GET TO KNOW
Known for his genre-bending productions and emotionally charged performances, Aexhy has carved out a unique space for himself, where the line between music and personal expression becomes beautifully blurred. His journey, much like the fantastical world he creates through sound, is one of perseverance, deep introspec- tion, and a steadfast belief in the power of mu- sic to unite people.
For Aexhy, his role in the music industry resem- bles the character of Naruto from the anime series of the same name. Aexhy started out mi- sunderstood, often dismissed as someone with ideas too strange or too bold.
“At the beginning, people couldn’t understand what was in my head. They laughed at me and treated me like I was crazy,” he recalls.
But rather than retreating, Aexhy leaned into his perceived eccentricity. Over time, by persis- tently showcasing his art and honing his craft, he won over the doubters. Much like Naruto’s journey from outcast to hero, Aexhy has built his own following, composed of those who reso- nate with his “fantastical fairytale worlds.” He sees his role in the music world as a storyteller, crafting a narrative that invites listeners into his universe.
“My story is an honest story, and I think that’s why people around the globe have started be- lieving in me and following my path.”
Aexhy is unafraid to show the world his raw emotions, however complex or difficult they might be. It’s this emotional authenticity that draws people to him and his music, creating a bond between artist and audience that trans- cends geographical boundaries.
Central to Aexhy’s philosophy is the idea that music should serve the people, not the bank ac- count. This belief was instilled in him early on by his father.
“My dad told me, ‘You can either change some- thing with your music or make money out of it, but you can’t do both.’”
For Aexhy, the choice was clear. He decided to focus on creating change, and from that mo- ment, the pursuit of financial gain was no lon-
ger a factor in his artistic decisions. One of the most profound moments in his career came when he organized his first event in his home- town, a city notorious for stifling new talent and booking the same acts year after year.
“I couldn’t stand it anymore,” Aexhy says, “I stood up for the people of the scene and did my first event, which ended up writing history there. It was a free event, too.”
This act of defiance against the status quo was not just a breakthrough for Aexhy but a state- ment that music should be inclusive, fresh, and for the people. It was the first of many events where he would unite audiences in an experien- ce that felt deeply personal and revolutionary.
“People often told me that my mixes were too difficult to follow because I wasn’t sticking to one genre,” he admits.
“Having the ability to control and mix different genres is the coolest and most interesting thing you can do.”
His genre-blending technique isn’t about showing off—it’s about pushing the boundaries of what music can do and how it can make peo- ple feel. By refusing to follow the rules, Aexhy has created a sound that’s entirely his own, one that takes listeners on an unpredictable, emo- tional journey.
Aexhy’s passion for music extends beyond the digital world into the physical realm, particu- larly through vinyl. His first vinyl project, pro- duced by the Berlin-based label and collective DEESTRICTED, historically focused on electro- nic music, dives into harder styles ranging from techno to hardtechno. The project, which took over a year to complete, was a long process but one that taught him the value of patience.
The album concept features Laze and H369, with additional remixes by Paul Seul (co-foun- der of the former Casual Gabberz collective and 1/2 of Ascendant Vierge), PAX (an eclectic artist from Argentina), and vp allowed (Dees- tricted co-founder and label’s curator, who in this case offered his own liquid-style interpre- tation), making the project even more brilliant and valuable.
mixmagit.com 117
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140
