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Kkismettin

by Antonis Antoniou

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1.
Livanin 03:14
Livánin (Incense) Ten bales of hay, an oka of potatoes Don’t listen to throats tightened by ties The vowels are flying, the consonants are lisping And the empty words leaving their mouth fall wilted on the ground You carry the weight of evil on your back In your ear someone murmurs a doctored History But the demon’s deceptive garden has withered Our own blossomed garden injects it with incense, the edict has been issued Tearing up our old accounts, burying our knives We hold hands tightly as we dance under the stars ======= Λιβάνιν Δέκα πάλες άσ̆υρον, μιαν οκκάν πατάτες Mεν κρώννεσαι τσάρουκκες σφιμένους που γραβάτες Τα φωνήεντα πετούν, τα σύμφωνα μασσεύκουν Tζ̆αι οι λέξεις όφτζ̆αιρες στο στόμαν τους σαν φεύκουν, μαραντζ̆ιασμένες ππέφτουν Κουβαλάς στην ράσ̆ην σου σ̆εηττανοφορτία Μες στο φτιν σου ψουψουρούν φκιαχτήν την Ιστορίαν Μα ’ξέρανεν του δαίμονα τ’ απατηλόν ποστάνιν Ο αθθισμένος κήπος μας μπολιάζει τον λιβάνιν, εγράφτην το φιρμάνιν Σ̆σ̆ίζουμεν δεφτέρκα, θάφκουμεν μασ̆αίρκα Με σφιχτά τα σ̆έρκα μας χορεύκουμεν στ’ αστέρκα
2.
Ttáppa káto (Down with a bang) Still barely awake we work the spade, digging a hole Dig so we can dig together, my brother, hopefully we’ll soon be done The clouds are gathering, the rain has come our feet are stuck into the mud From top to toe we’re all dirty, but our blood is still flowing eager ‘But what are you doing, lads, tormenting yourselves out in the cold? This wall has foundations that they’ve been building for fifty years’ ‘Come, friend, you help us too the surge defeats the wall we’ll raise a gale until the wall comes down with a bang! We’ll keep creating trouble until it comes down with a bang!’ ==== Ττάππα κάτω Με την γαρύλλαν μέσα στο μμάτιν τραβούμεν κούσπον, φκάλλουμεν λάκκον Σγάψε να σγάψουμεν, ρε καρτάσ̆η, πέρκι τελειώσουμεν άλλο νάκκον Συνάει νέφη, αρκεύκει βρέσ̆ει, βολούν τα πόθκια μας μες τα πηλά Που πάν’ ως κάτω ’γινήκαμεν λέσ̆ιν, άμμα το γαίμαν μας βραστόν τζ̆υλά «Μα ’νταμπου κάμνετε, ρε κοπέλια, τζ̆αι βασανίζεστε μέσα τα σ̆ιόνια; Τούτος ο τοίχος έσ̆ει θεμέλι̮α που τα εχτίζασιν πεήντα γρόνια» «Έλα, κουμπάρε, τζ̆’ εσούνι τάνα το τζ̆ύμμαν το τεισ̆ιόν νικά το έννα σηκώσουμεν τραμουντάναν, ώσπου να δώκει ττάππα κάτω! Έννα του βάλλουμεν βίρα φάλιες ώσπου να δώκει ττάππα κάτω!»
3.
Kkismettin 04:33
Kkisméttin (Kismet) This castle, a hidden city inhabited by lords and serfs joys and sorrows in its neighbourhoods mixed up, there’s a place for everyone They reach out their hands to beg the crippled outside the gate others work in the fields from daybreak till nightfall From Ais Yiannis to Arabahmet* whether they want to or not, they live together this is what fate decreed a few laugh, many cry There’s noise in the bazaar they’re selling things, pushing and fighting animals, people, oxen, donkeys many owe money, few pay They drink, get drunk, and being silly destroy all that they had previously built a dark-faced girl tells them