Alexis Cabrera chats debut Nervous release

Alexis Cabrera ha been immersed in the world of music for over two decades. From his six years of conservatory studies to his relentless experimentation with different musical styles, Alexis has cultivated a unique approach that blends technical skill with creative intuition. His career is marked by performances at dream venues and festivals, but what he values most is the ability to create and share the music he loves. A producer of some renown, he recently returned to the much-renowned RAUM...musik label, and has left his mark on other esteemed labels such as Giuliano Lomonte's Point of View, iconic Romanian label Atipic and Fun, the label he runs alongside Barem.  Today though, it's his debut on NY's Nervous imprint that we really wanted to hear more about. Here's what happened when we touched base with Alexis recently...

‍Alexis, can you share more about how your journey in music began and what inspired you to start experimenting with music at such a young age?

To be completely honest, I don’t even remember how I started playing music. According to my family, I began playing guitar when I was almost 2 years old. As far as I’m concerned, music has been a part of me since then. Experimenting with different music styles was only natural.

Looking back on your career so far, what are some personal milestones or achievements that you are most proud of?

Mainly, it’s about playing at clubs or festivals where I always dreamed of performing. I’ve been playing for almost 20 years, so it would be very hard to mention all the key ones. At this point, I believe the main thing I’m always proud of is making and playing the music I love; everything else is a bonus.

After six years of conservatory studies, how did your music style evolve, and what were some key takeaways from that period?

To me, having some theory knowledge is like having access to shortcuts when it comes to making music. If I know what I want to express, I pick the tools (harmonies, melodies, rhythms, etc.) that I know will be the most effective. It’s like having more vocabulary when trying to say something.

For those new to your music, how would you describe your style, and what are the key elements that define your sound?

I think labeling music nowadays is really pointless. “House” to me might mean something different from what you understand as house music. It’s more about taste and perception: you either like what you hear or you don’t, it either brings something new to you or it doesn’t.

Congratulations on your upcoming release on Nervous, which follows a brilliant release by none other than Jay Tripwire! Could you tell us about the inspiration behind this EP and the creative process involved in bringing it to life?

Nervous has always been one of those legendary labels for me. While I wasn’t following their latest releases closely, I had a good idea of their general sound. So, when I was composing, I tried to explore those corners of my own sound.

Tell us a bit about some of your favorite Nervous tracks. What do you feel makes them so great?

It’s always been more about what the label represents in the history of electronic music than specific songs.

How did the opportunity to release with Nervous come about? Do you see it as a great honor and recognition of your hard work?

During the pandemic, I was giving one-on-one music production classes online, and one of the artists taking classes with me ended up working for Nervous. It was all very natural and smooth—he asked if I would release an EP, and I was fully on board from the moment he asked.

What does a typical day in your studio look like, and how do you keep your creative process fresh and engaging?

I’m always listening to music, new and old, and almost all kinds of sounds. Like I said before, all tools are welcome when it comes to expanding my musical vocabulary. But the moment I press record is when I create this sort of bubble where time and space don’t exist anymore. In the past, I used to set alarms to remind myself to cook or clean the house, but now my wife, five cats, and our dog are the reminders.

Have you ever faced creative roadblocks, and if so, what strategies have you found most effective in overcoming them?

What really works for me is staying away from recording until I feel the urge to say something through sounds again. I don’t force myself to record anything anymore. I used to do it no matter what, but the frustration was so high that it often led me to doubt whether music was really my path. So, my key is to see if I really miss making music during those blockages.

Based on your experience as a self-taught musician, what are some common mistakes people make when pursuing a career in the music industry, and what advice would you give to avoid them?

Although I learned music at the conservatory, I am actually a self-taught producer. These skills have little to do with the industry itself, especially when it comes to a personal career. That being said, I always saw myself as a sort of “lab rat,” a proper nerd. Probably one of my biggest mistakes was thinking that just knowing how to make music was enough. I learned that I needed to advocate for myself, such as by going out, sharing my music with the artists and DJs I admired, or connecting with DJs who were residents at the clubs I liked the most.

How do you balance your live performances with your studio work, and what unique elements do you bring to your live sets?

Playing live was one of the key drivers for recording a lot of music. For example, a DJ digs for new music during the week to play something fresh every weekend. In my case, I have to record new tracks to have something fresh every weekend. After playing live for almost 20 years, I’ve experimented with different setups, from using a computer and one controller to loads of hardware on stage. I even use my own voice, which, I think, adds that “human touch.”

Can you share more about the specific equipment and gear you use in your studio, and how they contribute to your signature sound?

I’ve always preferred a more minimalistic approach to my studio setup. I’ve been using a lot of hardware over the years. I prefer to know a machine or synth inside out, exploring the edge of its limits, rather than having a lot of hardware and only using its sweet spot sound. So, I believe in my case it’s not about using a specific synth or drum machine; it’s more about the feeling and my personal groove.

What are your views on the current state of the music industry, and how do you see it evolving in the coming years?

I talk a lot about this with other artists and DJs, and I always come to the same conclusion: it feels like swimming in an ocean full of sharks. I know this has been the case since the beginning of the music industry—it’s not new that “it’s not about music anymore,” but somehow we always find our way through. I think that getting some attention is really hard, but the hardest thing is staying interesting to both old listeners and new ones. I don’t think this will ever change, to be honest. We just need to adapt; otherwise, we’ll end up as boomers in our studios, judging and thinking, “Back in the day, everything was different.”

What are some of the most valuable lessons you’ve learned throughout your musical journey, and how have they influenced your growth as an artist?

Keeping the message through our music as simple and direct as possible is key. I don’t mean to be “basic,” but if you want to say something, just be specific. In a more technical sense, it means leaving behind those thousands of automations—there’s no need to have projects with 100 channels. In the past, I used to focus more on the details rather than the main message itself. I know it’s cliché, but one of the main lessons I learned for real was that Less is actually More.

Your live performances are known for incorporating modular systems and live vocals. How do you prepare for these sets, and what do you enjoy most about performing live?

Every time I record a bunch of new tracks (sometimes I can make 2 or 3 a day), I deconstruct them, get some stems, and put those sounds into my live project. To be honest, I don’t rehearse anymore (probably I should?), because what I really enjoy is the uncertainty of “What the hell am I going to play now?” Although I like to play the tracks very similarly to how the originals are, I leave room for improvisation. This can involve playing a different bassline, changing the original arrangement, or even mixing stems from different tracks. Plus, I improvise a lot using my voice.

What exciting news or projects do you have in the works for the coming months that fans can look forward to?

I’m really happy that I finally signed my solo EP on RAUM…MUSIK, a label whose sound I’ve admired for ages. Although I’ve released on this label before, it was in collaboration with Federico Molinari and another EP with Giuliano Lomonte.

I am also working on an album for the Minimaler Factory label.

Regarding shows, I’m super excited to be part of Sunwaves again, this time in Spain (literally two hours away from my house). I’m also very much looking forward to my upcoming South American tour in mid-November.

Buy/listen to the release here

Listen to our premiere of Alexis' Mi Housa es Tu Housa below