Constantine Kanakis returns with Ground Zero, a bold instrumental statement that reconnects him with the music that first ignited his passion for the guitar. Known for his technical mastery and deep melodic sensibility, Kanakis takes listeners on a journey through a post-apocalyptic soundscape where precision meets emotion. In this interview, he shares the inspiration behind his shift back to instrumental music, the creative process that shapes his compositions, and the challenges of handling every aspect of production himself.

By Sandra Pinto

Ground Zero is not just a track, it’s a celebration of the guitar’s storytelling power and a window into Kanakis’s artistic evolution.

Ground Zero marks your return to instrumental roots. What motivated you to focus solely on instrumental music in this new chapter?
The motivation to focus solely on instrumental music in this new chapter is a bit of a dual process, but it essentially marks my return to instrumental roots as a fan. For me, composing instrumental music is an all-new thing, but going back to that style of music is absolutely not. Most of my formative years, particularly my teens, were spent absolutely
captivated by instrumental virtuosos. I was heavily immersed in the world of artists like Yngwie Malmsteen, Jason Becker, Marty Friedman, Vinnie Moore, and countless others, especially those from the legendary Shrapnel Records era. This new chapter is about celebrating that heritage. It provides a unique opportunity to focus entirely on the compositional depth, technical expression, and pure melodic power of the guitar. In short, this is less about abandoning past work and more about a joyful reunion with the music that made me pick up the guitar in the first place. It feels like a genuine, full-circle moment.

Can you tell us about the creative process behind Ground Zero? How did you start developing this composition?
The entire composition sprang from a single, compelling idea—in this case, the intro melody. That initial phrase served as the anchor, and the rest of the song was built by expanding, contrasting, and harmonizing with that central theme. It’s almost like following a musical thread and seeing where it leads you .

Which elements or techniques would you highlight in this track that showcase your evolution as a solo guitarist?
While I could talk endlessly about guitar techniques and perhaps bore you to death with discussions of sweep picking patterns or alternate picking scale runs (laughs), the real evolution showcased on Ground Zero is not just about the playing. The most significant area of growth I’d highlight isn’t just in my fingers, but in my approach as a creator: the technical style as a music engineer.
For this project, I produced and recorded the track entirely myself, which is something I typically haven’t done in the other band projects I’ve been involved with. Usually, I’d hand off the tracks to a dedicated producer or mixing engineer. This demanded a whole new level of focus on tone sculpting, EQ choices, and managing the entire mixing process. It forced me to think about how the guitar sits in the overall sonic landscape from the ground up, not just how it sounds through the amplifier. So yeah, I’m truly glad I got to stretch and develop that part of myself.

You mention influences such as Marty Friedman, Jeff Loomis, and Jason Becker. How have these figures shaped your style and approach to guitar?
Some of these exceptional figures immediately inspired me to push my limits. Their jaw-dropping speed and precision made me want to lock myself in my room and practice my scales relentlessly. Their playing underscored the absolute necessity of mastering the guitar’s vocabulary—the scales, arpeggios, and various picking techniques—as a foundation for any kind of expression. For others, the influence was deeper, requiring me to study their music and style closely. They taught me that technique must always serve the song.

Compared to your work with Sorceress of Sin, what do you find more challenging or liberating about creating instrumental music?
The main difference that creates both stress and profound satisfaction is that I’m in charge of the whole production. With a band, you have multiple people sharing the burden of writing, arranging, and production decisions. For Ground Zero, the entire process—from the initial composition and guitar tracking to the final mixing and mastering—falls on my shoulders. This can make it quite stressful because there is no one else to turn to for quality control or a second opinion on a mix. On the flip side I got to truly stretch that engineering muscle, which is a new and exciting layer of creative freedom.

The track has a strong emotional component. How do you balance technique and feeling in your compositions?
The balance between raw technique and emotional delivery is crucial, and my approach is always centered on a single principle: I try to serve the song and the music first and foremost. When I write these pieces, I think of the main melody, especially in the intro and verses, as the vocal line. It has to be memorable, emotionally resonant, and tell the core story of the track. If the melody doesn’t stick or resonate, no amount of speed will save it. It’s all about making sure the technique amplifies the feeling, rather than overshadowing it.

The Ground Zero visualizer accompanies the music. To what extent do the visuals help convey the story or atmosphere of the track?
The visualizer video itself is quite straightforward; its primary function is just to present the music. The real visual that conveys the story and atmosphere of Ground Zero is the cover art. It essentially portrays a sci-fi, post-apocalyptic world. The entire idea is that the specific song you’re hearing is the soundtrack of that story that takes place in this world.

The single Solitude will be released soon. Can we expect a continuation of the style of Ground Zero or something different?
I’m really looking forward to sharing “Solitude,” and it represents a deliberate shift from the previous track. Where Ground Zero is heavy, and a little more grandiose, “Solitude” is much softer and more straightforward. It’s almost like a ballad in its pacing and emotional delivery. The reason for this contrast is simple: I want to express a wide spectrum of my influences and music I enjoy.

After performing at festivals like Bloodstock with Sorceress of Sin, how does it feel to present exclusively instrumental music to an audience?
The feeling of presenting exclusively instrumental music is a completely different world compared to stepping onto a massive stage like Bloodstock with Sorceress of Sin. I’m incredibly fortunate because both playing at Bloodstock and writing instrumental music have been on my bucket list, and I’m thrilled I got to accomplish both. I absolutely love being part of a team and crushing the stage as a collective. There is an unmatched energy, power, and camaraderie in that setting. The focus is on the unit, the shared energy with the vocalist, and the aggressive interaction with the crowd. With my instrumental music, the experience is more personal. I love being able to express myself as a guitar player in a way that is purely dedicated to the instrument. In a sense, both things are great, and I love doing both. However, right now, currently in my life, I’m super excited that I get to present my niche to people who are like me and truly enjoy that specific kind of music.

What message or experience do you hope listeners take away when hearing Ground Zero and your upcoming instrumental tracks?
While the guitar work is central, I want the composition, the melodies, and the emotion to resonate first and foremost with the audience.
I hope listeners simply enjoy the songs as songs, and not as simply guitar instrumental tracks.

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