Interview with black death grindcore band from Greece - DEPHOSPHORUS.
Answered Thanos Mantas (guitars), Panos Agoros (vocals), thank you!
Recenze/review - DEPHOSPHORUS - Planetoktonos (2025):
Ave DEPHOSPHORUS! Greetings to Hades' realm. Or should I rather say to the universe? Perhaps the two are connected. I'm listening to your new album "Planetoktonos" and I can't stop. It has everything I love about extreme metal. Can you tell us what the basic idea behind the album is and how it came about?
Nowadays, when every band has a clear style label, you guys are different. It's hard to categorize you. You play grindcore, but also black metal, death metal, and even sludge elements. Personally, I really like that diversity, playfulness, and desire to explore. Let me ask you right off the bat... which bands influenced you in the very beginning? And you know what, start in 2008 and walk us through the history of your band.
Thanos: Glad to hear you’re into our sound! It’s definitely not for everyone, and we’ve never expected people to easily "get it" or categorize it. That’s exactly why we came up with a term that would make sense to us: astrogrind. It’s our way of capturing the blend of intensity, atmosphere, and cosmic thematics that runs through our music — not just in the sound, but in the whole aesthetic and lyrical approach. It's more of a compass than a genre tag.
From the beginning, we’ve drawn influence from a range of bands that still resonate with us today — acts like Nasum, Entombed, Knut, Anodyne, Leviathan, and Voivod. These bands shaped our ears early on, and we keep revisiting their discographies. Somehow, there's always something new to discover in their music, even after all these years.
As for how Dephosphorus started — Panos and I were playing together in a band called Straighthate. That project eventually ran its course after many years and lineup changes. So, in 2008, we decided to start fresh with a new musical direction. After about a year and a half of writing and experimenting, we recorded Axiom, which became our first release and marked the official beginning of Dephosphorus.
Your lyrics are influenced by old sci-fi books that shaped me a long time ago. As a student, I devoured all those apocalyptic visions, flying through space, discovering new planets. The new album is loosely inspired by Iain M. Banks' The Culture. Personally, I really like this Scottish author, but more his early work. Why did you choose him? Do you believe in other civilizations? Do you think we will meet them one day? And will we be as barbaric or advanced as they are?
Panos: Actually, Planetoktonos isn’t particularly influenced by Iain M. Banks—though the rest of our discography definitely is! For this new album, some of the lyrics, as well as the title and cover art, were inspired by James S.A. Corey’s The Expanse novels.
That said, I deeply admire Iain M. Banks. I was shocked when he announced his illness in 2012 and devastated by his passing shortly after. Our second full-length album, Ravenous Solemnity, is dedicated to him.
I loved many aspects of his sci-fi works (he also wrote non-fiction under the name Iain Banks, without the “M.”): the political intrigue, the staggering existential themes—like the concept of Sublimation, which inspired the title of our previous album—the poetic, intricate, and often playful writing style (which can be challenging if English isn’t your mother tongue), his sublime sense of humor, and above all, his vision of The Culture.
The Culture is a human-like future civilization—an anarchic utopia without leaders or gods—where sentient beings and AI coexist in harmonious symbiosis. It reflected Banks’ own deeply held political convictions; he was outspoken and engaged, famously burning his passport during the Second Gulf War in protest of the UK’s involvement.
What Banks did with the Culture was essentially imagine a sustainable future. And imagination, I believe, is humanity’s most powerful weapon. If we want to find a way out of our current civilizational dead ends, we must wield it wisely.
If I had to bet, I’d say that other civilizations do exist. But as the late psychedelic guru Terence McKenna once put it: “We are not here to understand; we are here to appreciate.” That idea challenges the dominance of rationalism and invites us to experience reality in a more direct, aesthetic, and intuitive way. Maybe the universe isn’t meant to be understood—only appreciated.
Given the sheer size and age of the universe, and the brief lifespan of our own civilization, any others would likely have to be incredibly advanced and capable of interstellar travel to find us. Meanwhile, we haven’t even fully explored our own solar system. So while contact seems unlikely... as the X-Files poster once said, “I want to believe.”
Whether they are barbaric or enlightened, if life and civilization are common in the universe, then all levels of advancement must exist somewhere, right now.
