Pibogár: "Being surrounded by that energy inevitably shaped and refined my sound"

Pibogár is the electronic music project of Greek-born, Netherlands-based producer Panos Gounas. His sound blends melodic techno and progressive house, combining analog warmth, driving rhythms, and emotional depth.

He has released his melodic techno work through Big Mamas House Records, steadily establishing his presence in the underground electronic scene. After completing the Electronic Music Production course at SAE Athens, he refined both his technical skills and artistic direction.

Working with hardware synthesizers such as the Roland Alpha Juno and Moog Grandmother, Pibogár creates immersive, club-focused tracks built on evolving textures and powerful low-end energy. He is also expanding his sonic identity with an upcoming downtempo synthwave release, exploring a more cinematic and atmospheric side of his music.

What led you to move from Greece to the Netherlands, and how has this change of environment influenced your sound?

It was my passion to experience and truly live meaningful things that led me to make this decision. When you feel an overflow of desire and ambition inside you, you have to find a way to channel it.

Over time, I saw my personal sound slowly evolve, and the country itself played a huge role in that transformation. The Netherlands is rightfully considered the mecca of electronic music. Here, everyone can find what truly resonates with them — from small underground bars and deep, intimate DJ sets to massive festivals in endless forests, featuring artists from all over the world.

Being surrounded by that energy inevitably shaped and refined my sound.

Your tracks blend melodic techno with subtle afro-rhythmic elements—how do you choose these rhythms and integrate them into your creative process?

Many times, while listening to other tracks, I felt like something was missing. I was always searching for that subtle drone you often hear in Afro House, or the organic percussion textures that give depth to melodic techno.

At some point, that search naturally turned into a need to create my own sound. I wanted to blend those elements in a way that felt authentic to me. This fusion is not something calculated — it’s more of a reflection of who I am as an artist.

That’s how I ended up working with these combinations, carefully integrating afro-inspired rhythmic layers into melodic structures to create a balance between groove and emotion.

You heavily use analog synthesizers like the Roland Alpha Juno and Moog Grandmother. How do you decide between hardware and software in your productions?

Hardware synthesizers are pure love. They make the world of sound come alive right in front of you, giving you the ability to shape and manipulate it in a very physical and intentional way. There’s something about touching the instrument, turning the knobs, and reacting in real time that creates a deeper connection with the sound.

That said, technology has evolved tremendously. Today, there are incredibly accurate software recreations of legendary synthesizers that do an excellent job and offer great flexibility inside the box.

For me, the most important aspect of music production is decision-making. I always try to understand why I’m choosing a specific tool. The answer to that question usually determines whether I’ll go with hardware or software. It’s never about one being better than the other — it’s about what serves the track in that particular moment.

Your music is designed to create immersive dancefloor experiences. How do you balance physical energy and atmospheric depth in your live sets?

Balancing physical energy with an ethereal atmosphere is something that truly fulfills me as an artist. It reflects the two core elements I’m always searching for when I sit down to write music.

On one side, I build atmospheric pads and almost cinematic arpeggios that create a dreamy, epic feeling. These elements gradually build tension and emotional depth. On the other side, that tension eventually resolves into powerful beats, driving grooves, and fast-moving basslines that activate the body and the dancefloor.

For me, it’s all about that journey — moving from introspection to release

How was your experience at the SAE Athens Electronic Music Production course, and which lessons had the most impact on your career?

SAE, and especially the Electronic Music Production course in Athens, is a college that provides a lot of knowledge and practical information. I can only speak highly of it. When I started there, my knowledge of the industry was literally zero. The only thing that mattered to me was finding a way to turn the ideas in my head into melodies.

SAE gave me the foundation to begin, but a truly pivotal chapter in my journey — both in terms of electronic music production and the mindset a musician needs — came from Giorgos Deligiannis. As a mixing and mastering engineer with an impressive roster of artists, his private sessions taught me invaluable lessons and shaped the way I think about the industry and my approach as a producer.

You’ve released music on Big Mamas House Records and STIG Records. How do these labels differ, and how have they supported your growth in the underground scene?