their fortune they look elsewhere, don’t listen to her From Ais Yiannis to Arabahmet two sides, they don’t live together this is what kismet said one person’s laughter is the other’s cry As they sat together to rest Halil leaned over and told Antonis ‘Whatever’s bad for us and saddens us we’ll change it, you and I’ From Ais Yiannis to Arabahmet in this city we live together we’ll rewrite our kismet we’ll share our laughter and our cry * Neighbourhoods of Nicosia. Ais Yiannis is on the south of the buffer zone; Arabahmet is on the north. =========== Κκισμέττιν Τούτον το κάστρον, χωσμένη πόλη αρκόντοι, δούλοι την κατοικούσιν χαρές τζ̆αι πίκρες στες γειτονιές της νεκατωμένοι, ούλλοι χωρούσιν Πλώννουν τα σ̆έρκα να ζηθκιανέψουν σακαττεμένοι όξω της πύλης τζ̆’ άλλοι δουλεύκουν μες τα χωράφκια γέννημαν νήλιου, ίσ̆ια με δείλις Που Άην Γιάννην σ’ Αραπαχμέττην θέλουν, εν θέλουν ζ̆ούσιν αντάμα έτσι εγράφτην μες το κκισμέττιν λλίοι το γέλιον, πολλοί το κλάμαν Καρκασ̆αλλίκκιν μες το παζάριν πουλούν πραμάθκειες, κουντούν, μαλλώννουν χτηνά, αθρώποι, βούθκια, γαδάροι πολλοί γρωστούσιν, λλίοι πιερώννουν Πίννουν, μεθκιούσιν, πά’ στην πελλάραν όσα εχτίσαν τα πουκουππούσιν φκάλλει την τύχην μια μουζουρούα αλλού δικλούσιν, εν την ακούσιν Που Άην Γιάννην σ’ Αραπαχμέττην σε θκυο τταράφκια εν ζ̆ουν αντάμα έτσι εγράφτην μες το κκισμέττιν του νιου το γέλιον εν τ’ άλλου κλάμαν Όπως εκάτσαν μαζίν να πνάσουν γείρνει ο Χαλίλ, λαλεί τ’ Αντώνη «Ό,τι μας βλάφτει τζ̆αι σικκιρτά μας εσού τζ̆’ εγιώνι» Που Άην Γιάννην σ’ Αραπαχμέττην μες τούντην πόλην ζ̆ούμεν αντάμα να ξαναγράψουμεν το κκισμέττιν να μοιραστούμεν γέλιον τζ̆αι κλάμαν
4.
Angali 04:46
5.
Ksiméroman (Daybreak) From Paphos Gate to Orfeas* You play it cool and somewhat vain And from Ochi to the Saray* I’m mustering up the courage to talk to you Onasagorou, Faneromeni* Hipsters, anarchists, unhinged ones ‘Sit and have a drink with us’, they tell me But my mind is elsewhere I neither want to drink, nor to rest Just kiss me, so that I can quench my thirst Evening, it’s getting dark, who can feel what I feel Look into my eyes, so that the day breaks In the courtyards, on the roofs My old friends, new faces Some saw you, told you something You then vanished into a black hole Chrysaliniotissa, Arabahmet* You show up in my coffee like kismet ‘Come inside’, some tell me But my mind is elsewhere On the bastion, along the walls That’s where fate brings us together ‘Come close to me’, you tell me, laughing And that’s when I completely lose my mind I want to kiss you, to be satiated with you And then to forget you again Evening, it’s getting dark, let us embrace And only be apart once the day breaks * Paphos Gate: one of the three gates of the medieval walls encircling the old town of Nicosia, and the one overlooking the west. Orfeas: a Nicosia football club, on the eastern side of the walled city. * Ochi: an area of the old city (meaning ‘no’, from Greek ‘ΟΧΙ’), between the D’Avila and Constanza bastions. Saray: the old saray of the island’s Ottoman administration, in the northern part of the city (Sarayönü