… we decided to write the soundtrack for the end of the world.

Apashe who always has had a talent for creating music that is dramatic, dark, and doomful described how they were inspired to create ‘RIP’ and the symbolic music video, “Met Vladimir Cauchemar at a G7 meeting and we both felt like the world was in a really bad place. After discussing how this whole thing would end we decided to write the soundtrack for the end of the world. This is RIP. The rest is history.”

He further has alluded to another source of inspiration which was the film Koyaanisqatsi, a non-narrative film that is comprised of mainly slow motion and time-lapse shots of natural landscapes in the United States. Phillip Glass composed the music for Koyaanisqatsi, and Apashe stated that the “repetitive, hypnotic nature” of his music was “highly alluring” and an inspiration for the music video for ‘RIP.’ There are some of the same elements in ‘RIP’ which show how Apashe and Cauchemar adopted a similar technique; there’s the quick, repetitive melody, the splashes of chaotic imagery fastened to sharp sound samples, and the complete omission of words or vocalizations.

The track begins with icy orchestral elements true to Apashe’s style. ‘RIP’ has that classical sound with a leading organ melody backed by the swelling string trills of violins, upright bass, and cellos that melts into flutes and horns. Every element bleeds with theatrics equal to that of any blockbuster movie soundtrack, crests over the organ melody, and tumbles into a big, booming, house beat. This is what will remind fans of Apashe’s more hard-hitting bass style as well as his tendency to disregard the boundaries of music genres.

Apashe and Vladimir Cauchemar release ‘RIP’ at the end of a pandemic, during the beginning of another war, and the looming chaos of the damaged environment caused by global warming.  The video for ‘RIP’ is rife with symbolism for the most inescapable world issues such as war, climate change, and classism. As it begins, Vladimir Cauchemar is playing the eerie organ melody as the scene is set within a city where people are going about their day when they are interrupted by something in the sky. This scene with its repetitive skyward expressions along with the tension in the music brings together feelings of isolation, universalism, and helplessness. The shadow that falls on each of their faces is cast by a spaceship, an air vessel if you will, which carries Apashe and Cauchemar who look down on the planet. They host on their ship what appear to be the leaders of the world and have an entire team of servants laying a decadent meal for them that is complete with gold silverware and crystal wine glasses- the unphased and in power of the world who are distant from the doom. The climax of the video is when the earth is shown from space being consumed by fire as the elite dig into roasts and cornucopias with voracious ungracefulness. The very last shot is of Chauchemar ceremoniously knighting Apashe in front of a blindfolded orchestra which comes across as more ominous than victorious.

Check out ‘RIP’ and the epic music video.

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Being a first signed to Kannibalen Records in 2011, Apashe would soon become one of the most unorthodox acts in bass music. Diving further into his musical release background, around seven years ago he paired with Snails to fabricate what would be the secret weapon for all trap DJ’s with ‘Bubble Gun‘. Shortly after this we saw the release of ‘Battle Royale‘ where we would be introduced to his signature sound design of using orchestral samples and composition. After this, he went on a huge trap run while tossing in a few other styles of music along the way where he presented authentic trap such as ‘Trap Requiem‘ with Tha Trickaz, bass heavy dubstep like ‘Take Off‘, some bass house, drum n bass and more. Apashe has now shifted back to his his trademark sound with his Requiem EP and The Good The Bad & The Fake EP. Today he is back with a full length 13-track album.

Renaissance depicts Apashe’s SoundCloud bio accurately as it states “The soundtrack to your life if you were a super villain.” It features a variety of collaborations such as Tech N9ne, Vo Williams and Yizzy to name a few. The dynamic of originality on display is exactly the forward thinking contributions the electronic music scene needs. Renaissance is a fusion of hip-hop complexity with passionate orchestral operations, blended with a touch of other soundscapes. This album proves Apashe is perhaps the most innovative composer and producer as he unveils all of his expertise and shows no restraint. If listeners are looking for the next unique and distinctive album and artist, Apashe’s Renaissance should be the first place you check.

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There are few artists that stand out from their contemporaries when an artistic movement is underway. They seems to cluster together fostering trends and cultivating a milieu of sundry rankings. Apashe not only stands apart from the crowd of electronic producers and performers, but in music as a whole. No one has mastered the intricate melding of modernity and the nostalgic decadence of the past quite the way he has and continues to.

