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by Theodore

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Theodore Athens, Greece

Theodore’s atmospheric sound is a mix of classic, piano-driven compositions, with electronic elements ranging from ambient and minimal, to gritty 80s synth-wave. Repetitive drums and shimmering guitars lie under the monolithic songs, topped by Theodore’s hauntingly beautiful vocals. ...   more

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‘The Voyage’ delivers a collection of songs that seamlessly combine exquisite classical and electronic elements with more complex sound experimentations. As the stirring ethereal atmosphere builds, lyrically Theodore explores the voyage to the unknown. Venturing to areas that go beyond the limits of human knowledge, with the focus not on the destination but on the process of the journey and what you leave behind.

Theodore said  “This album was strongly influenced by sci-fi culture both from a cinematic and discography point of view, specifically 2001: a space Odyssey. I composed the new material while exploring the idea of the transcendence of humanity. The main hero, who represents the human race, feels forced to leave his home; planet Earth and his constants and values behind, in order to begin a spiritual escape journey. "

Growing up in Greece had a huge impact on Theodore’s songwriting, the artist’s lyrics reflect on philosophical quests and themes inspired by ancient Greek philosophers such as Plato and Aristotle. This combined with a love of Sci-Fi culture from literature, cinema and music continue to shape the music he creates today. Citing his musical influences as a heady mix of artists and bands such as Pink Floyd, Radiohead, Bon Iver and The Cinematic Orchestra. As well as composers such as Steve Reich, Max Richter and Vangelis.

Theodore’s releases to date have received critical acclaim from the likes of BBC Radio 6, Vice, Wonderland, Atwood, NPR Music and Gigwise. Collectively his songs have amassed over 328k streams on Spotify alone and accumulated 6.75k YouTube subscribers across his channel. The talented songwriter and performer has played and headlined a host of live shows across Europe since 2014. He’s supported the likes of Amber Run and Stereolab as well as played the Reeperbahn festival in Hamburg and performed at SXSW where he was picked as NPR Music’s ‘Favorite Discoveries And Memorable Moments’. Theodore has also played the stages of The New Colossus Festival in New York and Berlin and in 2019 performed more than 40 headline gigs across Europe and the US. The final show of the tour was an exclusive concert on Bob Boilen’s world-renowned Tiny Desk.

Vocals, Synths, Piano, Rhodes, Clavinet, Glockenspiel : Theodore Guitars: Manos Kourkoulis, John Lefas Drums,Percussion: Ashley Hallinan Bass : Nikolas Papachronopoulos Synths, Percussion, Samples: Kostas Zabos Trumpet: Spyros Arkoudis Trombone: George Krimperis French Horn: Aggeliki Poulimenou Cello: Michalis Porfyris Viola: Ilias Sdoukos Violins: Eugjen Zhibaj, Kokolanis Laertis Flute: Konstantina Ventouri Roussou Clarinet: Ioannis Kritikos Additional vocals on “Inertia” by Danai Nielsen

Credits All music and lyrics by Theodore Arranged and produced by Kostas Zabos and Theodore Engineered, recorded and programmed by Kostas Zabos, Stavros Georgiopoulos Additional recordings by Vagelis Moschos Mixed by Alex Bolpasis Mastered by Dimitris Papadimitriou at Sweetspot Productions

Recording studios United We Fly Studio, Athens AntArt Studio, Athens | Assistant Engineer: Nikos Goudinakis Suono Studio, Athens | AssistantEngineer: AlexBolpasis, Gustav Penka Diskex Studio, Athens | Assistant Engineer: Sergios Voudris

(c) 2022 United We Fly (p) 2022 United We Fly

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March 11, 2022 6 Songs, 32 minutes ℗ 2022 United We Fly

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Album Review: Theodore – The Voyage

Ride to the stars on waves of synths, powered by the rocket fuel of cosmic imagination, with Theodore’s first album in three years, switching from the spinetingling and subtly ambient to the grand-scale anthemic and out-and-out euphoric.

Man And His Tools opens The Voyage with a throbbing, spectacular, epic vibe, drums to the fore and a muscular, rocky persona to grab and pull you into this spaced-out world. Like “audio”, “steak” or “train” in Wordle, this is a good way to start.

Greek multi-instrumentalist and songwriter Theodore, combining the electronic and the classical, has already been compared to countryman Vangelis and tracks like Last Day On Earth (which culminates in a fine crescendo) and Frame Of Reference (dreamy, swoony and orchestral) seem to channel Germany’s peerless Tangerine Dream. But there’s a more modern frame of reference here that takes in EDM, electro house and up-to-date electronic rock. Both Man And His Tools and Inertia (which starts minimalist but goes for the max in its finale) have echoes of the likes of Australia’s Pendulum, France’s M83 and the post-rock of Iceland’s Sigur Ros.