Square). * Onasagorou: one of the main commercial streets in the southern part of the walled city. Faneromeni: a central square in the southern part of the walled city (connected to Onasagorou). * Chrysaliniotissa: a neighbourhood in the southern part of the walled city. Arabahmet: a neighbourhood in the northern part of the walled city. ======= Ξημέρωμαν Που Πύλην Πάφου ως τον Ορφέα Παίζεις το κκουλ τζ̆αι κάπως μοιραία Τζ̆αι που το ΟΧΙ ως το Σεράγιον Να σου μιλήσω ψάχνω κουράγιον Ονασαγόρου, Φανερωμένη Χίπστερ, ανάρχες, σαλταρισμένοι «Κάτσε να πιούμεν κάτι», λαλούν μου Μα ’γιώνι έχω αλλού τον νουν μου Να πιω δεν θέλω, ούτε να πνάσω Φίλα με μόνον, να ξεδιψάσω Δείλις, νυχτώννει, ποιος να με νώσει Δε με στα μμάθκια να ξημερώσει Μες τες αυλάες, πά’ στες ταρράτσες Παλιοί μου φίλοι, τζ̆αινούρκες φάτσες Κάποιοι σε είδαν, κάτι σου είπαν Ύστερα ’χάθης σε μαύρην τρύπαν Χρυσαλινιώτισσ’, Αραπαχμέττη Μες τον καφέν μου φκαίννεις κκισμέττιν «Κόπιασε έσσω», κάποιοι λαλούν μου Εγιώνι έχω αλλού τον νουν μου Στον προμαχώναν, πάνω στα τείχη Τζ̆αμαί μας φέρνει μαζίν η τύχη «Έλα κοντά μου», λαλείς με γέλια Τζ̆αι τότε χάννω τον νουν μου τέλει̮α Να σε φιλήσω, να σε χορτάσω Τζ̆’ ύστερα πάλε να σε ξηχάσω Δείλις, νυχτώννει, ν’ αγκαλιαστούμεν Που ’ννα χαράξει να χωριστούμεν  
6.
Barıs 04:38
Barış* Close them, seal them up so they don’t come through* angel brothers will smash them Gates and metal wires they jump over, laughing beating the barrels to the rhythms of ecstatic dancing Close them, seal them up, but they’ll come through davul and zurna* will startle you they’re making flower wreaths as presents the caravans are now leaving with force They’re echoing, they’re breaking down the walls let’s go back to the beginning, barış, barış * Barış: ‘peace’ in Turkish. * Close them, seal them up: here the lyricist is referring to the checkpoints dividing Cyprus into two. * Davul: large drum played with wooden sticks; zurna: wooden, double-reed flute. In Cyprus, these two instruments are associated with the Turkish-Cypriot community. Barış* Κλείστε, σφραγίστε τα να μεν περάσουν αντζ̆έλοι καρτάσ̆ηες θα σας τα σπάσουν Καντζ̆έλλια τζ̆αι ττέλλια ππηούν τα με γέλια ρυθμούς για χορούς εκστατικούς φακκούν στα βαρέλια Κλείστε, σφραγίστε τα, μα έννα περάσουν νταούλια, ζουρνάες θα σας φαράσουν με φκιόρα για δώρα πλέκουν στεφάνια τωρά τζ̆αι με φόραν φεύκουν καραβάνια Αντιλαλούν, τοίχους χαλούν φτου που ξαρκής, μπαρίς̆, μπαρίς̆
7.
Doulia 03:36
Douliá (Work) I’m jumping on the barrels, the ones impregnated by the street On a barefoot dance I’m kicking them, those rusty things It’s not a game, it’s work, but it’ll give you pleasure The time has come; roll them over before the sunset blinds us This wall is like a ghost, let us sweat so that it crumbles down Roll them over, roll them down, get them out of the way In the fields, down the cliffs, to melt, to rot So that the souls they burned will flutter again Let’s plant new stories inside them They’ll create drunkenness and kissing, will grow dances and games It’s not a game, it’s work, but it’ll give you pleasure Roll them