ARPRAXIS
Inspired by the classic sounds of techno, house, and rave from Detroit, Chicago, Belgium, and the U.K., APRAXIS is a vinyl DJ and music producer. He has a passion for hardcore breakbeat, jungle, drum and bass, and gabber, and he mixes and blends genres to create innovative and original tracks that are fresh, familiar, and exciting.
His upcoming releases will feature elements of rave, dance, 80s jungle, and DnB, showcasing his versatility and creativity. APRAXIS respects and admires his fellow musicians and their artistic skills, and he strives to push the boundaries of genre and sound. Dynamic, alive and with a twist of uniqueness!
What is the story of the artist named ARPRAXIS and how did music become your passion?
The story behind ARPRAXIS started with mixing vinyl, in the early 90s, at all the venues I could get behind the decks and tell a LOUD story. Loving the squelchy sounds of Acid House, early Detroit Techno and Belgian dance tracks made me search for the instruments that made the sounds….I found a Roland SH101, TB303 and TR909 in the mid 90s and spent years making crazy sounds and tunes…bought Fruity Loops and Reason in the mid to late 90s and PC just after. Since then, I’ve been locked away in the studio in my spare time (with a very supportive and loving family behind me) only emerging last year with my first releases.
In terms of music becoming my passion and thinking about this retrospectively, it always has been a passion. I used to record bleeps and beats from my Dad’s stereo on to tape, repeat the sequences and add out of time break interludes…probably made me appear ‘strange’ but it took me to another dimension and making music still transports to another dimension. Music has always been a consistent force of positivity, intrigue a way to recalibrate and way to loose my myself.
“Code Red in Blue” and “Dusk Settles (in 1984)” are songs that sound very dynamic and alive. What’s the secret behind your sound selection?
Wow! I’m stunned you think they sound dynamic and alive…thank you! I suppose, finding sounds that work well and being brave enough to change sounds to another synth if they don’t quite work is the biggest factor in sound selection for me. Instead of trying to eq for days to get it sounding right…swap out the sounds if they don’t work well together. It took me a while to figure this out!
For these tracks, I wanted to have some punch and energy for ‘Dusk Settles’ with some 80s action. I tried to use genuine authentic sounds from the 80s so some Juno 106 and stock synths from Logic 9, like ES1 and ES2. They just had the sound I like and played around with the melodies to get the sound I was after. The guitars are ‘takes’ that I had trying to copy the original synth lines that I had first. So I played my acoustic guitar and distorted the life out of it with Logic’s pedal board… great fun!
For Code Red, I’ve always been fascinated by music that has one instrument ask a question and then another instrument answers. This was my inspirational for CODE RED. I just wanted drums, bass, piano and some other instruments to have a conversation about having a bad day in the scorching heat and ending up in a jazz club at 4.00am in the early 80s. So the selection came together fairly quickly when I had this concept in mind. The saxophone and bluesy funk elements towards the end just felt like the right way to end the conversation.
In terms of mixing, I try to let each sound have a space of its own so that they can ‘be themselves’ and impart their special qualities to the listener. I try to keep the dynamics pumping so the music can breathe and mix each individual track fairly low in volume. This enables the music depth, I think! I’m still learning and am in awe of music from the 80s and 90s that have this magic dynamic range.
What are the steps or stages that you go through when you make music?
This is tricky. Concepts help me start…a mood, an emotion or rhythm I just have in my head. I’ll play around get a section up and running, then think ok, what next? So play around with something that will add to, or change direction of the track. It’s fairly fluid and have no set structure I follow for ‘letting the music out of my soul’. It’s very feelings-based. If the track is ‘talking and communicating with me’ I just go along with it to see what happens.
When I have something I like down as a rough track, I’ll start then to think of its sections…a little roll here or there…more energy…a little break or interlude. When in happy, I’ll start to mix the track, pan sone sounds, use some side-chained compression, keep an eye on the master output levels. A few listens in the car and on ear buds to see what needs adjusting, replacing (oh no do I have change the bass sound that I’ve worked on…experience says yes :)) and when I’m happy it’s right I bite the bullet and say ‘it’s done’.
I’ll have three or 4 tracks on the go at most times and then spend more time on the one that seems more ready or connects with me at that time.
You have been very productive in the last months, releasing many songs. How about one of your songs as a must-listen for our readers?
Oh this is tricky…but I’d say either G-Tech Revver at 180bpm for its early 90s madness OR Dawn on Mars for its ultra chilled almost jazzy vibe. Experience the outer limits of the spectrum first and then work towards the middle.
What are the main differences in your musical style and skills since you started playing an instrument many years ago?
I’d say the biggest difference in style is that the music is not so fast and heavily distorted. Listening to some of my early stuff is great as some of it sounds like the type of techno you’d hear at the ‘gates of hell’ and is relentless - real sense of drama and tension or that each track is 10 minutes long 😜
In terms of skills, I think I understand production more, have learned to keep tracks / grooves moving with subtle changes and have learned to listen to ‘my music objectively’ and not obsess over frequency tweaks for hours that nobody would actually hear if I changed or not.
I have more conscious knowledge and thought of the sound palette, meaning I’m more aware of potential instruments or sounds that are likely to compliment each other.
If you had the chance to collaborate with an artist of your wish, who would it be?
Luke Slater purely because his music still transports me to another dimension, he never sold out and because his music, for me, is timeless. Jeff Mills, Kenny Larkin, Frank de Wulf are also faves for the same reason. Their sounds are still etched into my memory.
Being an indie artist can be challenging and demanding in terms of time, how do you cope with it?
Having an incredibly supportive family is the winner here. My wife and family understand my passion and are happy for me to spend time after work making music. I really simply couldn’t do it without their support! In terms of promotion, I’ve loved learning how to make short videos and artwork. I think because I’m still learning so much about being an independent artist, the learning is a coping mechanism in itself, small steps…continuously. This is a really important mindset for me to have and is a real life-saver for well-being and keeping me focussed on what I love doing. Connecting and trying to support the music of other great artists is an excellent way as well. Just spreading positivity and sharing their wonderful music on socials makes me feel that we are not alone in this…it really does give me a boost and serves to remind me that independent music artists are better and stronger when we are connected.
The support I receive from others is a massive boost also and have made some strong online connections that make me feel part of a whole movement. This is intangible but and measured spiritually, which is great. Connecting with a submitting to Ron line radio and listening forums such as Fresh On The Net, Radio Wigwam and Trust The Doc on Exile Radio add another layer of connection, which makes things wonderful. The thing that allows me to cope most of all is having fun and sharing good times with my family.
What are some of the projects or plans that you have in mind for 2024?
I have remixed a track for an awesome artist - K3RPAT which should be releasing in February 2024. Two further unannounced collabs are also under way. I’ll be remixing an amazing artist’s track hopefully putting a house music twist on it and I discovered an incredible artist whilst writing and selecting for the ‘Eclectic Picks’ who is putting their own vision on a house track called House Nation which will out early next year.
CODE RED Vol. 2 is ready to go along with some other new styles and I’m working on performing my first live gig in London, which will incorporate the whole sound selection…hopefully it’ll be explosive and can’t wait to unleash this! Stay locked on.
