INTERVIEW: Debut album from Aptøsrs

Aptøsrs is the new moniker of composer, songwriter and bestselling author Paul Terry who presents a fresh musical endeavour built on musical exploration. Based in Los Angeles, Paul Terry is no newcomer to the music scene, having earned acclaim for his work in film scoring, earning nominations for prestigious awards like the Sydney Web Awards and Raindance Film Festival.

His solo projects, including the revered Cellarscape, have also earned him recognition for his innovative musical style and prolific output. With Aptøsrs, Paul Terry makes an exciting foray into a synth-driven instrumental sound that marries elements of synthwave, cinematic orchestrations and rock.

First revealing the project in February, he released the debut Aptøsrs single with “Rust Mountain,” making a compelling artistic statement ahead of his brand new debut record titled Elders. Featuring eight tracks, Elders as a captivating window into the world of Aptøsrs, expertly mixed and mastered by industry veterans Adam Noble and Robin Schmidt respectively, who have worked with the likes of Biffy Clyro, Nothing But Thieves, Wolf Alice, Royal Blood and Pixies.

The album starts with the debut single “Rust Mountain,” an immersive journey formed by pulsating synths, reverb-drenched instrumentals and dynamic rhythmic twists. The track sets the tone for the album, showcasing Aptøsrs’ ability to blend mesmerising ambiance with rhythmic intensity.

The intricate flutter of clean guitar tones on “With Each Step” follows as the piece gently slips into an ethereal soundscape of lush synth tones and the rising pace of the kick beat. Building with the patter of percussive elements, an immersive scene takes hold as a constantly shifting musical experience is laid out as switching rhythms and upbeat melodies collide to form a bright instrumental piece.

“A Peaceful Way to Defy Them All” casts a subtly moody aesthetic as the deep strikes of atmospheric tones are met with the contrasting light of the delicate piano notes. Crafting an enthralling sound that builds to an anthemic finale, the punch of a full drum kit drives the hazy fabric of the instrumentation into an epic crescendo.

Other highlights on the album include “Questionnaires” with its stretching sweeps of sustained synth textures, airy piano and string tones cut with soft staccato notes. It’s an elegant piece of future-classical music that showcases the producers knack for filtering his inspirations through his modern sonic lens to present something familiar yet entirely new.

The record closes with “Encore, Vredefort” where bold piano notes and warm string layers are driven by the rattling punch of crisp percussion. Setting up a theatrical listening experience full of dark twists and turns, it’s a sensational burst of the Aptøsrs sound that sees the artist reframe his unique sound with the intensity and rhythms of metal to deliver a thrilling conclusion to his incredible debut album.

We caught up with Aptøsrs to find out more about his musical journey so far, his debut album Elders and what he’s got lined up for the future. Check out our interview with Aptøsrs below.

Hey Aptøsrs, how’s things?

I’m very happy the album is finally out! Thank you for having me in Plastic Magazine.

What’s your earliest memory of making music?

I used to create my own bonkers little radio shows when I was a kid, around the age of seven or eight. Just using a cassette recorder with its built-in microphone. I’d do things like record the sound of water rushing out of the bath tap, and pretend I was a correspondent in the Amazon – basically doing an impression of David Attenborough – and then come up with these little jingles, just singing a melody or making beats with my voice, to be the linking jingles before going “back to studio.” The “studio” of course being my bedroom.

Which artists do you draw most inspiration from?

Like every songwriter/composer, there remain these foundational artists that you grew up listening to when you were a kid. For me, that was mainly Queen, Run DMC and ELO. But what I love about music is that you never know what’s coming around the corner. I love that feeling when you hear a record – that might be by an artist you’re already familiar with – but their creative swing takes their songwriting into an entirely different place and has that “what… is this?” effect on you.

