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Apashe

Apashe is the stage name of John De Buck, a Belgian-born music producer, composer, and DJ based in , , known for his genre-bending fusion of orchestral elements with bass-heavy styles like , , and . De Buck, who grew up in and later moved to to study electroacoustics at , began his professional career by signing with Kannibalen Records in 2011 and releasing early works. His music often features cinematic soundscapes, live brass ensembles, and collaborations with vocalists and orchestras, creating immersive experiences that blend classical influences with modern production. Notable releases include his second full-length album (2020), which integrates orchestral arrangements with and across 13 tracks, and Antagonist (2023), a 14-track project marking the launch of his own label, Majestic Collective, and exploring themes of conflict through dramatic, bass-driven compositions. Apashe has built a global following through high-energy live performances, including orchestral shows and festival appearances at events like EDC Orlando and , with tours extending across , , and as of 2025.

Early life and education

Childhood in Belgium

John De Buck, professionally known as Apashe, was born on May 9, 1992, in , . His Francophone parents enrolled him in Dutch-language schools, fostering his trilingual abilities in , , and English from an early age. Growing up in , De Buck was exposed to music through family influences, with his father encouraging him and his siblings to explore instruments. At around age 9, he began playing drums alongside his father, marking his initial hands-on engagement with music. His sister further sparked his interest by installing Fruity Loops software on the family computer, introducing him to digital production tools during his pre-teen years. De Buck's early musical tastes blended classical and electronic elements, shaped by listening to great composers and movie soundtracks from artists like during his childhood. He later recalled a strong affinity for grandiose and supernatural sounds, including sacred music and foreboding choirs. By his teenage years, this evolved into a growing fascination with electronic music, particularly discovering artists like , alongside continued appreciation for classical works by composers such as Bach. Lacking formal , he began self-exploring production at age 16 using basic software on home computers, experimenting without structured guidance.

Relocation to Canada and studies

In 2011, at the age of 19, John De Buck, known professionally as Apashe, immigrated from , , to , , to pursue in music. He enrolled in the electroacoustics program at , where he studied , , and audio engineering. This academic environment provided a structured foundation for his technical skills in electronic music production, building on his earlier self-taught experiences with instruments during childhood. After two years in the program, De Buck left to dedicate himself fully to music production, forgoing completion of the degree. Shortly thereafter, he secured a position as a full-time sound designer at Sonart, a Montreal-based audio , which immersed him in professional workflows. This role enabled him to acquire professional tools and establish his first home studio setup, supported by earnings from the job. De Buck's transition from to involved navigating cultural shifts, drawing from his bilingual upbringing in a Francophone family that emphasized Dutch-language . 's dynamic music scene, characterized by events like the MUTEK festival and Igloofest, offered new inspirations and opportunities for immersion in local productions. This environment contrasted with his Belgian roots while aligning with his growing interest in fusing and orchestral elements.

Career beginnings

Initial productions and label signing

Apashe initiated his professional music production in 2011, drawing on his electroacoustic studies to develop tracks in and , genres defined by heavy bass drops and intricate electronic textures. His debut EP, Machines Should Work, released that year on Sons Of Beat Records, introduced aggressive bass elements and experimental in singles such as "We Are Machines" and "Black Holes." Following the submission of demos, Apashe signed with Kannibalen Records in 2011 as the label's first artist, securing a platform for his burgeoning career in bass music. This partnership facilitated a series of early releases, including the Contamination EP in 2012, which expanded on his fusion of rhythmic intensity and sonic innovation. During this period, Apashe cultivated an online presence via SoundCloud, where he shared demos and garnered attention in European EDM circles through initial collaborations with sound designers at studios like Apollo in Montreal. Around 2014, he contributed to sound design for video game trailers, including Assassin's Creed, while working at Apollo Studios. His debut album, Copter Boy, arrived in 2016 on Kannibalen Records, solidifying his reputation with a collection of high-energy tracks blending electronic aggression and precise production.

