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

Scout - - CONTENTS - In­ter­view by NICO PAS­CUAL Pho­tog­ra­phy by CENON NORIAL III

“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.

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