AVEM presents a versatile and genre-bending take on Electronica. Boris‘ compositions display a wide sonic field; from driven Synthesizer patches, field recordings and acoustic experimentation, all the way to ethereal vocal work. AVEM‘s output manifests in producing, playing live shows and DJ sets, but also realizing visual aspects in still and motion. Fresh off his latest EP released on his own LOKD, we catch up with the Swiss sensation to talk all things ‘Uphill,’ studio hardware, label life, and more!

WWD: ‘Uphill’ is your first EP after a brief hiatus. Can you tell us about the inspiration behind it and how the Myth of Sisyphus shaped its concept?

The core idea behind Uphill is to provoke personal reflection on struggle, achievement, catharsis, and loss. The Myth of Sisyphus has always been deeply meaningful to me, especially as interpreted by Albert Camus. His essay confronts the question of happiness in the face of absurdity. There is a quote that has stayed with me since I first read it:

“The struggle itself towards the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.”

WWD: The EP seems to reflect a deeply personal journey. How do your own experiences of struggle and hope translate into the sound and emotion of the tracks?

Although every song on this EP tells a different story, there are overarching emotions I tried to express throughout—insecurities, the passing of time, and reflections of the past bleeding into the present. To me, these songs represent the full spectrum of these feelings, from contemplative melancholy to active engagement.

WWD: You’re releasing ‘Uphill’ on your own label, LOKD. Why did you choose to do this, and how has having your own label impacted your creative freedom?

LOKD is like a creative family. I really value the freedom that comes with releasing music on our own label—having control over the release date, artwork, and promotion. It just makes sense to cultivate our own output and broaden our reach.

WWD: What do you find most rewarding about running LOKD, and what challenges have you faced while balancing it with your artistic endeavors?

The most rewarding part is that we get to be a platform for artistic expression. We put our vision out there and see how it resonates with others. Of course, balancing the label with day-to-day life can be challenging, but we’ve developed ways to share the workload among our collective to make it sustainable.

WWD: Your music often features a blend of synthesizers, field recordings, and acoustic elements. Can you give us a peek into your studio setup and how it influenced the making of this EP?

I love recording percussion and vocals, both of which are all over this EP. I was privileged to work with the talented vocalist Mira Lora—her voice added a deeper layer of melody and texture. Beyond vocals, I enjoy incorporating unusual field recordings, like voice memos from my phone. Real recordings have a depth and character that sounds from a box sometimes lack. My studio setup includes a drum set with microphones, synthesizers, drum machines, and an interface with a computer.

WWD: Are there any pieces of hardware or gear that played a significant role in shaping the sound of Uphill? Do you have any favorite go-to tools in your studio?

I’m a big fan of hardware because computers, with their endless possibilities, can sometimes feel overwhelming and lack tactile interaction. I often use synths like the Korg MS-20 mini, DX7, or the Nymphes. This EP is full of melodic elements from these synths, while much of the percussion comes from my own field recordings and the occasional drum machine. Though I need to clearly say that I am against fetishising expensive gear. To me it’s not about a specific instrument or device, it’s about designing a process you love.

WWD: You’ve performed live in cities like New York, Paris, and Oslo. After the release of ‘Uphill,’ do you have any plans for live shows or a tour in 2025?

Yes, there are definitely a bunch of exciting shows on the way—mainly in Europe for the first half of the year. I’m actually writing this while traveling back from a few shows in the US, which were a great testing ground for the EP. I always announce my shows on Instagram and my website if you’re curious!

WWD: How has the reception to your work, especially your 2023 studio album, shaped your approach to this new release? Has the feedback influenced your sound or direction?

It has actually been quite freeing. The album was my biggest project to date, and the positive reception was a blessing. I feel more confident experimenting and expressing exactly what I want without worrying about fitting into a specific genre.

WWD: As someone deeply involved in both music and visual art, how do you approach the visual storytelling for your releases? Can we expect any visual projects tied to ‘Uphill?’

I’ve always been fascinated by the convergence of visual and audio media. My process usually moves back and forth between the two. I recognize a certain feeling I want to express, which often comes with an abstract mental image—then the music follows. I’m incredibly lucky to have the talented Alexander Kibble on board for the Uphill music video. I’ve admired his work for a long time, and collaborating with him is a dream come true.

WWD: Finally, what does 2025 look like for AVEM? Any new collaborations, releases, or creative ventures on the horizon?

I’ll keep it brief and vague: there’s a lot of music coming this year—the break has been too long! I was also fortunate to visit some amazing artists and their studios here in the US. I‘ll leave it at that for now 🙂

WWD: Welcome back! Thanks for the chat 🙂

‘Uphill’ is available here