Early releases and style development

As his style evolved, Apashe shifted toward trap and brostep influences in subsequent releases, evident in the 2016 album Copter Boy on Kannibalen Records, which incorporated booming 808s and neurofunk-inspired synths for a more dynamic, high-energy sound. This progression continued with the 2017 single "Supernova," a collaboration with Dope D.O.D., emphasizing trap's half-time rhythms and brostep's wobbly bass amid orchestral undertones. A pivotal development came in 2018 with the Requiem EP on Kannibalen Records, where Apashe first prominently incorporated sampled classical motifs from Mozart's Requiem, fusing them with trap beats and brostep drops in tracks like "Lacrimosa" and "Dies Irae" to create a hybrid of electronic aggression and symphonic drama. The EP's innovative approach to reimagining classical structures as bass-heavy anthems marked a key step in his stylistic maturation. During 2017–2019, Apashe built a growing online following through remixes, free releases on SoundCloud, and contributions to media projects. These efforts, alongside the viral success of Requiem—which amassed millions of streams—helped cultivate his audience in the bass music community. Throughout this period, he navigated challenges in balancing freelance sound design gigs, such as those at Apollo Studios, with his burgeoning music production, honing efficient workflows to sustain both pursuits. By 2019, the The Good, The Bad & The Fake EP further refined this fusion, with tracks like "Good News" layering trap percussion over cinematic samples for a darker, narrative-driven edge.

Rise to prominence

Renaissance album and orchestral integration

In 2019, Apashe conceptualized his album as a fusion of orchestral arrangements and , drawing inspiration from classical composers and film scores to create a cinematic that elevated his roots. This ambitious project marked a pivotal evolution in his production, where he composed original partitions for live instrumentation to layer over heavy bass drops and elements, building on the influences evident in his earlier singles like "." The album's creation involved overcoming significant logistical and financial hurdles, including the high costs and complexity of arranging for a full , which Apashe addressed through support from his label, Kannibalen Records. The recording sessions took place in Prague's Dvořák Hall, where Apashe collaborated with a 65-piece to perform the compositions in their entirety, capturing the grandeur of strings, , and woodwinds alongside electronic production. This live orchestral integration was a deliberate choice to infuse authenticity and emotional depth into tracks that blend symphonic swells with aggressive basslines, resulting in a sound often described as "trap " for its dramatic, operatic scale. Key standout tracks include "Uebok (Gotta Run)," featuring Russian rapper and sampling Tchaikovsky's Symphony No. 4 for a high-energy fusion, and "Lord & Master," which showcases brooding orchestral builds leading to intense drops. The full was released on , 2020, via Kannibalen Records, with lead singles like "Uebok (Gotta Run)" dropping earlier on to build anticipation. Promotion for Renaissance leaned heavily on digital engagement amid the early , including remix contests such as the one for "Uebok (Gotta Run)" in late , which offered $1,000 and inclusion on an official LP to encourage fan participation. Viral music videos, particularly for "Uebok (Gotta Run)," amassed over 20 million views by leveraging humorous, culturally infused visuals filmed in , helping propel the album's reach during lockdowns. By early , Renaissance had accumulated nearly 40 million streams across platforms, underscoring its impact despite the challenges of live promotion in a pandemic era, where Apashe highlighted ongoing difficulties in coordinating large-scale orchestral elements post-recording. Critics praised the album for innovating the "trap opera" style, lauding its seamless fusion and orchestral in interviews, though the global health crisis complicated further expansions like live adaptations.

Antagonist project and global recognition

The Antagonist project emerged as a bold evolution from the orchestral foundations established in Apashe's prior work, with development centered on four original classical compositions that were later remixed into electronic tracks. Drawing on recordings from the Philharmonic and Bulgarian Symphony Orchestras, the album weaves a cinematic around an figure, delving into themes of internal and external between light and darkness. Released on November 24, 2023, via Majestic Collective, Antagonist featured collaborations with artists like , , and , amplifying its dramatic scope and marking a pivotal step in Apashe's fusion of genres. In April 2024, Apashe released the short Antagonist - The Album That Made Me Lose All My Friends, directed by Adrian Villagomez, which offers a satirical glimpse into the production's creative strains, including clashes over artistic vision and the complexities of coordinating large-scale orchestral sessions during a global aftermath. The film underscores the intense, iterative process of balancing raw emotional with , revealing how relationships were tested amid the project's ambitious . This behind-the-scenes release further humanized Apashe's methodical approach, resonating with fans and critics alike. The project's momentum carried into 2024 with the release of Antagonist Remixes (Part I) in December, featuring reinterpretations by artists such as INFEKT and Motez, including a remix of the single "Revenge of the Orchestra" originally teased earlier that year. By 2025, Apashe expanded the Antagonist universe through singles like "Lazarus Rise" with Wasiu in April, evoking themes of resurrection and resilience, and "Duel of the Fates" in May, a high-energy remix of John Williams' iconic Star Wars composition. The collaborative EP ORATORES, BELLATORES, LABORATORES with Vladimir Cauchemar, issued in January, explored medieval societal divisions through orchestral-electronic hybrids, further diversifying the project's thematic depth. These outputs, coupled with the success of Renaissance's orchestral blueprint, propelled Apashe to global stages, including the 29-date North American Antagonist tour in late 2023 and the upgraded Antagonist 2.0 Tour with full philharmonic ensembles in 2025, which drew sold-out crowds and cemented his reputation as a trailblazer in hybrid music performance. In an October 2025 , Apashe shared insights into the inspirations behind his latest single "Rome Is Burning," a collaboration with and Wasiu released earlier that month, citing influences from ancient history and scores to evoke and rebirth. This track's accompanying , featuring elaborate SFX and visuals, exemplified Apashe's growing role as a storyteller, contributing to his expanding international footprint through festival headlining slots and orchestral residencies.

