floating sound nation
Apex Chuidian a.k.a. Floating Sound Nation says that his newest sound is an open-ended conversation where everyone is invited
“With all that
chaos, I’m trying to find a form of order; I’m trying to soothe myself with my music.”
APEX CHUIDIAN is used to telling stories. He had studied creative writing before settling full-time in Manila to try his luck in the growing underground music scene. Now he is part of the Buwan Buwan collective and he currently goes by the name of Floating Sound Nation, which is a collective diary of his sprawling thoughts and multiple personalities. He tells us that he doesn’t want his music to be about him, but rather be an invitation for others to tell their stories as well. He tells us about his fondness for different sounds and his plans for an innovative sound exhibit that will accompany his newest album. How did you start Floating Sound Nation? Before I started Floating Sound Nation, I had two projects: Sacred Vomit and Welcome to Limbo. he rst two were just experiments, having fun and all that. I remember I was doing freestyles with my friends, like Jorge aka SimilarObjects. There was one song I called Floating on the
Sound. I started rapping and the rst thing that came to my head was “Welcome to the Floating Sound Nation.” I was like, okay, I’m going to keep that and see where it goes. Floating Sound Nation is currently the go-to name for all my projects. I would say that it’s the foundation of everything. I’ve been working on nding new ways to come up with different sounds. How would you describe your sound now? It’s a little bit of hip-hop and intelligent dance music; My music sounds serene, but if you listen to the rst few projects like Sacred Vomit, they all sound angry and everything was just chaotic. With all that chaos, I’m trying to nd a form of order; I’m trying to soothe myself with my music. How did you end up here in Manila creating music? My dad had problems with his health, so while I was in Dumaguete studying Creative Writing in Silliman University, my mom asked me to come back here to Manila. So I met up with Jorge and asked him what he thinks I should do. He told me that maybe I should do music or writing, because those are the only two things he could really see me do. I decided to try out music, and that’s where I am today, still trying it out. How do stories play a part in creating your music? Writing is my rst love, but music is my rst passion. I’ve always been reading since I was a kid. I’ve recently been reading Murakami, and his stories are relatable. The way I try to make my music is that I have each instrument act as a character in a story. They are all just talking to each other; if you listen closely, there is conversation between the instruments. As you said earlier, your songs are like a dialogue between characters. Does that mean they are telling your story? I feel like every song is supposed to tell each story through different emotions. What I really want to do is evoke different feelings from people so they can feel the story too. My music is very open-ended. It’s not just my story; it’s everyone else’s story. What’s your process like? It normally starts off being spontaneous. Normally in a day, I can nish like to drafts. Then I just nitpick from there and see which ones are nice. The start is really spontaneous, and then the process becomes more and more controlled. What’s it like being part of the Buwan Buwan Collective? It’s pretty fun. We have conversations about different techniques and how different sounds work. Most of us don’t actually sound alike, but it’s nice because it’s a community where everyone appreciates each other’s art. What’s next for Floating Sound Nation? It’s supposed to be a secret but in November , I’ll be dropping an album called
Freqs of Nurture in Restock. It’ll be a sound exhibit with a few artists whom I asked to work with me, including Czar Kristoff, Justine Basa, and Kristine Caguiat, among others. They will put up artworks to accompany the music that I’ll be playing. The artworks will be based on their interpretations of the new tracks. What inspired this album? There is a lot of isolation in this new album because for a year, I haven’t been listening to any music except for my own. There is a bit of sadness and remembrance in it as well. Those are the themes because all the past events that happened to me nurtured who I am today, and I am trying to emulate those events through different sounds. Do you feel the need to constantly change? Yes, change is very important because you can’t stay stagnant. I see a lot of people who get stuck in their pigeonholes and don’t push their boundaries. I constantly keep trying to push my boundaries and try new processes when it comes to my music. Will you continue pursuing music in the future? I’m not sure if it’s in terms of me making music but no matter what, I can’t eliminate that aspect. I’m looking into doing musical scores in the future, maybe in video games. Something like the musical scores in Final Fantasy or Elder Scrolls:
Skyrim, that’ll be cool.