Dance with Invisible Partners: A Musical Journey into the Light… we cannot see.
Some bands simply create music, while others transport you into entire worlds. Dance with Invisible Partners belong to the latter category. Drawing influences from classical music to rebetiko and rejecting the “tedious rationalism” of Western thought, the band crafts sounds that act as windshield wipers against the dust of modern reality.
Their new album, “NAGASAKI”, was born in a Tokyo skyscraper during a typhoon, delivering their most “alive” record yet—an album infused with the essence of dance, darkness, and an undeniable urge to feel music in the body.
In this interview, they talk about the inspiration behind “NAGASAKI”, their most unforgettable live experience, their dream collaborations, and, of course, the life motto that guides them. If you’re looking for a band that doesn’t follow the rules but creates their own, this interview is for you.
Your new album, “NAGASAKI,” was released on January 9th. What does this release mean to you?
This album is a milestone for DwIP. Unlike the previous two albums, which I created alone—one in a café in Amorgos and the other in my basement during lockdown—this one was recorded as a band, as a quintet. These are songs we had played, tested, and modified multiple times in live performances and rehearsals. It is a much more “alive” album.
What was the main concept behind “NAGASAKI”? Is there a particular story or emotion you wanted to capture?
The album was primarily written in a skyscraper in Tokyo during a typhoon. I remember drinking sake and watching the apocalyptic scenery unfold on the streets of Tokyo. Then came the pandemic, a few more wars, and the absurd rise of the far right. For us, at least, this album is like a windshield wiper clearing the dust of humanity’s ugliness and violence.
How was the creation process of “NAGASAKI” compared to your previous works?
Once again, I wrote the music and lyrics and handled the pre-production. However, the big difference this time was that Dimitris Katevas took charge of the entire drum section, which we recorded in his studio—the One Hour Before the Trip studio. Nikos Karadosidis contributed magical ideas on the keyboards, Thanasis Dimakopoulos crafted and recorded the bass lines with dance in mind, and for the first time, we recorded vocals with Agni Zachari. We loved them so much that I might not even sing on another record.
Beyond that, as always, we spent countless hours with callmelazy chasing frequencies. For the first time, we mixed two tracks in Dolby Atmos with Patroklos Mavromatis at LivingRoomStudios. Anyone who has the opportunity to listen on such a system, like Apple Music or Tidal, will feel completely immersed in the music.
Your name, Dance with Invisible Partners, has a very atmospheric feel. What does it mean to you?
Rembrandt glorified a different kind of vision in his works—one based on introspection and imagination rather than visible light. There is infinite light we cannot see. We prefer to listen to it.
What are your main influences, both musically and in terms of aesthetics or philosophy?
Music is eternal—it began with the first vibration of the universe and will return there. We listen to everything from pre-classical music to rebetiko, jazz, punk, and Indian music. Bach gathered and exhausted it all, and the rest of us are just making cover songs.
Aesthetically, I am fascinated by the 20th century—from Dadaism to abstract expressionism. Philosophically, I discard Western thought and its yawn-inducing rationalism (at least robots will execute it correctly). Instead, I embrace Eastern mystics, who heard the primordial and the subtle “crack” and saw through it.
If you had to describe your music to someone who has never heard you before, how would you do it?
With a guitar and a monophonic synthesizer.
How do you approach composing and producing your music? Is it a collaborative process?
It is now. It takes longer, but it’s much more interesting.
What has been your most unforgettable live experience as a band?
We love playing in Thessaloniki. I think our first live show there, at “Giapi,” was unforgettable. We went on stage after 1:00 AM—Central Thessaloniki Time—and the crowd was already hyped. Dancing, dancing, dancing, and darkness.
If you had the chance to collaborate with any artist, who would it be and why?
Roger Waters—his name comes to mind effortlessly. Closer to home, I’d love to work with Thanasis Papakonstantinou on something truly experimental.
Do you think the modern music industry is more welcoming to independent artists, or do significant challenges still remain?
There is no friendliness in the music industry, especially if you don’t have at least one million followers. Fortunately, there are some independent visionaries doing serious work, bringing to light music that the average Spotify user would never hear. In general, it’s easier and more affordable to launch a satellite into orbit than to be an independent artist.
What kind of legacy would you like your music to leave over time?
I’d like people to listen to a whole album while hugging each other naked.
What are your next goals after “NAGASAKI”?
As many live performances as possible and then back to the studio as soon as possible.
What is your life motto?
I live by a miracle.
Interview: Elektra Limnios