Musical style and influences

Genre fusion and orchestral elements

Apashe's music is characterized by a primary genre of hybrid trap, which merges (EDM) subgenres such as , , and with classical orchestration. This fusion creates a distinctive sound that bridges the intensity of electronic bass-heavy rhythms with the grandeur of symphonic arrangements, often featuring live strings, brass, and percussion layered over pulsating electronic drops. Central to this style is the integration of orchestral elements, including sweeping strings, thunderous sections, and soaring choirs, which enhance the to produce a "cinematic " aesthetic. These components are not merely additive but serve to amplify the emotional depth and of the tracks, transforming aggressive drops into multifaceted compositions that evoke epic scale. Apashe employs full orchestras, such as 65-piece ensembles, to record raw symphonic layers that interplay with glitchy beats and driving lines, distinguishing his work from conventional by emphasizing textural richness and harmonic complexity. His influences draw heavily from film scores, including composers like and , whose dramatic and narrative-driven approaches inform Apashe's evolution from raw, aggressive electronic drops to more structured, storytelling-oriented pieces. Additionally, hip-hop producers such as contribute to the rhythmic and vocal elements, while neurofunk pioneers like shape the intricate , allowing Apashe to infuse dystopian and epic thematic storytelling into his arrangements. This blend sets his music apart from pure , prioritizing conceptual that conveys tension, resolution, and grandeur akin to classical symphonies reimagined in a modern electronic context.

Production techniques and evolution

Apashe has primarily relied on as his for synthesis, composition, and mixing, valuing its integrated workflow that allows him to build and refine tracks without exporting stems to separate software like . To achieve orchestral depth, he incorporates sample libraries from and Orchestral Tools, often loaded into Kontakt for placeholder strings and other instrumental layers during early production stages. His methods evolved significantly from the , when he produced in a setup by sampling recordings as a teenager, to hiring full live orchestras by 2020 for authentic performances that he then samples and manipulates to create distinctive, destroyed textures. This shift was informed by his studies in electroacoustics at , where he learned to notate scores using software like Sibelius in collaboration with specialists. He also developed custom bass processing chains using plugins like iZotope 2 and Brainworx bx_subsynth, optimized for seamless translation from studio to live settings with . Since 2023, Apashe has emphasized collaborations with vocalists, sound engineers, and orchestrators, often co-writing and recording across global locations to infuse diverse perspectives into his workflow. These evolving techniques ultimately serve to merge rhythms with orchestral grandeur, yielding Apashe's characteristic epic hybrid sound.

Discography

Studio albums

Apashe's debut studio album, Copter Boy, was released on September 30, 2016, through Kannibalen Records, comprising 11 tracks that established his early sound rooted in and influences. His second studio album, , arrived on April 8, 2020, also via Kannibalen Records, featuring 13 tracks that marked a stylistic toward orchestral hybrid , with compositions performed and recorded by a 69-piece in . The third studio album, , followed on November 24, 2023, under Majestic Collective, consisting of 14 tracks that expand on the orchestral-electronic fusion with a conceptual narrative arc. As of November 2025, Apashe has released no additional studio albums, with remix projects handled separately from his core discography.