over so we can roll them down together; the light will make it up to us  ========== Δουλειά Πά’ στες βαρέλλες τραππηδώ, τες στραταγκαστρωμένες Σ’ έναν χορόν ξαπόλυτον κλωτσώ τες αγιωμένες Εν τζ̆’ εν παιχνίδιν, εν δουλειά, μα ’ννα σε φκαριστήσει Ήρτεν η ώρα, τζ̆ύλα τες πριν μας στραβώσ’ η δύση Τούντο τεισ̆ιόν σαν το στοισ̆ειόν να δρώσουμεν, να ππέσει Τζ̆ύλα τες, κατρατζ̆ύλα τες, έφκαρ’ τες που την μέσην Μες τους αγρούς, μες τους κρεμμούς, να λύσουν, να σαπίσουν Τζ̆’ όσες ψυσ̆ές εκρούζασιν, πάλε να φτερατζ̆ίσουν Μέσα τους να φυτέψουμεν τζ̆ινούρκα παραμύθκια Κάμνουν μεθύσ̆ια τζ̆αι φιλιά, βλαστούν χοροί, παιχνίθκια Εν τζ̆’ εν παιχνίδιν, εν δουλειά, μα ’ννα σε φκαριστήσει Τζ̆ύλα να τες τζ̆υλήσουμεν, το φως να μας πλουμίσει
8.
Varella 04:24
Varélla (Barrel) Dancing in the flower pot waters the branches huge hands are growing, blowing hugs my brother is your brother, under the olive tree there’s no waiting, it’s blowing hugs They’re bringing the roofs together, jumping from village to village thundering, revelling, there’s great rumbling they’re bound up together, girded by flowers a rusty barrel is rolling in the fields ======= Βαρέλλα Χοροί μες την γλάστραν ποτίζουν κλωνιά βλαστούσιν σ̆ερούκλες, φυσούν αγκαλιάν ο αρφός μου εν αρφός σου, που κά’ στην ελιάν εν έσ̆ει καρτέριν, φυσά αγκαλιάν Ταρράτσες πιντώννουν, ππηδούν στα χωρκά βροντούν, ξεφαντώννουν, πλαθκιά πουμπουρκά μαζίν βιδωμένοι, ζωσμένοι αθθούς βαρέλλα αγιωμένη τζ̆υλά στους αγρούς
9.
Djinoúrkes meres (New days) The old citrus fruit have overripened on the branch The leafage fluttered and the earth shook with pain I ask the fragrant blossom, saddened ‘Tell me which heartless god will be charged with this murder’ You’ve inoculated everyone’s blood with venom and sorrow You’ve watered them with cunningness, and lie throve They cry and scream that they can’t be together Let them go, and burden me with all of earth’s crying I’ll cry, I’ll lament, I’ll be lightning and thunder For those whose tears have dried up I’ll shriek And my chest’s rumbling will cut through the ether And the new days will be full of drunkenness and kissing   =============== Τζ̆ινούρκες μέρες Το γέρικον τζ̆ιτρόμηλον επόσκασεν στον κλώνον ’Φτεράτζ̆ισεν η φυλλωσ̆ιά τζ̆’ η γης εσούστην πόνον Τον μυρωδάτον τον αθθόν ρωτώ τζ̆αι μαραζώννω «Πε μου ποιος άκαρτος θεός θα χρεωθεί τον φόνον» Φαρμάτζ̆ιν, κάγριν ’μπόλιασες ούλλων των λας το γαίμαν Επότισες τους πονηρκάν τζ̆’ εδράτζ̆ιασεν το ψέμαν Κλαίουν τζ̆αι παουρίζουσιν που ’ν κάμνουσιν αντάμα Ξαπόλα τους τζ̆αι φόρτωσ’ μου της γης ούλλον το κλάμαν Να κλάψω, να νεκαλεστώ, ν’ αστράψω, να βροντήσω Για τζ̆είνους που εστέγνωσεν το δάκρυν να παουρήσω Τζ̆’ οι πουμπουρκές του στήθους μου να σ̆σ̆ίσουν τους αιθέρες Τζ̆’ ούλλον μεθύσ̆ια τζ̆αι φιλιά να ’ν οι τζ̆ινούρκες μέρες
10.
Achtína (Ray) A ray pierces through the quarantine painting wings on the curtain A ray, a shadow of a month to come, unfolds the thread on the reel   === Αχτίνα Μια αχτίνα τρυπά την καραττίναν ζωγραφίζει φτερούγες στην κουρτίναν Μια αχτίνα, νοσ̆σ̆ιά που άλλον μήναν, ποτυλίει το νήμαν στην πομπίναν