Big Mamas House Records is essentially the parent label, while STIG and Datatech function as divisions within the same family. Even though they operate under the same umbrella, each division has its own focus and audience, allowing me to explore different sides of my sound while staying connected to a supportive network.

They have been incredibly supportive throughout my journey, particularly through social media and distribution. They’re always there to listen to what I’ve created and provide constructive feedback, which has been invaluable for my growth as an artist.

One of the highlights of my releases with them is Rebirth, my second track on the label. I’m very proud of it, as it remains one of my personal favorites to this day. Working with them has strengthened my presence in the underground scene and allowed me to continue developing my sound with confidence.

You’re working on a downtempo synthwave project. How do you approach shifting from club-oriented tracks to a more cinematic, atmospheric sound?

This is a very personal moment that I decided to turn into a melody and lyrics. The breakup, the distance, and the closing of a chapter led me to fully surrender to my emotions, allowing my more atmospheric side to take over, as I mentioned earlier.

I translated my thoughts into melody and words, and with the help of Afroditi — a close friend and talented vocalist — we created this track together. I’m not sure if this need will arise again in the future, or if it was just a fleeting moment that had to be expressed at that time.

When creating a track, do you usually start with rhythm, melody, or sound design? Can you describe your typical workflow?

Most of the time I start with melody and harmony rather than rhythm.I believe that as we grow and evolve as music producers, our workflow naturally evolves with us. Inspiration is what initially guides me, but having a clear plan is equally important. Your strictest critic is always yourself, so I try to set deadlines that push me forward and help me move to the next stage.

More specifically, when I transfer an idea from my mind onto the keyboard, the immediate need is to find the right sound. Sound selection is something I take very seriously, and it often takes time. Once I have the core idea, I usually start building the atmosphere — creating drones, pads, and establishing the main chord progression of the track.

From there, the need for bass naturally follows, along with shaping the low-end elements. The drums typically come later in the process. Once the initial idea is developed into a solid loop, I move on to arrangement.

Arrangement is one of the most creative stages for me. It’s where you can surprise your audience, introduce your musical statement, and present your sounds exactly the way you envisioned them.

After that comes mixing. During the mixing stage, I try to think of my track as an orchestra on a stage. I go through each element one by one, placing it carefully in terms of stereo field, frequency range, dynamics, and levels. It’s a process that requires patience, fresh ears, and confidence in what you’re hearing.

What challenges do you face in maintaining an authentic, analog sound in an electronic music scene that’s constantly evolving?

Music production will always evolve — that’s a given. The sooner we accept that, the better. What has changed dramatically, though, is the speed of that evolution. In today’s scene, if you want to stay relevant in 2026, there’s an unspoken pressure to release new music constantly — almost every month.

This creates an enormous pool of content, and sometimes I feel that this intensity can drain an artist’s creativity, pushing them into a loop of virality and constant visibility rather than true artistic expression.

As for maintaining an analog sound in modern production, I consider it essential. Analog elements bring warmth, movement, and authenticity to a track. They add life and unpredictability — qualities that can easily get lost in an overly polished digital environment.

I consciously try to incorporate hardware synthesizers as much as possible, or tools that can deliver that same organic character. For me, it’s about preserving soul and identity within a fast-moving industry.

Looking ahead, what directions or sonic experiments would you like to explore with Pibogár in the coming years?

One of my main goals for this year is to start working more on projects for other artists — musicians and vocalists who have ideas and simply need the right environment to bring them to life. I’ve already begun collaborating with some talented new artists, and we’ll soon be finalizing their projects. Supporting others in shaping their sound is something that truly inspires me.

At the same time, I’ve decided to further explore the world of synthwave. I’m curious to see where that journey can lead me and how those textures and aesthetics could eventually merge with my techno background. I’m always interested in finding new ways to blend emotion, nostalgia, and club energy into something unique under the Pibogár identity.

Follow Pibogár

Instagram / Facebook / Soundcloud / YouTube / Spotify