Extended plays and singles

Apashe's extended plays include the early release Machines Should Work in 2011, which featured tracks like "We Are Machines" and "Black Holes," marking his initial foray into dubstep-infused production. In 2025, he collaborated with Vladimir Cauchemar on the EP ORATORES, BELLATORES, LABORATORES, a three-track project released on January 30 comprising "ORATORES" featuring Ruti, "BELLATORES," and "LABORATORES," blending orchestral elements with beats. Since 2013, Apashe has issued over 50 standalone singles, many as collaborations that highlight his genre-blending style, with collective streaming totals surpassing 450 million on alone. Notable examples include "" featuring Geoffroy in 2019, combining introspective with symphonic undertones as the for his upcoming . In 2020, "Uebok (Gotta Run)" with emerged as a high-energy collaboration, garnering significant attention for its influences and vocal delivery. More recent releases encompass "Rome Is Burning" featuring and Wasiu on October 8, 2025, a cinematic piece evoking through orchestral and electronic fusion. That same year, Apashe dropped "," a of ' iconic Star Wars composition reimagined in style, and "Lazarus Rise" with Wasiu, emphasizing themes of resurrection via powerful brass and beats. Apashe has also engaged in remix work, such as entries from the 2020 Renaissance Remix Contest, which invited artists to reinterpret tracks from his and resulted in official releases expanding his catalog.

Live performances and tours

Key tours and orchestral shows

Apashe's , spanning 2021 to 2022, marked a significant milestone in integrating live orchestral elements into his electronic performances, featuring over 50 dates across and with a 20-piece . This tour supported his 2020 Renaissance and included headline performances that showcased reimagined tracks with strings, brass, and woodwinds, such as the live rendition of "Renaissance 2.0" filmed with the Filmharmonique Orchestra. A notable highlight was the headline set at the in 2024, where the orchestral arrangement elevated bass-heavy compositions into symphonic experiences for thousands of attendees. The Antagonist Tour, launched in 2023 and extending through 2025, expanded on this orchestral fusion with over 100 shows worldwide, incorporating a full 80-musician ensemble for select dates and a traveling brass section for others, drawing directly from the thematic core of his 2023 album Antagonist. The tour's initial 29-date North American leg in fall 2023 featured an eight-to-16-piece brass orchestra, blending classical motifs with EDM drops, and was documented in a mockumentary released in 2024 that captured the production challenges and creative process. By 2025, the Antagonist 2.0 iteration included a high-profile residency-style performance at Red Rocks Amphitheatre on November 2, with the full philharmonic orchestra, accommodating around 7,000 fans and emphasizing tracks like "Revenge of the Orchestra." Logistical hurdles, such as transporting and coordinating live musicians across continents, were addressed through modular stage setups and a dedicated 16-person road crew, enabling consistent high-fidelity executions. The tour's planned expansion into Asia includes scheduled shows in Shanghai on November 22-23, 2025, marking Apashe's first major performances in the region with orchestral support. By November 2025, Apashe's career had amassed over 200 live performances, with orchestral integrations becoming a hallmark that distinguished his tours from standard sets, influencing subsequent productions through innovative and visual storytelling.

Festival appearances and residencies

Apashe has delivered headline performances at several prominent music festivals, showcasing his signature blend of orchestral and bass-driven sounds. In 2022, he took the stage at , hosted in the area by Rampage, where his set highlighted high-energy drops and cinematic builds that captivated the festival crowd. His appearance at in on January 29, 2023, further solidified his global presence, drawing large audiences with a dynamic set that fused elements and live instrumentation. Building on the production refinements from his Antagonist Tour, Apashe tested orchestral integrations in a special residency-style event at Montreal's MTelus venue, where he experimented with live elements during a sold-out show to refine setups for larger productions. Apashe's festival adaptations often involve a reduced to suit fast-paced, crowded environments, as seen in his 2023 Electric Forest set and Ultra Music Festival performance, where the compact ensemble maintained orchestral depth without overwhelming logistics. In September 2025, he delivered a full headline set at Together in , featuring a 45-track playlist that seamlessly blended tracks from his early era with newer material, creating a comprehensive for the enthusiastic Thai audience. Most recently, on November 8, 2025, Apashe headlined the Circuit Grounds stage at EDC Orlando from 8:00 PM to 9:00 PM, delivering a high-impact set that incorporated bass-heavy anthems and subtle orchestral nods to energize the festival closing weekend.