‘Distance’ embodies Apashe’s original style of silky transitions, dramatic breaks, and plummeting drops, but there are notes of subtle refinery in its sound. Where past tracks have come hard and fast, ‘Distance’ takes a sultry stroll with its rhythm, displaying a sort of calm confidence. Geoffroy’s emotional vocals are interwoven between billowing ambient bass, silvery strings, hearty brass horns, and charging snares. It could be the glossy vocals, or the live orchestra used in the soaring string samples, but what is for sure is Apashe’s flair for theatrical electronic-classical hybrids is attracting attention having partnered recently with GoPro for a short film and the upcoming Fast and Furious Presents: Hobbs & Shaw. It is really no surprise since his music can make you feel like a super hero or a villain- which ever you really prefer.

“This song came to life at my friend Gab Gagnon’s studio called Homy. We’ve wanted to make music together for ages. We messed around for a day then suddenly got these chords that really hooked us. Later on, I sent him a track using these chords and we instantly felt the potential. I figured it would be sick to have it played by the orchestra in Prague that was planned for my album. From there, it became this strange classical hybrid song. Gab thought Geoffroy would be a great fit and I couldn’t agree more. Took some time to make it happen in between tours but we finally made it and considering the love we felt for the song we decided to make it the first single,’ Apashe states about the song’s creation.

Check out ‘Distance’ below and be sure to look for Renaissance in 2020.

The post Apashe’s Unveiles First Single ‘Distance’ from Upcoming LP ‘Renaissance’ appeared first on FUXWITHIT.

He is an artist with a serious artistic attitude with a dark aesthetic that comes out in his art and his social media presence. Never the one to shy from criticism or call another artist out (see his beef with Calvin Harris and his supposed copy-cat video), but all this bravado comes from an authentic place: real talent. That statement might be debatable, but what is undeniable is Apashe’s drive to push electronic music to the bleeding edge of what it is capable of.

His latest EP The Good, The Bad, & The Fake has had fans frothing at the mouth. It’s hard to blame them for the excitement, since what Apashe produces is unlike any one else out there.

‘Good News’ is first, and starts with hollow drums setting the scene for the dreamy vocals which are quickly followed by ballooning violins, gushing bass and dramatic drops. There is a level of epicness that Apashe always seems to deliver on and ‘Good News’ shows off all his best moves- silky piano riffs, throbbing bass, seductive vocals, and high levels of pulsating theatrics at every turn. There is even a touching classical outro to bring you down from the rush.

When offered I always want the good news. It braces you for whatever the bad news is, but with this ‘Bad News’ there is no bracing yourself. It starts out with a straightforward drum line paired with a demonic sounding vocal sample, but then the operatics shoot off, the bass thickens, and the tempo quickens. The first drop is sudden and satiating before it becomes a full on banger. This is classic Apashe: tense piano chords that lead into flutters of trill notes, set a back drop against spiraling synths and building bass. It’s consuming, snarling, and made to get hyped to.

The final track ‘Fake News’ fr. Grandbuda is a fun, funky house jam. It has some dark and politically hot lyrics, but the bubbly bass and slinky melody make for a great party track. There is so much meat after each drop it is hard not to get up and dance and get the groove going. It’s a spunky way to end a serious EP but still maintaining an authentic message. This only makes Apashe more gosh-darn endearing. Drink it in, ya blood thirsty bassheads!

Check out all three tracks below.

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Some of them are playful, others are demonic, but they are all inspired by true musical genius. Its easy get lost in the theatrics of epic music, but what this really shows is how Apashe’s sound and style have effected electronic music. Here is a little bit about a few of the tracks that appear on this classically inspired, and genre defying EP.

Figure‘s version of Lacrimosa’ is at a slower tempo, but that is before you realize the lilting intro was the only delicate part of the original reanimation that was preserved. He keeps all the original drama of the angelic operatics but creeps his own dubstep demon into the heart of each drop. With each wind up in the hyped up and ferocious banger, Figure pays homage to Apashe’s devotion to the darker side of hard electro sounds and rises to the altar with a fair sacrifice.

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Another track worth calling out is Signal‘s remix of ‘Dies Irae’ ft Black Prez…this track has a literal ancient history since it references a hymn written in the 1200’s which translates to ‘Day of Wrath’ and describes the apocalypse. Black Prez’s tight flow keeps in step with the staccato violins. Signal strips things down and gets your head nodding with dirty, crunchy bass. It’s meaty but fresh with deep vibrations that shake your body loose. Even though the rhythm is quicker, it’s stickier and deeper than Apashe’s. It’s also delicious that it’s juiciest on its way through the outro. Relish this one.