about

'𝘏𝘶𝘨𝘦𝘭𝘺 𝘤𝘰𝘮𝘱𝘦𝘭𝘭𝘪𝘯𝘨' 8/10 (𝐔𝐧𝐜𝐮𝐭)

'𝐴𝑛𝑡𝑜𝑛𝑖𝑜𝑢 𝑐𝑟𝑒𝑎𝑡𝑒𝑠 𝑎𝑛 𝑒𝑑𝑔𝑦, 𝑑𝑢𝑒𝑛𝑑𝑒-𝑓𝑖𝑙𝑙𝑒𝑑 𝑚𝑒́𝑙𝑎𝑛𝑔𝑒 𝑜𝑓 𝑠ℎ𝑎𝑑𝑜𝑤𝑠 𝑎𝑛𝑑 𝑠𝑝𝑒𝑐𝑡𝑟𝑒𝑠' (𝐌𝐨𝐣𝐨)

'𝘒𝘬𝘪𝘴𝘮𝘦𝘵𝘵𝘪𝘯 𝘪𝘴 𝘯𝘰𝘵 𝘭𝘪𝘨𝘩𝘵𝘸𝘦𝘪𝘨𝘩𝘵 𝘮𝘶𝘴𝘪𝘤' (𝐖𝐈𝐑𝐄)

'𝘈𝘯 𝘦𝘹𝘵𝘳𝘦𝘮𝘦𝘭𝘺 𝘸𝘦𝘭𝘭-𝘮𝘢𝘥𝘦 𝘢𝘯𝘥 𝘷𝘦𝘳𝘺 𝘦𝘹𝘤𝘪𝘵𝘪𝘯𝘨 𝘳𝘦𝘤𝘰𝘳𝘥' (𝐋𝐢𝐫𝐚)

★★★★★★ - 'Modern Masterpiece' (𝗚𝗔𝗙𝗙𝗔 𝗺𝗮𝗴𝗮𝘇𝗶𝗻𝗲)
★★★★ - 'Eclectic and inventive' (𝗦𝗼𝗻𝗴𝗹𝗶𝗻𝗲𝘀)
★★★★ - (𝗙𝗶𝗻𝗮𝗻𝗰𝗶𝗮𝗹 𝗧𝗶𝗺𝗲𝘀)
★★★★ - '𝐴𝑛 𝑎𝑙𝑏𝑢𝑚 𝑡ℎ𝑎𝑡 𝑑𝑒𝑚𝑎𝑛𝑑𝑠 𝑎𝑖𝑟, 𝑓𝑟𝑒𝑒𝑑𝑜𝑚 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑙𝑖𝑓𝑡𝑖𝑛𝑔 𝑜𝑓 𝑎𝑙𝑙 𝑙𝑜𝑐𝑘𝑑𝑜𝑤𝑛𝑠.' (𝗚𝗹𝗼𝗯𝗮𝗹𝗦𝗼𝘂𝗻𝗱𝘀)

- 'Album of the month' - (𝗥𝗼𝗼𝘁𝘀𝗪𝗼𝗿𝗹𝗱)
- 𝐍𝐨.1 - World Music Charts Europe (June&July 2021)
- 𝐍𝐨.1 - Transglobal World Music Chart (July 2021)
- Nominated for the 𝗣𝗿𝗲𝗶𝘀 𝗱𝗲𝗿 𝗱𝗲𝘂𝘁𝘀𝗰𝗵𝗲𝗻 𝗦𝗰𝗵𝗮𝗹𝗹𝗽𝗹𝗮𝘁𝘁𝗲𝗻𝗸𝗿𝗶𝘁𝗶𝗸 (German Records Critic's Award) 2021
- Best album of North Africa & Middle East 2021 (Transglobal Word Music Chart)



