ColoRising Interview with George Apergis aka EMEX

Words by Art Jefferson
Images courtesy of EMEX

George Apergis, known to the music world as EMEX, holds many titles. While that of producer, DJ, and record label boss are the immediate that come to mind, he’s also a designer, and you can also add trailblazer to the list. The Athens, Greece-based artist has not only released some of the most important techno records to come out of the country, but he’s also responsible for literally helping to pioneer the Greek techno movement. Throwing some of the earliest techno events under his Modular Expansion banner, he eventually created the record label under the same name which has been the home for releases by Echøurn, Mikael Delta, Nadja Lind, Brian Sanhaji. Hommé, Insolate, Radial, and more, along with Apergis’ multiple releases under various monikers. His role in the Hellenic Electronic Dance scene is immense and that legacy continues to this day.

Having released tracks on labels including Konsequent, Denude, and SYXT just to name a few, George Apergis became synonymous for his intricate and varied sounds of techno which ranged from deep to dub-fused. Spawning the EMEX project in 2014, he continued to pump out hypnotic, groove heavy tunes that were dance floor scorchers. Whether dropping entrancing cuts like ‘00110001’ or the dark, drum thumping ‘Function Mode’ taken from his ZEX release, each record was like unwrapping a different mood gift, never knowing what to expect, yet always pleasantly surprised. One thing that has always been a guarantee is Apergis’ class production and sonic detail.

The cross section of music and art is showcased with every Modular release. The record covers are graced with high design, often times a reflection of futurism, perfectly coinciding with the actual sounds. This is also a nod at George Apergis’ skills as a visual artist. In fact, he is a European Design Award winner. The audible and visuals are inseparable, creating heightened senses through each journey taken.

Although his career is cemented in the techno history books, George Apergis continues to extend his blazed trail bringing his Modular Expansions brand across the globe. His vinyl only DJ sets have been heard in some of the key electronica venues including Berlin’s infamous Berghain, and Tresor, not to mention the Modular merch has now expanded to clothing. Upholding the integrity of techno, George Apergis’ vision reflects not only where the genre has been but where it can go and what it can evolve to be.

Taking it to the very beginning, growing up did music always play a part of your life? What were some of the genres that you were listening to early on?

EMEX – I grew up in a musical family, my grandfather was a musician and played saxophone and clarinet. My father and mother had a crazy love for music. From 7″ discs to 8 track cassettes and around 1000 cassettes written by my father’s selections with many disco, new wave and 80s-70s hits of the time. These were also my first influences, I also listened to a lot of rap of the time like Public Enemy, Ultramagnetic Mcs, Gang Starr, House of Pain and Wu Tang, but what made me become a fan of electronic music was Jean-Michel Jarre’s live in Houston. I imagined the future!

When did you discover the sounds of techno, and did you immediately know that you wanted to contribute to the scene or did that come later on?

EMEX – I was lucky enough to live the entire history of techno music from the very beginning. It was love at first sight. The track ‘What Time is Love?’ from KLF, changed my life. In the beginning I was listening to a lot of New Beat, early Detroit Techno, Acid House and Electronica. Labels like Music Man, R&S, Transmat, ZYX, Boy, Warp, Network and XL Recordings. Later it was the peak of original techno and somewhere around there I started djing vinyls and events. Artists like Robert Hood, Jeff Mills, Surgeon, Ratio, The Advent, Chris Cowie, Maurizio, SpaceDJZ, Dave Clarke, Sterac were my favorites.

Whilst the story of Detroit techno and even Berlin’s involvement has been well documented, you were one of the people helping to push the movement in Greece in the 90s. Going into a little bit of history, when does the greek techno scene begin, and along with yourself, who were some of the key players pushing the sound?

EMEX – The main reason that I started the Modular Expansion events was because I wanted Athens to have its own true techno party. This is how we managed to have a presence on the global techno scene and to a very independent crowd. During this period Tresor from Berlin with the label and the club did an excellent job. They had managed to present the best techno artists from all over the world and mainly Germany, America and England, so we got in touch and started the Tresor events in Athens as well as inviting artists from Hardwax, Chain Reaction and Basic Channel absolutely connected to the scene of Berlin.

For me, with these parties and our contact with Berlin, the history of the Greek techno scene began, having a place on the world stage, with techno as we know it today. Until then, of course, there were parties, but the music was Rave, Trance, Drum & Bass, Chicago House not pure techno. At the same time, other Greek DJs such as DJ Savage, Mikee, Ion, Mikael Delta, Axel Karakasis, Dimdj, DJ Tony and DJ Manos contributed to the creation of the Greek Techno Scene.

