Bapari is our favorite producer, dj and drummer from Los Angeles. With their eclectic original sound, minimalistic yet impactful aesthetic, they are here to build a name for themselves in the history of music production.
In 2021, the very first music video of Bapari for the single “Interlude & Daybreak” directed by cinematographer Alima Lee, was released on Youtube. Remixes of tracks like “Begging Me” by Kelela in collaboration with producer River Moon, and “Like U'' by Doja Cat were released the same year.
Bapari musical talent has no limits. Inspired by alternative and unusual researched sounds, they are also the drummer of the all black punk band FUPU (Fuck U Pay Us), and joined the band last October for their highly anticipated reunion show.
The beginning of the new year marked another addition to Bapari’s catalog, with the release of the brand new track “FUSION”, a percussive club track with a somewhat dreamy melody intended to be a bit upbeat and danceable, distributed by the French label HTS Records.
We talked to BAPARI about music, inspirations, creative process and much more. What's the greatest fear you've had to overcome to get where you are today?
Probably the fear that I should be doing anything else other than music. I guess at some point I just had to accept it was the only thing I feel a certain type of inclination towards and practicing it almost feels involuntary.
What have you done to improve your knowledge as a music producer in the last year?
I think the biggest things for me include listening to music, DJing music and of course creating music. All of these go a bit hand and hand for me. Finding new music is a huge part of DJing but it also helps me find new inspirations - whether that be song structure, types of transitions, sounds, finer details, energy progression throughout a track etc. Listening to music on its own or performing it can really inform you of the things you love and hope to explore within your own sound as well as things you would rather avoid. Another major part of gaining production knowledge has come from actually producing. For myself, getting into club edits and remixes was a fun way to explore ideas without the inspirational hurdles and pressures felt when starting a track completely from scratch. With edits you are breaking something down into parts and finding novel ways to reassemble and embellish them. All of these things have provided me with more clarity and confidence when it comes to creating my own music.
What is your favorite venue in Los Angeles?
I don't really have a favorite - there are definitely some good ones but I think a good lineup and event can transform any space.
What's your process for dealing with performance anxiety?
Performance anxiety is something that can come at any point for what feels like any reason. I think the best way to pull out of that when it hits is to remind yourself you've felt it before and to refocus your attention on what you're actually doing. Being present in your transitions, remembering your excitement behind the set you created and enjoying the music you chose for the night.
What would you say is the most rewarding part of being a DJ?
I really love being able to play in new places and am extremely grateful for the ways I have been able to travel. When it comes to this idea of dreaming, DJing has allowed me to think more about the places I want to go physically, personally, metaphorically etc.
Tell me about a long-term project you oversaw. How did you keep it focused and on schedule?
The project that comes to mind would be my EP and the music video that followed. That was my first time creating an original solo body of work and managing all of its parts. From creating the music to choosing a release date to selecting album art it's all about getting it to a place where you feel ready to share it. The music video that followed felt like a natural and necessary extension of telling the project's story. I think what kept me focused throughout this process was knowing where I wanted this story to end and figuring out how to tell it.
Tell us about one of the best experiences of your life:
It's definitely challenging to try to pinpoint one but things like scoring a film, playing in a band, putting out my first project, going on tour, were all experiences that expanded my love for music and changed how I see myself practicing it going forward.
When was that first moment you realized that music was going to pay off for you?
There are definitely days where it feels like it's paying off but there are certainly others where you have no idea what you got yourself into. There are projects, performances and releases that have felt illuminating to where I'm dreaming about the future again. So really the pay off is having those moments between everything else.
Are you from a musical or artistic family?
I would say my family has a large appreciation for music and the arts but growing up it wasn't something I ever considered to be a potential career path.
Who would you most like to collaborate with?
I don't wanna jinx it but there are a few
What was the inspiration behind “Daybreak” and when did the idea occur to you?
It all started with me playing around with the HA noise and turning that percussive element of ballroom into a lead melody for the title track. My original intention with Daybreak was to create a project of dance floor ready originals, but as time went on the project evolved. I started the first track in 2019 but over the next two years changes to my personal environment as well as instability throughout the world led me to revisit these tracks - revising them to reflect ideas of dystopia and wanderlust. The project ended up veering into experimentation and IDM while still paying tribute to it's dance and underground club roots.
What would your dream music video look like?
I really love the music video that was created for Interlude & Daybreak. For some reason I was very intent on it being a composite video for both tracks. Working with Alima Lee who is a really close friend and very talented filmmaker was what really brought the ideas behind these tracks to life. We wanted to explore themes of surveillance, tech, dystopia, urban infrastructure and seclusion in a visually stimulating way. I think I'll know my next dream music video once the single for my next EP is finished.
How do you know when to stop tweaking a track and that it's ready for mastering?
I usually know a track is done when I can listen to it on repeat without wanting to stop and change something.
How do you feel the Internet has impacted the music business?
I definitely think it has made music more accessible - meaning there is this ease of discovery and you can listen to just about anything from anywhere at any time. That's great in some ways but obviously changes people's relationship to music, how they consume it and how they value it. As we've seen with streaming there is this fluctuating payout system that diminishes returns to artists and forces one to consider their own stream ability. There's a pressure to land playlists or to be the next algorithmically positioned suggestion. And with so much to choose from how as the consumer do you get to what you really want. Simultaneously independent artists can distribute music themselves and build an audience without a label. Small labels can put out projects with the same level of quality and professionalism as the majors. I think you can argue the internet's impact on music both ways but like anything it will continue to evolve and artists will continue to adapt with it.