There’s something inherently simple in the concept, “about space travel and mankind’s place in the universe”. It’s more poppy than profound, less ambitious or cerebral than other space odysseys (titles like Man And His Tools, latest single Voyage and Transcendence Of Man recall Clarke/ Kubrick’s 2001). But “simple” can still be powerful, and simply infectious. The quality musicianship, lush melodies and majestic, climactic highs should be enough to keep you strapped in until journey’s end. Bon Voyage.

The Voyage, by Theodore, is out on March 11, via United We Fly

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Rachel grae – do better, eighteen hundred and froze to death – wreck the decks, deadset – heavy eyes, mötley crüe – dogs of war + tour dates, personal trainer – what’s left, death x destiny – dreamwalker + new video, lightheaded – bright happy girls + new video, kellie loder – honey i’m scared, lille venn – just like me, ivy gardens – 12 million bar blues, first look: theodore – voyage.

Theodore has released his new video for the track titled ‘Voyage’ from his upcoming album ‘The Voyage’, releasing March 13th.

Atmospheric and vivid with a cinematic tinge to it, ‘Voyage’ is one of those songs that becomes a part of you. It gets inside your soul just enough to inspire or at least lift your spirits. Sonic inspiration, in a sense. A tiny segment of your life just got a score for it. Can music define you? It can, in segments. For 3:30 I was in another place. Now I’m back. But I took a sliver of that place with me.

Theodore’s upcoming album, ‘The Voyage’, will be his first in three years and will be released on March 13, 2022, via United We Fly .

About Theodore

“‘Voyage is a visual poem going down into the abyss where we recover the treasures of life,” says director Ioannis Nikiforos. “It’s a spiritual journey that cannot despise the earthly.

“Voyage” follows the massive and dreamy orchestral “Frame Of Reference,” and the spacey first single “Man And His Tools,” which was premiered by Atwood Magazine, covered by several international publications like Rolling Stone Greece, and received support from NPR’s New Music Friday playlist.

Combining electronic and classical compositions, the Greece-based multi-instrumentalist and songwriter Theodore balances his music somewhere between ambient post-rock and gritty 80s synth-wave.

When reality allowed for concerts to happen, Theodore performed in more than 40 headline gigs during his 2019 tour in Europe and the US. The final show of the tour was an exclusive performance on Bob Boilen’s world-renowned NPR Music Tiny Desk.

Theodore has shared the stage with artists such as Sigur Ros, DIIV, and Αmber Run and has performed at Reeperbahn 2017 & 2018, Eurosonic, Musexpo LA, and SXSW 2018 & 2019, where he was selected as NPR Music’s Favorite Discoveries And Memorable Moments.

Featured image by Paris Anagnostopoulos.

LINKS: https://www.theodore-music.com https://twitter.com/musicoftheodore https://www.instagram.com/theodore.music.official/ https://www.facebook.com/Theodore.Music.Official/

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The First Voyage Around The World 1519-1522

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Theodore Roosevelt Launches the Great White Fleet

The Great White Fleet was the result of Theodore Roosevelt’s determination to build a modern navy and flex American military muscle. Its global voyage was a showcase of American naval power.

On the morning of December 16, 1907, an impressive armada of warships steamed from Hampton Roads, Virginia to begin a voyage that would take them around the globe. It consisted of sixteen battleships, organized in four squadrons and accompanied by six destroyers and six auxiliary vessels, and carrying 14,000 sailors. The ships’ hulls were painted white, giving the flotilla its name: the Great White Fleet.

Watching the procession from the yacht  Mayflower  was the President of the United States, Theodore Roosevelt. By all accounts he was grinning ear to ear as the massive battlewagons steamed past, for the president more than any other individual was responsible for this cruise. Although his only time in combat had been on land, at heart Roosevelt had long been a Navy man. He had been fascinated by warships since childhood, and began advocating for naval expansion even during his college years at Harvard. In 1888 the future president struck up a friendship with Alfred Thayer Mahan, naval officer and president of the Naval War College. When, two years later, Mahan published his classic book  The Influence of Sea Power upon History , Roosevelt was among the first to endorse it. Mahan’s thesis was that, in the modern age, the dominant power was the one with the largest navy, along with a network of coaling stations to project naval power around the globe. While some historians have claimed that Mahan’s work had a great influence on Roosevelt, it is more appropriate to say that it articulated and solidified what he already believed.

