Interview: 9THWAVE: The story behind Crown Of Rust / Rave Of The Ruins

9THWAVE, the project of Alexander Aubakirov, makes his VTO Records debut with Crown Of Rust / Rave Of The Ruins. In this Q&A, he discusses his early years playing bass guitar, the pull of making music, and the two sides of the story behind the release.

Before electronic music took over, you were playing bass guitar in a band at school. What did that early experience teach you about making music that still carries into 9THWAVE today?

Hi guys! I think that experience opened up the whole world of music production for me, the creative process itself, and the idea that you can create a sound from nothing, then turn those sounds into melodies and complete tracks.

Getting a DAW around 2010 opened the door to electronic music, with Skrillex and drum and bass among your early reference points. What drew you towards making tracks rather than simply listening?

I guess this is a direct continuation of my first answer. By that point, I hadn’t played guitar for several years, but I’d always enjoyed learning new things, and "Frooty Loops" became that new instrument for me. I should also mention that I tried making music in "Dance eJay" back in the 2000s. So music had always attracted me, but without enough motivation or a deeper commitment, it never really went anywhere.

You stepped away from music while work and family took priority, then returned during the pandemic. What changed when you came back to production, and what made you commit to it again?

I don’t think music will ever let go of me, or maybe I’ll never let go of it. I take breaks sometimes, but experience has shown that I always come back, occasionally exploring different genres along the way.

Before VTO, you had already appeared on releases and compilations for labels including Paperfunk, Dirtbox, Stonx Music, Abducted LTD and Dialect Audio. What did those earlier releases teach you about the kind of artist you wanted to become?

Every release feels like a small celebration. It’s always interesting to see who listens to your tracks and how people respond to them. I’m grateful to these labels for giving my music the opportunity to reach its audience.

VTO is moving into a new chapter after A New Beginning, with a refreshed look and new names joining the roster. What made this the right moment, and the right label, for your VTO debut?

I think it’s just a coincidence. I wasn’t trying to line up the dates in any particular way. I hadn’t released anything on VTO before, but I’d wanted to work with them.

That debut comes as a pairing rather than a single statement. What connected Crown Of Rust and Rave Of The Ruins strongly enough for you to introduce yourself to the VTO audience with both tracks together?

I always try to put some kind of narrative into my tracks. This release represents two sides of the same story.

Crown Of Rust opens with a rock-influenced female vocal before the first drop takes over. How did you build that contrast between the vocal-led tension and the heavier energy that follows?

I guess that comes from my metal background. To me, drum and bass has a lot in common with heavy music in terms of its energy and spirit. So combining the two genres feels quite natural, and they can work really well together.

Rave Of The Ruins heads somewhere darker, from its atmospheric opening and male vocal through to its chugging low-end drive. What were you trying to make the listener feel as that track develops?

This track makes me want to grab a torch and storm a castle at night, haha. I guess that’s the kind of feeling it gives me.

You have cited Merikan, Pythius, BurrOak, IHR, Sinister Souls and Finalfix as influences. When you are working in that heavier end of drum and bass, how do you take inspiration from artists like that while keeping your own identity clear?

I hardly ever use specific reference tracks. I listen to a lot of music while I’m working, usually just playing in the background. But when I actually sit down to write something, I don’t have any particular track or idea in mind. It usually comes naturally during the process.

You’re stranded on a desert island with one turntable, a generator and one record. What’s it going to be?

I think I’ll finally learn how to scratch, haha.

Thanks to Alex for taking the time to speak with Drum and Bass UK. You can read our full release review here