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Chuurch is an interesting duo that released a very dark and different collection with Nest HQ earlier this year called UUNION EP. Their take on Apashe’s ‘Majesty’ ft. Wasiu is what you would expect: different, chilly, thoughtful, and a little industrial. They still capture the languid and lapping attitude in Wasiu’s lyrical delivery and the lumbering dubstep inspired drops. There is no rush in their rendition and they seem to pluck out certain elements and sounds that play out their melodic drama an inserted tik-tok, metronome effect. It’s playful yet classic and definitely dance worthy.

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Check these and the rest of the EP out below.

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Rumor is that while the original Requiem was commissioned to be played at a count’s window’s funeral, Mozart thought it was for his own, and it supposedly made him a little crazier before he died tragically young- ICYMI in music class.

Oddly enough, Apashe’s passion project was carefully pieced together, and is an impressively unique product. He recorded choirs, and orchestras around Montreal, inspired by a lasting fascination with classical music, and the curiosity of what Mozart’s Requiem would sound like as a banger. Collaborating with Wasi (from ‘The Landing’ on Copter Boys) with regal rhymes on ‘Majesty’ and Black Prez’s fierce flare on ‘Dies Irae’, Apashe’s genius reveals itself through his mash-up of classical melodies, hip-hop vocals, and intense electronic bass.

‘Lacrimosa’ is by far my favorite though, and it can only be described as an immersion into the trappy, orchestral orgy that is Apashe’s mind. It is an insanely haggard and haunting thrasher that conjures images of an orchestra from 1750 crawling out of their graves, awoken by filthy bass. The chilling choir samples start out majestically, just to be sliced by jabbing violins, and then you hear the sighs of the bass, and a flutter, like a butterfly knife, of snares. Before your mind can even digest the diverse palate of sound, it has already taken you.

Savor his tribute to one of the most old-school musicians of our era of music below.

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This year’s addition goes just as hard as last year, including tracks from artists that were featured on the first volume, along with some surprises. The eight track playlist is filled to the brim with plummeting drops, serrated synths, and blitzes of fiery bass.

First up on the list is YOOKiE‘s ‘Escape’ and it sets the sinister tone. Their signature growling bass, meaty drops, and virulent rhythmics open up the pit for the rest of the ranks.

Following close behind is Seek N Destroy with ‘Now I’m Here’. A fervor of stunning synths and a charging tempo are blasted with clanging bass, and swirls of raving synth lines. This track packs a punch with thumping rhythms, and salty snares.

Dabin and Apashe team up to craft a remarkable crossbreed, ‘Lillith’ a Sullivan King remix. The track highlight’s Dabin’s git with organic intrumentals, heavy metal’s overarching influence on Kannibalen’s artists’ sound, and Apashe’s ear for cross genres. An impressive and stunning gem of this group that should not be passed over. Sink your teeth into this one but save room since Carbin’s ‘Bad Habit’- his Kanniblen debut-is the tasty dessert to this hybrid with equal parts nasty dubstep and menacing guitar elements.

Another artist that remains elusive, yet leaves his mark- Karluv Klub‘s  ‘Cult,’ a filthy contribution to this medley is a brooding, dark-electro experiment, dripping with macabre progressions, jangling build-ups, and convulsing bass. The loose-style production creates space for the mix to feel like a journey through a mad scientist’s lab.

Another artist supporting the tradition is Kedzie teaming up with Superwet on ‘Venom,’ a dramatic scream-o sampling banger. Laced with heavy electric guitar riffs, and super-charged drops this one is super to get you hyped.

Banged up from just one listen, watch your neck during any session with Mantis‘ ‘Moshaholics’. The energy on this one is undeniably dank, and menacing. It fits perfectly as the night-cap to this disturbingly dark delight.

Thank you for making the end of our 2017 bass heavy, Kanniblen. Check out the collection in full below.

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This track is hopefully a sign that we can expect not only some killer performances from Apashe, but dare I say, a new album? For now, I will keep my fingers crossed and enjoy his latest treat. ‘Supernova’ breaks out with a spectral flute that melts into fierce bass- but it is not the drop. Apashe weaves in D.O.D’s scorching verse through a plume of sizzling wubs, with the eerie flute resonating off the increasing tempo. Apashe pulls back the complexity of the mix just before the drop for one hell of an ear-gasm. This super-charged headbanger is sure to stir your blood.

Check it our below.

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