Serafim Tsotsonis is a composer working across a wide range of musical genres, including electronic, modern classical, ambient, jazz, post-rock, and dream-pop. Active both in Greece and internationally, he is also a pianist, music producer, and sound designer. He has composed original music for films, theatre productions, documentaries, video art, and advertisements, and has produced numerous musical works and remixes for a wide variety of Greek and international artists. In addition to his solo work, he is one half of the dream-pop duo Ocean Hope, alongside his sister Angeliki.

In this session, Serafim blends ambient textures, modern classical elements, and dream-pop fragments with a cinematic sense of space. Expect moments of fragile melancholy and slow-burning beauty, where delicate piano motifs, hushed vocals, and atmospheric electronics drift into a contemplative soundscape.

Could you share with us what mood or feeling guided you while putting this mix together?

Lately, the atmosphere around us feels stagnant, as if everything is futile. That very sense of resistance led me to create this mix. It’s a reflection of my determination to still believe in joy, in dreams, in creativity. I believe in that kind of beauty—the kind that still remains, however little of it is left.

Are there particular environments or routines that help you enter a creative mindset?

Usually, I’ll hold my little dog in my arms—that calms me and helps me forget everything that weighs me down. Spending time in nature grounds me as well. I love visiting Lake Doxa; it feels like traveling through time, to a different kind of time that never truly existed. It’s as if there’s a reality there—my own reality—that exists apart from everyone else’s. Other times, I go to Nerantza, in Corinth, where my sister and I used to play as children. All of this inspires me. It brings back feelings of love, childhood innocence, timelessness, and the greatness of nature.

Can you walk us through your typical workflow when producing an album? How do you organize your sessions and ideas over an extended project?

I tend to isolate myself during the period I’m working on an album – it really helps me focus on the creative process. Ideas begin in the studio, but I often collect and record soundscapes from outdoor environments as well, which inspire and guide me in the composition. For every new project, I create a different setup. I want each album to be a new experience – something fresh, something I haven’t done before. When I want to incorporate acoustic instruments, I start with MIDI to see how they function within the composition, and then I write individual scores for each musician. Some recordings take place in our studios, either in Athens or in Nerantza. However, if the production requires more instruments or a more complex result, we choose an external studio that meets the needs of the specific project. Each track has its own demands, and I try to listen to them. Alongside the completion of each album, I begin discussions with my sister about the cover art. We want the sound and the image to be in perfect harmony – as if they’re telling the same story together. Every new project is also a learning opportunity: I read, I experiment with new software, new synths, instruments, plugins, and hardware. I work hard to bring to life what I envision – no matter how difficult it is to turn a thought into reality. Ultimately, my goal is to translate something intangible – a thought, a feeling – into sound. That ‘something’ that exists only inside me at first, and in the end, if all goes well, exists out there too.

Music, to me, is one of the most sacred things in life. It is the most beautiful escape, the one thing that will never abandon you— It is the most beautiful form of escape that never leaves you, even in the darkest of times. When everything else feels uncertain, music remains—constant, faithful, alive. Through music, I dream, I travel, I find life. The frequencies balance and cleanse my soul. Music connects me with amazing people, whether they are collaborators or members of the audience. It’s a universal language that transcends barriers and brings us together. I believe music is one of the most powerful and beautiful expressions of human creativity. It doesn’t just reflect the emotions of the one who composes or performs—it also inspires others to express themselves, often in entirely different forms of art.

Are there any specific visual or literary works that consistently inspire you during your creative process? How do they shape the way you approach sound and composition?

I deeply admire and draw inspiration from directors like Stanley Kubrick, David Lynch, Jim Jarmusch, and Wim Wenders. Each of them approaches their work differently, but what always fascinates me is how organically storytelling is intertwined with music and sound design. The way sound itself becomes part of an image, part of a dialogue. Yes, I love that complete coexistence. Chronis Missios is another artist whose work has had a strong influence on me. In difficult times, I feel as though he’s a friend beside me, speaking to me. His texts speak to me and help me find balance. Chronis Missios had great faith in humanity, in human kindness—and that alone gives hope, inspires, and strengthens your persistence to keep going.

From your perspective, what helps a new artist create something truly personal and authentic in today’s landscape?

The most important thing is not to fear failure, because it’s part of the journey. To take risks—even something that seems foolish may turn out to have value. Don’t underestimate anything. Be aware of the current musical landscape. Explore everything around you, listen to everything—but more importantly, look inward. Work deeply on your own creations, and don’t let yourself be swayed by others’ opinions or criticism.