APASHE REALLY DID KILL THE ORCHESTRA!

There walks a man of timeless decent. Whom favors the flavor of vintage aesthetic and classical notes. A modern Leonardo da Vinci of sound when it comes to craftsmanship and structure of the bass he creates. Holding steady within the realm of Kannibalen Records resides the legend known as Apashe. A sculptor of dark entities, he provides yet another great feat amongst many before, in which he names “I Killed The Orchestra” EP. A five track vision into the canvas that is the voided mind of Apashe, we journey into this oblivion to acquire each detailed piece of the puzzle that forms these spells he substances to man.

Our first walk into this remote spaciousness sets off as a prelude, a level in which he titles, “More“. The play on audible entry to title of the EP is a witty approach in which Apashe takes with this track, kicking off with stringed, orchestral instruments. A minor build to a distraught feeling of epic an evil approaches. Elements protrude as time extends, gaining a loudness in which opens its jaws to grasp our listening, swallowing us slowly towards the great depths of Apashe’s domain. There is a beauty to be hand in this soundscape of darkness, setting the tone for an immaculate adventure to be. Amongst the cry of the orchestra, a subtle silence takes short hold, charging for another tier of booming sound, sending the army of strings onto a layer of trap continuity. A booming kick embodies the grasp that shakes this song, leading the remainder of the symphony to it’s demise, and the song ends.

The forest around us seems to resist and increase in density. A haunting melody echoes overhead, hypnotizing our consciousness into a vague haze. The track hexing our will is known to be “Witch“, featuring Alina Pash. The vintage stroke of a bellowing, rustic organ singularly refracts hearty notes that is the voice to our following. Alina Pash announces her spell, accompanied by hefty impact that shakes the ground under our feet. Multiple characters of the singer embody dual aliases that speak at different tonal qualities, conjuring some form of spell. An ominous chorus builds to a chant of unison by the twin voices. There is a short breath, and a wild call of animalistic quality. Her singing continues to slowing collect the energy in the atmosphere, retaining for a godlike discharge. The famous insignia of trap begins to rattle for a familiar build. A drop explodes, but unexpectedly forming a house fashion of flow, attended with trap like elements of percussive pieces. But do not be fooled, this spell takes yet a more sinister transition to a glacially moving distortion of bass movement. The chants ensue with this slow, rhythmic persuasion. A close happens suddenly, and the haunting puts to rest.

A gate arises from thin air, sanctioning our entrance into a wondrous scenery that dictates no specific era of relevance. This depiction names itself “Time Warp” with the beckoning insight of vocalist, Sami Chaouki. As we step into the door in which life haults, reflecting sights of past, present and future, our ear captures chirping of high octaves ringing from keys yielded by what seems to be a master piano. It creeps in spaciousness, and the booming audition of Chaouki’s voice begins to chorus. Both in a solo fashion, and a yelling ambient response preaches like a Sunday mass choir. The voice heeds, a large kick trips us into a worm hole in which we are now falling with the trailing end of a hefty sub bass. Tensity escalates as we move more rapidly, and snares chase around us, gaining speed in unison. Marching as the build gains great mass, war horns catapult the energy further and further. Thrown into complete anarchy of colliding audible visions, the sound sirens an evil ambience that shrouds one in utter dystopia of brilliant shades of seething feelings that poach dark thoughts. A ramped sub carries us into an ocean of mending consciousness. The vocals speak us into an existence that eats at the lustful thoughts that drive us to discover the unknown. Sound design made to scratch the shell that reveals our honest perspectives, ricocheting in directions of bottomless lows, and substantial mids that retain sinister vibes. A break subsides the discombobulating barrage of noise, and throws us back into a rapture of disarray, cueing the song of Chaouki yet again. Much like our initial experience, this part shows us much of the same sequence enduced in the beginning of the track. Similar aura and build to the drop, which takes a much girthier character than that of the previous. Our breath is taken by a galactic mass of bass and high end distortion the tears the atmosphere around us, and constructs a new frame of audible body with shakes us to our very vessels. The singing takes us on this tank of a ride to the end, percussion piercing our bones and body, horns yelling for our soul, and a winding siren the leads to the demise of this journey through time. Masterfully done, this track carried heavy with heart in flow and story telling, what a madhouse of talent this brought on for imagery.

Our next decent into madness takes us onto a hallucination known under the title, “Never Change“, accompanied in this personification is the vocalist YMIR, an entity well seasoned in the arts of Apashe. A growling roar of strings plucks with hearty intension, with a foley layer of minute croaks spark in the background. Rhythmic orchestral presence takes hold with the chant of YMIR persuading the attention of us to take attention. An decompression of something living shakes to life as trap declare is awaking, the large takes of air moving inwards and out as the enchantment of lyrics alter the stance of what is to awake. YMIR heaves his line of chorus, and shatters a high note in slow motion, carrying the heights of the music to it’s peak tensions. Flow crumbles into a deep sub rise into horns and a hollowed shell left of the singers voice. One tension fades to darkness, as percussive friction begins to reveal its head from the shadows. Projectiles fire from the contacts of the percussion, launching a distorted punch of artillery masses, crushing the soundscape with immense impact. A sub that outstands humanity’s recollection shocks the vibrancy in the air. A raw, deeply cynical form of hardstyle flow grips the rains of this ride. The movement played around in this first body is non-typical of any genre, empowering a new force to take charge in a world of saturation. Gutteral screaming ends the ruthless ground and pound, signing the script back to a melody and lyric to carry out the break. After the chorus arises it adapts to a grand performance of strings yet again, with similar elements from the entrance attending to the structure yet again. The diabolical charge of horns commences yet again, this time to the craft of a guitar to diverse the build. This intention of a drop brings even more of a distorted goliath to the field, with a heated stomp and change to arrangement in flow to which the drums play to. Floating to the end of time, the grand piano chimes off once again to finish where it had all started.

In the last course of action through the escapade of majestic tyranny, we come upon our last mission being “More More More“, with Canadian vocalist, Lubalin. Orchestra cues yet again in this tale towards a spiteful retribution. Lubalin takes charge of the song in a short instance singing of life in longevity through growth and development via art and emotion. His flow like no other, gaining in volume and octave with the orchestra following in suite to bring out the utmost in untethered feelings projected to all senses of the mind in high and low grandness. His trail ends, and chorus begins with a booming sub kick into a shallow charge of percussive flow, and epic symphonic pleasures puppeting the chorus to make it’s stance prominent. Lyrical speed fluctuating with Lubalin’s flow from hip hop to R&B influenced energies. The song rides out for some time in this form of substance, with a gain in loudness, and eventually slipping into the last lyric to announce the purpose of his story, love.

Apashe portrayed a story from dimensions abroad, taking us on a journey through a great deal of emotional bounds, into repentance and beyond. A well thought out lineage of craftsmanship he has bestowed upon the masses. A message is revealed in song to the highest regard to how it could have ever possibly been induced. Hats off to Apashe to yet another trip of an EP, and a level up from what tier we assumed was already to the top. Simply ground breaking stuff, leaving us in complete awe.


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