During those early days of putting on events, you had the name Modular Expansion. How long after did you decide to create the imprint, or was that always part of the mission from the very beginning?

EMEX – The creation of Modular Expansion records has been my true dream since the beginning of my involvement with this music. Big record collector for 30 years, with my record library close to 10,000, the biggest Techno collection in Greece, was the natural consequence. The only reason that it started later was financial reasons, in Greece techno was not so widespread that you could financially support a label with records. The name ‘Modular Expansion’ is inspired from the first analog modular synthesizers of which different parts were connected between each other, forming an expansion. All those years with the creation of the label we had the acceptance and respect of the biggest artists of the scene and thus we succeeded and consolidated our relations with Europe and to be heard even further as far as New Zealand and Colombia.

With your production, you are quite well ranged. You have some really deep techno records, but you can also go in a more hard driven direction or even a moody dub style, yet it always manages to remain cohesive. How long did it take you to fine tune your sound to where it was undeniable?

EMEX – The fact that I have experienced the history of techno from the beginning and when music was not yet divided into genres has influenced my choices. Whatever sounds good to my ear is acceptable. The same in my productions, in my sets and even on my Label you will hear quality electronic music. I grew up with huge labels that included a big range of music, not just tool techno. It’s awesome that when I sit down to produce music I don’t have something specific in mind. Depending on recent experiences and psychology I might make a deep melodic or a hard techno track. It is very interesting that listening to your old productions you realize even in detail how much your favorite tracks from other old favorite artists have influenced you.

As someone who is an award winning designer, you are no stranger bringing music into the art, and tech space. Your latest EP ‘Touch Infinity’ is no exception. Can you detail the concept and inspiration behind your latest work?

EMEX – I have always liked the combination of art and music. Like, for example, in the past, flyers for parties, album covers, these were what created the image and aesthetic of the parties and even the image of music. Later, social media and mobile phones came to parties and the myth was dispelled. The flyers of the Modular Expansion parties from the beginning were works of art by renowned graphic artists, this later continued in the creation of the record label. Each Release is an artistic project of music and visual arts. Touch Infinity is a project that involves the creation of works of art based on Spira and the way it is harmonized in modern art, an action with an emphasis on design and contemporary electronic music. We live in a spiral galaxy.The first sensation that a spiral shape gives is the image of evolution and the will to touch the infinity. Modern technology and binary code give us the ability to touch infinity. With the use of modern technology, the music has evolved in addition to vinyl and in shape and color in the form of a spiral ceramic vase. The video by Alkistis Kafetzi had the same philosophy of Spira as you can see it in 360 filmed scenes. Alkistis is a good friend of mine who lives in Berlin, a filmmaker who engages in various independent productions, ranging from music videos to poetry films and documentaries. In her recent projects, she delves into the dynamic realms of the feminist movement, self-organized communities, and LGBTQ rights. In the video starring Ingrid Hideki, a multidisciplinary artist based in Berlin too. In her current work she addresses issues regarding queerness, fem liberation extrapolating both in the physical and the digital realm. From my early years I was supporting the LGBTQ culture, so in every opportunity I love to give a step to people of independent beliefs to participate and present their work.

What’s really fascinating to me is that, while you are someone who is steeped in the design and tech world, you still spin vinyl. What encourages that dedication to vinyl as opposed to going the standard CDJ route which has been common place in techno and house for decades at this point?

EMEX – We live in an age where the value of culture has been lost in the field of art and music. My preoccupation with vinyls is above all a matter of culture. For example, vinyls are works of art, the fact that you buy while supporting the artists, the way you search for the releases makes a huge difference in what music you end up playing. Also, the peculiarity of the difficulty of mixing records makes you deal more with it, so you hear many details of frequencies, production that with digital mixing go unnoticed.This makes you a better DJ. Also the emotionalism of playing with an object of your collection in public can be compared to people like putting on a cloth from your closet where each one has its own value. Imagine I have a record “Energy Flash” which has played almost everywhere from Berghain, Tresor, Sisyphos and at my most favorite parties, the feeling when you mix it on is huge.

Finally, what does 2024 look like for yourself the Modular Expansion team?

EMEX – The most important thing of all is to exist and be active in the spirit of the times. Some new projects are coming in 2024, for example new releases with Alexander Kowalski. Also, we are already working again with my good old friend Alex Retsis, new tracks and the new EMEX LIVE! Many events in Athens, Berlin and some other European cities. Muzik Is The Reazon!