Every time I listen to a new album, I do it on a good sound system. I usually just sit down and, because I'm an old dog, I like organic sound and production. Your new recording has exactly that cutting sound that pins you to the wall. Where did you record it and who is responsible for the mastering?
Thanos: Thanks for the kind words — we really appreciate it. You're spot on: Planetoktonos was meant to sound organic, intense, and immersive. As a listener — and even more so as a composer and producer — I feel that the record captures the exact sonic identity we were aiming for: thick, punishing guitars, bass that moves like a seismic wave, drums that are both raw and explosive, and of course, Panos’ agonizing vocals narrating cosmic horror from a place only he can see.
We’ve been rehearsing for years at Ignite Studio, which has become a second home for us. George Christoforidis, the studio owner, recorded and mixed the album. George knows us deeply — from our Straighthate days even — and he truly understands the sound we’re after. He managed to bring out every layer of the music with great sensitivity and clarity, including the noise and synth work from Miltos Schimatariotis, our invisible fifth member.
Once the mix was complete, we sent it to James Plotkin for mastering. James took everything and gave it that final cohesion and sharpness — the record now hits with surgical precision while retaining its raw spirit. We feel extremely lucky to have collaborated with such talented and committed people on this release.
The motif on the cover reminds me a lot of some old sci-fi book. I just can't remember which one. Can you help me out? And who is the author of the image? Look, to be honest, I feel like I'm seventeen again, arguing with my friend about whether Arthur C. Clarke or Isaac Asimov is better. How did you get together with the author of the motif and why him?
Panos: I’m not sure which book cover you're thinking of, but I love that it gave you nostalgic teenage sci-fi vibes! That’s exactly the kind of energy we were going for.
The artist is John Toussas, aka Graphic No Jutsu. I’ve known John for over a decade—we used to work together at Metal Hammer Greece. More recently, he’s been designing beer can labels for Alea Microbrewery, run by Thanos.
Planetoktonos marks a new chapter for us musically, with a heavier sound and some fresh ideas. Visually, we also wanted something different—more colorful and playful. A tribute to classic sci-fi comics and art.
I gave John some specific references, like French comic legends Enki Bilal and Philippe Druillet (the latter did the stunning cover for Agressor’s Neverending Destiny, one of my all-time favorite albums).
I had a very specific scene in mind—a biomechanical spaceship destroying a planet, viewed from behind. It was a nod to the loading screens in Destiny (a game I was obsessed with about a decade ago). I described it to John, and he nailed it.
We’ve gotten amazing feedback on the artwork. A couple of people even referenced Nocturnus—another favorite of mine—whose Thresholds album has one of the best spacy sci-fi covers in metal history.
John also designed the label for Asteroskoni, a collab West Coast DIPA from Alea Microbrewery and P.I.G.S. It's named after one of our songs from Impossible Orbits—it means "Stardust" in Greek. As a craft beer fan, it’s a dream come true to pour a hoppy DIPA from a can with your band’s logo on it, named after a song you wrote the lyrics and title for. Since you're from Pilsner, I bet you know a thing or two about good beer yourself!
I think you'll agree with me when I say that you are a band with a very original expression and approach. I hope you won't mind, but I personally love VOIVOD and I often thought of them while listening to you. You sound completely different, but the overall feeling is the same, in my opinion. Can you tell us how you compose new music? Who writes the melodies? Do you have someone in your group who says, "This is how it should be," or do you discuss it at length? Can you give us a peek behind the scenes?
Thanos: We definitely appreciate the Voivod reference — we’re all fans of theirs. While I don’t think there are direct musical similarities, maybe there's a shared spirit in the atmosphere, the sense of alienation, or the use of dissonance here and there. So I get what you mean — it’s more about the feeling than the actual sound, and that’s a huge compliment to us.
As for our songwriting process, I (Thanos) compose all the music for Dephosphorus — that’s how it’s always been since the beginning. It’s a formula that works well for us and hasn’t needed to change. Typically, I go through intense writing phases: I’ll write a big chunk of material over the course of a month or two. Once there’s enough solid material, we bring it into the rehearsal space and start sculpting it together.