The voyage of the Great White Fleet lasted a total of 434 days. Because the Panama Canal was not yet finished, the first leg took the ships through the Caribbean, down the coast of South America, around the Cape of Good Hope, and north to California. After a two-week stay in San Francisco the armada set out on the second leg of the voyage, further north to Puget Sound. There the ships separated to visit six ports along the Washington coast before returning to San Francisco.  There followed another six weeks in San Francisco, followed by a voyage across the Pacific, visiting Hawaii, New Zealand, Australia, the Philippines, Japan, and China. The final leg of the journey brought the fleet to Ceylon (today’s Sri Lanka), then through the Suez Canal and the Mediterranean Sea, with stops in Sicily and Gibraltar, before heading back across the Atlantic Ocean for home. The armada reached Hampton Roads again on February 22, 1909.

The official stated purpose of the cruise was to provide the U.S. Navy with practice in large-scale fleet operations, something which it had never engaged in before. The movement of an entire fleet of battleships required advanced skills in communication and navigation, particularly as ships had only recently been equipped with radios. The voyage also involved daunting logistical challenges, as the ships burned massive amounts of coal that needed to be supplied either in port, or by colliers—vessels designed to carry coal to ships at sea.

Yet the stated explanation provides only part of the motive for the Great White Fleet’s global cruise. As a number of high-ranking naval officers pointed out, crews could have gained practice in these skills while remaining in home waters. The deeper reason why Roosevelt sent such a large fleet abroad lay more in the realm of international politics than in that of naval affairs. For one, it was an opportunity to win goodwill abroad. It had become common during the 19 th  century for warships to make “courtesy calls” to friendly nations; in fact, a squadron of German ships had visited New York City five years earlier. The fleet was also able to assist in a humanitarian mission; on December 28, 1908, a major earthquake—the most destructive ever recorded in modern European history—struck Sicily, and U.S. sailors were able to help with rescue and recovery operations when the armada stopped there in early January.

From Roosevelt’s perspective, however, the voyage of the Great White Fleet was first and foremost an opportunity for flexing the country’s new naval muscles . The United States had long been an important economic power; indeed, in the 1890s it had surpassed Great Britain as the nation with the world’s highest GDP, and by 1900 it was the world’s largest producer of steel. Yet before Roosevelt’s presidency the country was not yet considered a major player on the world stage. While U.S. forces had proven capable of defeating the decrepit Kingdom of Spain in 1898, its small army and navy were no match for those of great powers such as Great Britain, France, or Germany. Congress had begun to appropriate significant funds for naval expansion in the 1880s, and by the turn of the century the United States finally had a modern battle fleet. In Roosevelt’s mind, it was time to show it off.

Roosevelt was most concerned about Japan . In the course of less than a half-century Japan had gone from a semi-feudal agrarian country to an industrial power with a modern army and navy. In a letter he wrote on February 8, 1909, as the Great White Fleet was making its way across the Atlantic, the president warned that Japan was the only country he worried that the United States might have to fight in the near future. Victory in the Russo-Japanese War had given Tokyo a substantial empire on the continent of Asia, and the country was set on further expansion. Moreover, the Japanese were proud of their rapid progress, and determined to be treated as equals on the world stage, but “have been bitterly humiliated to find that even their allies, the English, and their friends, the Americans, won’t admit them to association and citizenship, as they admit the least advanced or most decadent European peoples.” [1]

It’s not clear to what extent the voyage of the Great White Fleet impressed the Japanese government, but by all accounts the cruise was a success, at least in a public relations sense. The battleships and their sailors were heartily cheered wherever they went, and, according to historian Mark Albertson, “Relations were fostered with nations that hitherto had been little more than names on a map; while relations with the familiar capitals were enhanced.” [2]  But the cruise also revealed weaknesses in the design of some of the battleships, which had, in fact, already been rendered obsolete by the launch of the world’s first “all-big-gun” warship, the Royal Navy’s HMS  Dreadnought , in 1906. Furthermore, the voyage illustrated the limitations of the Navy’s logistical ability to support large-scale naval operations. Both of these weaknesses would be addressed in the coming decades, but the Great White Fleet offered a foreshadowing of America’s future as a dominant naval power. 

[1]  Theodore Roosevelt, The Threat of Japan.  https://www.mtholyoke.edu/acad/intrel/trjapan.htm .

[2]  Mark Albertson,  They’ll Have to Follow You! The Triumph of the Great White Fleet  (2007), p. 14.

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Voyage to the Bottom of the Sea Paperback – January 1, 1961

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