Kkismettin means fate, destiny. The word is used by both Greek Cypriots and Turkish Cypriots, the two largest communities inhabiting the island of Cyprus. In this deeply political conceptual album Antoniou attempts to craft a portrait of his divided home-town Nicosia. Many black pages appear in the island’s turbulent history including the current division and continuous political confrontation. For peace warriors struggling for reunification, this painful situation cannot be accepted as the island’s destiny. The course of Kkismettin can be manipulated by the people and brought to a fresh beginning with new foundations. The re-written kkismettin will be filled with laughter rather than pain, with hugs rather than hostility, with bridges and rolling barrels rather than checkpoints and walls.

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Kkismettin is the first solo album of Antonis Antoniou, founder and driving force behind the award-winning bands Monsieur Doumani and Trio Tekke. In his native Greek-Cypriot tongue, Antoniou blends together soundscapes and textures that have arisen throughout the course of his adventurous musical journey (from classical music to jazz, rock, traditional, experimental, sound art). The lute's middle-eastern melodies (one of Cyprus’ main traditional instruments) resonate with analogue synthesizer glides and edgy guitar riffs, pushing the boundaries and forming a distinct contemporary musical mosaic. The checkpoint barrels of the divided city of Nicosia literally become musical instruments, providing the rhythmic bedrock and creating a rusty/grimy quality.

The album was created during the unprecedented lock-down/confinement period that was enforced in Cyprus, as a measure to tackle Covid19. During the confinement period, people felt suffocated behind closed doors. They were reminded of the limitations to their freedom of movement and to other fundamental freedoms in this divided country, where streets have been forcibly interrupted by rows of concrete-filled barrels, placed there by the ghosts of the past. These toxic barrels represent political agendas but they also reflect the effects of blind nationalism, which does not allow us to enjoy the beauty of this island. Viewed on a more symbolic level, these rows of barrels, could be seen as material expressions of alienation between people, chasms and corruption in society.
In the album Kkismettin, the rusty barrels literally turn into musical instruments which resonate, establishing the rhythmic layout and the texture of the sounds. In this way, the barrels of Cyprus’ division are kicked playfully, they are deconstructed and the sad and tragic stories that they hide are exposed and then drift away. The barrels roll to far away fields and a fresh breeze brings celebrations, hugs and kisses. Thus, kkismettin is re-written with new terms of reference.

credits

released April 2, 2021

============================

Produced by Antonis Antoniou during lockdown in Cyprus (March-April 2020)
All music and lyrics written by Antonis Antoniou except lyrics of 'Ttappa Kato', 'Kkismettin', 'Yelia je Ttelia' written by Marios Epaminondas.

Vocals on Ttappa Kato: Andreas Neocleous & Antonis Antoniou
Vocals on Achtina: Efthymia Alphas & Antonis Antoniou
Choral vocals on Baris: Simge Akdogu, Sertunc Akdogu, Anastasia Demetriadou, Andreas Neocleous, Lefteris Moumtzis, Yiannis Christides, Demetris Yiasemides, Antonis Antoniou

Mixed by Sotos Charalambous
Mastered by Makis Pelopidas at Ahos studio, Megalovriso, GR
Cover design: Yiorgos Tsangaris
Translations / Proofreading: Nicoletta Demetriou
Photography: Michalis Demetriades

Special thanks: Yiangos Yiangou, Giorgos Hadjipieris, Andys Skordis, Sofronis Sofroniou, Alexandros Peleties, Araceli Tzigane, Pether Lindgren, Pedro Lima

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Antonis Antoniou Nicosia, Cyprus

Founding member of Monsieur Doumani and Trio Tekke. Composer, Sound Artist, Producer, Activist, Urban Stroller, Experience Collector.

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