Giving a few examples across the musical spectrum, in my younger years, these songs and albums did that: ‘3 A.M. Eternal’ by The KLF; ‘Batdance’ by Prince; Little Earthquakes by Tori Amos; Burn My Eyes by Machine Head; Kid A by Radiohead; Blackened Sky by Biffy Clyro; ‘Palahniuk’s Laughter’ by Fightstar. And, more recently, in the last decade or so: Venus by Joy Williams, Periphery II: This Time It’s Personal by Periphery; and couple of years ago, Lifted by Trombone Shorty. But, honestly, I could go and on. And, as much as I love all of these artists and records I’ve listed here, I get even more excited about the prospect of being inspired tomorrow by an artist or song I’ve never heard of.

How else do you find inspiration for your music?

It sounds overly simple, but I try to keep my eyes and ears open. A kettle on the stove might start creaking in a really weird way, that will inspire a beat pattern. Or a book you’re reading might suddenly make you imagine some strange landscape or situation in your mind that you start to have an idea for.

What was your highlight of the year for 2023?

Having Adam Noble come on board to mix this debut Aptøsrs album, Elders.

I’ve been a Biffy Clyro fan since their first record. While I was giving Biffy’s 2019 album Balance, Not Symmetry its first spin, my jaw dropped. It sounded different in the best way. The energy and the ‘slam’ of the mix was so powerful. Poring over the liner notes, I saw it was “produced and mixed by Adam Noble” and I cheered out loud. Because Adam and I actually met several years earlier at the Tileyard Studios complex in London’s King’s Cross area.

I shared a recording studio there with two renowned music editors, and dear friends, Tony Lewis and James Bellamy. Adam and I met at the studio and had all these wonderful conversations about bands we loved and nerdy chats about drum production. Knowing how talented Adam was, seeing his name in the liner notes of one of my all-time favourite bands was such a thrill. And then Adam went on to mix Biffy Clyro’s Barrowlands Ballroom live concert/album and 2021’s epic The Myth of the Happily Ever After. Plus, of course, he’s worked with so many other amazing artists like Paul McCartney and Don Broco.

When I’d finished writing and recording Elders, at the very top of the wish-list of people I would love to mix it was Adam. I’m honoured he wanted to do it. Adam brought so many brilliant ideas to this record. Being a brand new, ongoing music project for me, I knew how important developing the right sound for the debut would be. So, I’m forever grateful to Adam for his invaluable contributions to establishing what the Aptøsrs sound is.

What do you love about the Los Angeles music scene?

There’s definitely a vibe of musical freedom in LA to be yourself, creatively, however that fits or doesn’t fit with what current trends are saying or doing.

What would you say is the perfect setting for listeners to enjoy your sound?

Something nearby nature I think. But, as there are a lot of contrasting tones, I think listening to it during a nighttime thunderstorm or while watching the sun come up would be equally cool. Or perhaps a long, coastal road trip? Something like that.

Compared to your other musical endeavours, how do you find the instrumental approach of the Aptøsrs project allows you to express yourself?

It’s a great creative challenge to make various instruments “sing” lead vocal melodies. Adam Noble and I worked a lot on this concept that, in Aptøsrs songs, there is always more than one instrument having that role. It creates these interesting duets between instruments, and pushes certain ones that are traditionally lower in the mix to a more “lead singer” position. We did that a lot with the bass guitar parts which I’m really happy with, because it gives those songs an unexpected feel and movement.

How has your own style and sound evolved since you started out?

It’s changed a lot since my teens when I was in my first band with schoolmates. But I think one thing that has remained the same is that I love melodic hooks, riffs, and memorable top-lines. Those are usually associated with the singer or the guitarist. But, over the decades, I’ve been drawn to play around with which instrument is responsible for guiding the audience through a particular song, section, or film score cue. In many ways, Aptøsrs is the culmination of all the experiences I’ve had as both a composer and a songwriter. It’s a fusion of hooky, songwriter sensibilities swimming in the waters mostly associated with film soundtracks.

Who would be your dream artist to collaborate with?

Devin Townsend. He’s been an inspiration since I heard the Strapping Young Lad song ‘S.Y.L.’ on the UK music TV show Noisy Mothers in the ’90s. The fact that Devin has always marched to the beat of his own drum as is inspiring as his body of work – which covers blisteringly heavy music through to acoustic-led, desolate soundscapes, ambient, bluesy, pop, and everything experimental in between. He makes the music he wants to make, and ignores what some people expect him to make. That dedication to his art is very inspiring.