Music videos and directing

Notable videos and creative process

Since his debut in 2015, Apashe has released over 20 official music videos, showcasing a cinematic style that frequently incorporates dystopian visuals to mirror the intense fusion of bass drops and orchestral arrangements in his tracks. These videos commonly delve into themes of rebellion and epic battles, emphasizing dramatic narratives that amplify the music's emotional and sonic scale. For instance, the 2025 video for "Rome Is Burning," a collaboration with Worakls and Wasiu, features dynamic fire effects and live-action sequences with an orchestra, portraying the chaotic downfall of an empire as a symphonic clash of power and poetry. Apashe's creative process for these productions involves hands-on collaboration with and specialists to develop concepts, often drawing from grand, film-like inspirations while adapting to logistical constraints. In crafting the 2023 video for "Humans," he partnered with Adrian Villagomez to an tale of and , filming in Mongolia's vast deserts with dozens of riders to evoke a "Lord of the Rings on a budget" atmosphere, blending practical effects with the country's raw landscapes for an immersive, rebellious narrative. Over time, his approach has evolved toward capturing authentic live energy in extended formats, exemplified by the full 90-minute video of his 2024 orchestral performance at the , which documents the symphony's raw power and crowd interaction in . This shift extends his video storytelling into documentary-style works, such as the mockumentary accompanying his 2024 Antagonist.

Self-directed works

Apashe's directorial debut marked a pivotal moment in his visual artistry with the 2020 music video for "Uebok (Gotta Run)," featuring , which he co-directed and self-shot as a narrative short. Filmed on location in a forest, the video follows a tense chase sequence infused with humor and high-stakes energy, reflecting Apashe's collaborative yet personal touch in capturing raw, improvisational storytelling during production. In the same year, Apashe took full directorial control for "Lord & Master," employing guerrilla-style filming techniques in abandoned warehouses to amplify the track's intense, domineering vibe. The video's raw aesthetic, characterized by unpolished locations, dynamic dancer performances, and stark shadows, underscores Apashe's emphasis on visceral energy and minimalistic production to mirror the song's orchestral fusion. Apashe collaborated on the concept for the 2023 video for "Revenge of the Orchestra," featuring Magugu, directed by Adrian Villagomez. The production depicts a dramatic orchestral uprising against , blending live-action sequences with surreal elements and symbolizing through chaotic instrumentation and narrative tension. The 2024 project "Catch Me," directed by Adrian Villagomez, demonstrates innovative directing in Apashe's video oeuvre, earning nominations at the Music Video Awards 2025 through its use of cutting-edge to create sweeping, immersive chase scenes across urban and natural landscapes. This work maintains thematic consistency, focusing on pursuit and empowerment while pushing technical boundaries in and aerial perspectives.

Awards and nominations

Berlin Music Video Awards

Apashe achieved his breakthrough recognition at the Berlin Music Video Awards (BMVA) in 2022 by winning the Best Song category for the music video "Lord & Master", marking his first major accolade in after three prior nominations. The category, uniquely determined by audience vote, highlighted the video's compelling blend of orchestral elements and dynamic choreography featuring dancer Brontë Poire-Prest, which captivated viewers and solidified Apashe's reputation for innovative visuals tied to his album era. Building on this success, Apashe earned further acclaim in with 3rd place in the Best Director category for "Catch Me", directed by longtime collaborator Villagomez and produced by Consulat. The video's fierce, cinematic style and technical innovations, including bold storytelling and , were celebrated for pushing boundaries in music video artistry, reflecting Apashe's ongoing emphasis on high-impact production values. These BMVA honors, spanning wins and placements, demonstrate the critical reception of Apashe's video oeuvre, emphasizing his contributions to merging electronic music with visually striking narratives.

Other video and music recognitions

Apashe's music video for "Revenge of the Orchestra," directed by Adrian Villagomez, received a nomination at the 2024 UK Music Video Awards in the Best Dance/Electronic Video – International category, recognizing its innovative blend of orchestral elements and electronic visuals. In 2021, Apashe was honored with the SOCAN Music Award for excellence in electronic composition, shared with CRi, specifically acknowledging tracks from his album for their creative of classical orchestration and modern electronic production. Beyond formal awards, Apashe's singles have achieved notable commercial success on electronic music platforms, including top rankings on charts; for instance, his 2025 release ""—a of Star Wars theme—charted in the top 100 on the chart in May 2025, reflecting his growing influence in the genre. Additionally, his catalog has surpassed 500 million streams on alone as of November 2025, underscoring the broad appeal of his orchestral-electronic sound across global audiences.

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