Efthimiadis
With the notes of the heart
Text: Marni Hatziemmanouil
In the morning he monitors the heartbeats of his patients, whereas when the sun goes down, clinching his guitar, he sails into the “open sea”, in harmony with the lyrics of the song “poios tha thymatai” (who will remember) from his latest album released in 2024 and titled ta oneira tous (their dreams): “every day that goes by sails away never to come back / whatever morning brings, the night tears it apart / what will be left of me and you, tell me what / not a single breath, neither a trace nor an open sea…”.
A member of the Hellenic Society of Cardiology, the European Society of Cardiology, the European Association of Echocardiography, the European Atherosclerosis Society and the Hellenic Society of Immunology, having served as speaker in numerous medical conventions held in Greece and abroad, but at the same time a musician, with studies of classical guitar and music technology under his belt. As to the importance of the guitar to him, he goes on to say: “If I’m visiting somewhere and I notice a guitar in the house, I get a whole lot calmer. As if a sense of safety overwhelms me.”
He started studying the classical guitar in his school years, at the Macedonian Conservatory of Thessaloniki, with Panagiotis Boutopoulos as his teacher. “At some point in high-school, I started writing my own music themes and songs and never stopped ever since.” He went on to study music technology under the wing of Dimitris Adam. “Music technology unveiled new worlds to me. It is as if you learn to play new instruments from scratch, with all the necessary discipline and studying. It offers you a great sense of freedom and expands your boundaries as a musician as long as you don’t lose track and remain focused on your goal.”
“My first music attempts were not far from the music I listened to back in the day. Post punk, darkwave, and anything revolving around these two music genres, with English lyrics, with references mostly to the UK scene. I started recording in cassette players using all sorts of tricks to attain a barely tolerable level. In the beginning of the 1990s, I was influenced by Greek music, such as the early albums of Savvopoulos, Hadjidakis’ music and many more. Greek lyrics, a guitar and a single voice at first, recordings in a four-channel Fostex, then came along the Underground Sound Studio with Sotiris Noukas by my side. The music I used to listen and still listen to is now back in fashion. The lyrics are now Greek, as I can express myself better this way. Apostolos Maikidis writes many of my songs’ lyrics. I identify with them, they inspire me and incite me to pair them up with the proper music. Lately I have been trying to get back to writing lyrics.”
Without the ones who will listen to your music, it is as if you are talking to yourself, agreeing and disagreeing with no one-else around. And if you keep doing it for a long time, it ends up feeling a little strange...
According to John Efthymiadis, a song’s lyrics is “the very reason the song exists in the first place, and music needs to bring forth the power of the lyrics. Music will draw us in initially, but sooner or later we’ll hear the story the songwriter wishes to unravel. It is a great responsibility. Lyrics provide a way out for our love and pain, we identify with them, they invite us to rebel, through them we have lost and found ourselves again and again. Whenever I write the lyrics, I write the song’s music at the same time. Whenever Apostolos Maikidis entrusts me with his lyrics, I need to have them before me so that I can start writing.” When asked which of his songs’ lyrics speaks directly to his heart at this moment, he replies as follows: “… voyeur of a washed up life, nostalgic of an infinite life. From the track ‘Domatio’ (Room) scheduled to be released in the fall.”
As to which phase of the creative process in music he values the most, his vote goes out to “the stage of a song’s conception, from the original idea up until the moment it is shaped and clearly structured. After getting in contact with other fellow musicians and forming a band, I realized the beauty of sharing all this stuff and what I have been missing out on all these years…” He chooses the venues he performs based on “their philosophy and aesthetic. I want the whole package to liberate me. I have never put too much thought on when to have a live concert. So far, they usually take place at the end of May.” Moreover, he feels grateful for his close associates and partners in crime. “I’m so lucky to have met and teamed up with such talented musicians. I got into music to fulfill a personal need, but as time went by, doing it all by myself started to get sad.” As for the audience, it is the other end of a conversation, as he puts it: “Without the ones who will listen to your music, it is as if you are talking to yourself, agreeing and disagreeing with no one-else around. And if you keep doing it for a long time, it ends up feeling a little strange…”
We went on to talk about the friendships forged through the common love for music: “Katerina Makavou has always been close to me both as a friend and as a musician/songwriter, embracing my effort with all-night discussions, analyzing things and contributing to my songs. The same goes with Thanasis Dzingovic, who served as producer in my latest work titled ta oneira tous. Last but not least, pianist and keyboard player Eva Dourou. All of them played a key role in optimizing the final outcome.”
Speaking about the recently formed band, he did not hide his emotion. “I thank them all. The most important thing is that we are in this together as a group of friends. Konstantinos Gkourtsas (electric guitar), Eva Dourou (piano & keyboards), Danis Koumartzis (bass), Kostas Kargiotakis (drums) and Dimitris Adam (visuals). Tasos Thomoglou, with his sweeping passion, was the photographer both in my previous and my latest orchestral work. Dimitris Mitsiopoulos was the graphic designer of my previous orchestral work. Yannis Stamatiou is the man behind the music site/magazino//chase of lost souls Didnotplay, but also responsible for creating my own site as a labor of love.
Main discography by John Efthymiadis:
Asymmetria (1997, songs). Lyrics: Apostolos Maikidis. Recorded in a tape, but with lots of love.
Dasiki odos (2004, songs). Lyrics: Apostolos Maikidis. Home recordings and a little bit of studio work.
Pagos gia olous (2008, songs). Lyrics: Apostolos Maikidis. Mix & mastering: Sotiris Noukas. Studio recordings.
Badizoume skyftoi mesa sti nyxta (2014, songs). Lyrics: John Efthymiadis. Cover: Apostolos Maikidis. Mix & mastering: Sotiris Noukas.
To provlima tis portas (2017, songs). Lyrics: Apostolos Maikidis. Cover: Manos Mazinis. Mix & mastering: Sotiris Noukas.
Black Light Project (2018). Music: Thanasis Dzingovic & John Efthymiadis, inspired by the book Black Light featuring poems by Nikos Efthymiadis. Reciting: Katerina Makavou. Keyboards & theremin: Eva Dourou. Production: Thanasis Dzingovic.
Lost Innocence (2022, orchestral tracks). Cover: Tasos Thomoglou. Mix & mastering: Sotiris Noukas.
Ta oneira tous (2024, songs). Cover: Tasos Thomoglou. Mix & mastering: Sotiris Noukas.