How did you find making your new album ‘Elders’?

Very freeing. Making the decision to have Aptøsrs be an instrumental project opened up so many ideas that wouldn’t have occurred to me if I’d included vocals. Because sometimes an idea would begin on piano, or my acoustic guitar, but then it might be only the rhythm that I took from the idea. Once transposed to the drum pattern, or beats/samples, a new melody for another instrument would be inspired by that, and so forth. No two songs came together in the same way, which made this an unpredictable and energizing songwriting experience. It’s exciting to embark on a new music project where I’m not giving myself any guard rails or direction other than “does this feel like it works?”

What message did you want to get across with this release?

Although there is a strong synth component to Aptøsrs, I’d love it if people that adore synthwave both recognise some of this album’s DNA, but are also surprised, and hopefully excited by the unexpected vibes, instruments, and intensities that are woven in. Adam and I were excited to create and combine tones, textures and emotionally heavy passages that hopefully feel like new twists on what synth music is known for.

What artist have you been listening to most recently?

My mornings, with breakfast, I’ve been playing some classic Roachford quite a lot. Permanent Shade of Blue is one of my favourite albums. And the new Night Verses album Every Sound Has A Color In The Valley Of Night is spectacular. Plus, Fightstar’s back catalog, because I couldn’t get over to the UK for their Wembley Area show. Such an amazing band.

What’s the main thing you want people to get out of listening to your music?

If they have an emotional connection to it, that’s awesome. And if they feel like Aptøsrs is a successful and surprising fusion of different styles of music, I’ll be very happy.

What’s been your favourite live performance so far?

I’ve been to hundreds of concerts so that is impossible to answer! I will say that the José González & The String Theory show I saw in LA about five years ago has stayed with me in a big way. It was like a sound bath. You could feel everyone in the audience was transfixed. No one had a clue which direction the music would go in next.

Who would be 3 artists to headline your dream festival? And where would it be?

I’m going to cheat and give you multiple-artist collectives which will each count as one, because it’s a dream/fantasy festival! First up, The Devin Townsend + Jon Batiste + Lisa Hannigan Experience. Second? The Nat King Cole + The Swell Season + Tori Amos + Vince Guaraldi Experience. Thirdly, the Queen (with Freddie Mercury and John Deacon, of course) + Prince + Chris Cornell Experience. Somehow playing next to, or near the Salish Lodge and Spa Hotel and Snoqualmie Falls in Washington – the location of The Great Northern Hotel in Twin Peaks.

Do you have any advice for a new artist wanting to follow your footsteps?

It sounds overly simplistic, but just create the music that makes sense to you. It doesn’t matter if its DNA comes from entirely unrelated styles of music. Because every single artist is inspired by a variety of different things. And don’t try to perfectly emulate someone else’s sound. Figure out what your sound is. That doesn’t have to be one thing. It can be an ever-evolving sound over the course of the songs and albums you make. And listen to your gut. Don’t let a collaborator be impatient and want to finish a song or record in an uncomfortably fast period of time. Your work deserves time to breathe so you can figure out what you want it to be before it feels complete.

Finally, what do you have lined up for the rest of 2024?

Music-wise, chatting about this Elders album some more, and also working on demos and ideas for the follow-up album, which I can’t wait to dig into.

Over on the other side of my creative output – writing books instead of music – I’m very happy to say it’s a jam-packed year of new releases. Kolchak: The Nightstalker – Haunted & Hunted is an anthology of five new tales, each written by me, inspired by the classic 1970s TV series starring Darren McGavin. That’s out in April from Moonstone Books. Then, in October, there’s The X-Files: The Official Archives Volume II – Extraterrestrial Activity and the Syndicate, the next book in my in-world X-Files book series. And, finally, Marvel Studios: The Art of Ryan Meinerding is co-authored with my frequent collaborator Tara Bennett is out in October too. It’s a celebration of the insanely talented concept artist who is the head of visual development at Marvel Studios. So I’ll be bouncing between sound waves and words for the rest of the year.

Listen to Elders below