Romvia, established in 1895, has become a significant chapter in the annals of gramophone music, revolving around the tragic triptych of "love, fire, and laurel." The essence of this musical entity lies in the poignant exploration of the human condition, particularly the unforgiving nature of society when it comes to those who have fallen out of love. Romvia's innovation lies in its use of chords both from the middle up and the middle down, a distinctive feature that marks a departure from conventional musical approaches.

The group personifies a form of insane improvisation, unraveling the seals of the tragedy of the prime-second. In doing so, Romvia juxtaposes this with a caricature that embodies the modern romantic and conventional essence of a musical ensemble. At its core, Romvia embraces musicological chaos, incorporating the pianoforte and elements of psychedelia. The ensemble is characterized by a complex incoherence, where ironic technique is manifested through the unexplained juxtaposition of three ordinary instruments. These instruments—bouzouki played by Thanos Bouris, accordion and baglamas played by Haroula Tsalpara, and guitar played by Panagiotis Diamantis—combine to create a sonic landscape filled with incongruous melodies, contradictory musical propositions, and alalumzidic inventions. In essence, Rombia stands as a unique fusion of musical elements, challenging conventional norms and offering a distinctive, avant-garde experience for its listeners.