That’s where the real chemistry kicks in. We work through the arrangements as a band — tightening the rhythms, locking in transitions, shaping the dynamics. Panos usually adds his vocal lines toward the end of that process, once the structure has settled and the atmosphere is clear. There’s a lot of back-and-forth and refining in the room, but the original spark usually comes from the same place.
So while there isn’t one person saying “this is how it must be,” there is a clear initial vision, and then it evolves through collaboration and trust.
I'll tell you one thing... I have a great fondness for Greek food and culture, and every time I'm on vacation in your country, I come home feeling reborn. You have a beautiful country. The people are nice. But what is it like there in terms of extreme music? What about concerts, the scene, the fans? Do they go to a lot of events, do they support bands? Tell me, exaggerate...
Thanos: Glad to hear you have a soft spot for Greece — it really is a beautiful and intense place, in every sense. The landscapes, the food, the people, the chaos… it’s all part of the experience. But it’s also a country full of contradictions. Over the past couple of decades, we've lived through a lot: financial collapse, referendums, austerity, systemic injustice — all of which have pushed many people to leave in search of stability and a better future elsewhere. That’s a wound that hasn’t healed yet.
When it comes to extreme music though, Greece punches way above its weight. Despite having relatively few venues and limited infrastructure, the scene is surprisingly strong and diverse — with passionate, knowledgeable fans and bands that are truly committed. You’ve got household names like Rotting Christ, Dead Congregation, Suicidal Angels, and End, but also countless underground acts across all subgenres of extreme music, grinding away with heart and intent.
There’s a raw energy here, fueled in part by our political and social turmoil — and that finds its way into the music. People may not always have the means, but the love and intensity are there. Gigs can feel like rituals. The connection between audience and artist is visceral. It’s not always easy, but it’s definitely real.
So yes — the Greek scene is alive, restless, and getting louder.
Going back in time, what were your musical beginnings like? When did you pick up your first instrument, what was your first concert, where did you stand on stage? Do you have any classical music education? And how did you actually get into extreme metal?
Thanos: I started taking guitar lessons when I was around 10 years old. For the first few years it was all classical guitar — which laid the foundation — but by the time I was 13 I was already drifting toward electric guitar. So I switched to more modern lessons, learning picking techniques and basic riffs. Unfortunately, I never went deep into music theory, which is something I still regret to this day. It would’ve made a lot of things easier down the line.
My first stage experience was pretty typical: some school gigs at the Lyceum, playing Metallica covers with friends — the classics. But things got more serious when I was about 18, which is when I joined Straighthate, with Panos already on vocals. Our first real show together was opening for Stampin' Ground in Athens, around 2002 or 2003 — I don’t remember the exact date, but it felt like a huge deal at the time.
As for how I got into extreme metal… I think the real turning point was a compilation CD I got my hands on as a teenager. It had a bunch of bands on it — two that hit me hard were Death and Nailbomb. That was it. I was instantly drawn to that raw power, the energy, the honesty. From there on, it was a deep dive that never really ended.
Panos: My first instrument was the family synth. My parents signed me and my younger brother up for lessons, but the only thing we really managed to play was some Christmas carols.
As I became more serious about music, I lacked the focus to learn an instrument properly. But I noticed that when I screamed along with my favorite records, I had a loud, abrasive voice that could work for extreme music.
Around 2001 or 2002, my friend Anastasis (now frontman of Dead Congregation) told me that his hardcore band at the time, Straighthate, was looking for a new vocalist. I asked if I could try out. He said, “Have you done this before?” I hadn’t—but they were desperate, as I later found out, so I got the job! More than 20 years later, here we are.
I got into extreme metal back in 1991 or 1992. I was listening to a radio show on Echo FM, a local Athens station hosted by Harry Karaolides (a friend and former Metal Hammer Greece colleague). I recorded the show on tape. That night he played Sarcófago’s “Black Vomit” (the re-recorded version from The Laws of Scourge). Until then, the most extreme bands I knew were Slayer and Sepultura. Hearing guttural vocals and blast beats for the first time really shocked me. I can’t say I loved it immediately—but it blew my mind and expanded my idea of what “extreme” could be.
Later in 1992, I moved to Paris for my studies. In the pre-internet days, compilations were the best way to discover new bands. That’s how I picked up the Masters of Brutality 2 cassette. Not only was the tracklist killer, but the flow was seamless—like Seasons in the Abyss. That comp was my gateway to extreme metal. Through it, I discovered some of my favorite bands: Napalm Death, Brutal Truth, Bolt Thrower, Deicide, Cannibal Corpse, Nocturnus, My Dying Bride—and many more.
What does music mean to you? Is it a lifestyle, relaxation, rest? For example, I can't imagine life without music (and books). Feel free to engage in philosophical reflections; I'm interested in your opinion as a musician.
Thanos: Music, for me, is exactly what you described — I truly can’t imagine life without it, or without books. As I grow older, I’ve come to realize just how much music has shaped the way I perceive the world. It’s like a lens that subtly shifts your understanding of things — through sound, emotion, and abstraction. It offers a different angle, an artistic perspective that reveals hidden layers in life, people, and even history.
More than just a lifestyle or a hobby, music gives life purpose — a reason to create, to connect, to leave something behind. And I don’t say that with any grandiose sense of legacy. I don't claim importance for myself or for the band. But I do believe that the traces we leave through our work — songs, records, ideas — are a kind of echo. A way to exist beyond the limitations of time, unless someone does eventually stumble upon the elixir of life!
Books play a similar role for me. I read constantly — mostly history and political theory — and that keeps my mind engaged and searching. I just wish there were more space at home for all the books and records… but as with everything in life, we’re bound by limits.
Panos: As Friedrich Nietzsche said, “Without music, life would be a mistake.” Thanos’ answer applies to me too, 100%.
I’d add that our music is our humble contribution to human culture—just a drop in the ocean. Through it, we try to imagine a more sustainable future for humanity and the Earth’s ecosystem. Planting those ideas in the collective subconscious is vital. That’s how they might one day become reality. As we titled one of our tracks: “Imagination Is Future History.”
On a personal level, music—especially extreme, alternative, and underground music—has been a transformative force. It helped me break free from a conservative Orthodox Christian upbringing. It opened my mind to other ways of thinking, living, and being—different ideologies, lifestyles, and even spiritual practices.
Concerning books—like Thanos, I’m an avid reader, and that definitely influences our lyrics. Books are the closest thing we have to a time machine; they allow us to understand the past and adapt for the future. Sadly, in today’s hyperconnected, digital world of short attention spans, reading is becoming a lost art—and that’s like shooting ourselves in the foot.
Especially now, with AI rapidly transforming society, those who haven’t picked up a book since school, who avoid non-fiction, or who are unwilling to study, reflect, and adapt, risk being left behind. We can’t let that happen. Reading is how we grow and stay relevant in this new age.
Read more books, people!
The inevitable question at the end. What does DEPHOSPHORUS have planned for the coming months? If you have anything on your mind that you would like to say to fans, labels, promoters, here's your chance...
Thanos: Looking ahead, we definitely plan to be more active on the live front. With the release of Planetoktonos, we hope to shake things up and put the name Dephosphorus out there even stronger — both to old friends and to new ears. We’ve already got a good amount of new material in the works, so ideally the next release won’t take as long as the previous ones. Creativity is flowing, and we want to keep that momentum going.
Beyond that, we’re always open to interesting opportunities — whether it’s shows, collaborations, or other kinds of projects. If labels, promoters, or fellow musicians have something in mind, they can absolutely reach out. We’re very much a band that thrives on meaningful connections and ideas.
Thanks to everyone who has supported us through the years — your energy and attention are what keep this whole thing alive. We truly believe that Dephosphorus still has a lot to offer, and we’re excited for what comes next.
Thank you very much for the interview. You know what I'm going to do now? I'm going to go home, play "Planetoktonos" really loud, and probably reread something by Iain M. Banks. I wish you sold-out concerts, good sales of your new album, and success in your personal lives. May the force be with you! Thank you very much!
Recenze/review - DEPHOSPHORUS - Planetoktonos (2025):
Recenze/review - DEPHOSPHORUS - Impossible Orbits (2017):
DEPHOSPHORUS
7 Degrees Records
Nerve Altar
Selfmadegod Records
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