Vol 2. IHA
Location: Vancouver / Hometown: Cavite
A multifaceted artist, label owner and radio host, IHA is a key figure in the Vancouver underground music scene. Delving into their growth as an artist and the evolving landscape of their sound, this interview also shares their perspective on diversity within the music community.
Words: Gabriela Aisyah & Apple Cabrera | Photography: Reid Fernando | Creative Direction: Gabriela Aisyah | Makeup: Apple Cabrera
10 November 2023
A multifaceted artist, label owner and radio host, IHA is a key figure in the Vancouver underground music scene. Delving into their growth as an artist and the evolving landscape of their sound, this interview also shares their perspective on diversity within the music community.
Words: Gabriela Aisyah & Apple Cabrera | Photography: Reid Fernando | Creative Direction: Gabriela Aisyah | Makeup: Apple Cabrera
10 November 2023
I had just returned from Fountains, where I watched the first live IHA set that I’ve ever seen. Within the exceptional lineup highlighting East and Southeast Asian women, femme, and nonbinary artists that evening, IHA's performance was especially exceptional. I was transported to a realm of deconstructed dub that was beautifully interspersed between distant ambient soundscapes and field recordings ranging from church bells to what sounded like distorted paint splatters. Carefully balancing subdued moments with heavier infusions of bass, the live set felt more like an expansive sound collage that was contemplative yet dancefloor appropriate. Incorporating offbeat samples like mechanical doors opening and the sound of water pouring, the set had an immersive quality that perfectly reflects the underlying organic essence of IHA's music.
IHA (real name Apple Cabrera) has a serene demeanor that is also assured, and speaking with them reveals a deep knowledge and passion for electronic music coupled with a wonderful sense of humour and a lightheartedness that I find very comforting. Beyond music, Apple is also passionate about literature and studied world literature at SFU, where they have a beautiful short story published for the literary journal ‘The Lyre’ that highlights pre-colonial Filipino culture with a modern twist. This same approach is evident in Apple's music, where they proudly embrace their Filipinx heritage. Vocal samples in Tagalog feature prominently in their track 'Sa Pagtitinginan Natin,' layered nicely amidst a mesmerizing layer of atmospheric dub and playful techno elements.
IHA (real name Apple Cabrera) has a serene demeanor that is also assured, and speaking with them reveals a deep knowledge and passion for electronic music coupled with a wonderful sense of humour and a lightheartedness that I find very comforting. Beyond music, Apple is also passionate about literature and studied world literature at SFU, where they have a beautiful short story published for the literary journal ‘The Lyre’ that highlights pre-colonial Filipino culture with a modern twist. This same approach is evident in Apple's music, where they proudly embrace their Filipinx heritage. Vocal samples in Tagalog feature prominently in their track 'Sa Pagtitinginan Natin,' layered nicely amidst a mesmerizing layer of atmospheric dub and playful techno elements.
Witnessing their artistic journey has been particularly exciting this year, as they achieved their international debut by taking the stage at Amsterdam-based label Decadance's first ADE event and delivering their very first HOR set in Berlin. A true champion of the local scene, Apple has been involved in almost every realm of the underground scene from running a label, throwing parties to co-creating a discord community. With over 90 members in the discord server, it has become a supportive environment where members of the underground music community share releases, mixes, tutorials and support each other’s work. In the early part of this summer, a compilation titled 'saba and friends' emerged, showcasing 12 remixes of her original track ‘saba’ made by contributors from the Discord server spanning from newly emerging to well-established producers. If there’s one thing that I’ve learned the most from Apple, it’s their love for the community. Living in a city like Vancouver that poses challenges for artists to survive, it demands a lot of passion and dedication to create art that is meaningful while dealing with the everyday stresses of surviving. Read the fascinating interview below to learn how IHA developed and maintain their passion and dedication.
Full interview below ︎︎︎
This interview was written in July ‘23
What is your earliest music memory?
So when I was about 7 or 8 I found this white cassette tape at home (back in Cavite, Philippines). It was a classical piano tape with some staples like Chopin and Handel. I distinctly remember listening to it then for the first time and telling my mom how much one Nocturne sounded familiar to me, like I’ve heard it many times before (Op.9 No.2 in E Flat Major). I was pretty early into piano lessons then so I hadn’t really encountered anything as complex as this at the time. It blew me away when she said that she would play that tape, that specific one, over and over to me while I was still cooking in her belly. That being said, we make up a lot of memories and it is a really catchy tune, so who knows if that “familiarity” is real. Still feels like home every time I listen to it.
So when I was about 7 or 8 I found this white cassette tape at home (back in Cavite, Philippines). It was a classical piano tape with some staples like Chopin and Handel. I distinctly remember listening to it then for the first time and telling my mom how much one Nocturne sounded familiar to me, like I’ve heard it many times before (Op.9 No.2 in E Flat Major). I was pretty early into piano lessons then so I hadn’t really encountered anything as complex as this at the time. It blew me away when she said that she would play that tape, that specific one, over and over to me while I was still cooking in her belly. That being said, we make up a lot of memories and it is a really catchy tune, so who knows if that “familiarity” is real. Still feels like home every time I listen to it.
How did you get started with djing and producing? How long have you been doing it for?
I’ve spent the majority of my life being daunted by both DJing and producing- probably due to being an introvert, and then also just how overwhelming it is to even think about breaking into the music industry as it is. There’s probably also something worth saying about not seeing many (or at all) female or AAPI DJ’s in my early clubbing days. I had no clue the underground existed then.
As far as funny origin stories go, I actually had lockdown to thank for that, one bad breakup, and realizing I’d been a workahol as a cook (and some) 7 years. At the start of 2020, late as it gets, I discovered EBM, darkwave, and post-punk. A friend of mine introduced me to hardware, and as soon as I got my CERB check I spent it on Ableton 10 and a secondhand Elektron Digitakt. It wasn’t actually until the summer of next year (2021) when I went to my first rave, Normiecorp’s launch party for Pride at the Dolly Patio. About a month later, I picked up my first controller, and that was that. So that makes 2 years, this summer!
As for production the darkwave stuff didn’t exactly work out. I was really grateful to meet a mentor that summer who got me started with DJing- setting up in terms of gear, and sharing our weirdo tracks with each other. Once I was playing around with other people’s tracks it became a lot clearer as to what kind of music I wanted to make. After a lot of experimenting I finally put out Crown Shyness for PPRZ which I cooked up in the box around January 2022.
I’ve spent the majority of my life being daunted by both DJing and producing- probably due to being an introvert, and then also just how overwhelming it is to even think about breaking into the music industry as it is. There’s probably also something worth saying about not seeing many (or at all) female or AAPI DJ’s in my early clubbing days. I had no clue the underground existed then.
As far as funny origin stories go, I actually had lockdown to thank for that, one bad breakup, and realizing I’d been a workahol as a cook (and some) 7 years. At the start of 2020, late as it gets, I discovered EBM, darkwave, and post-punk. A friend of mine introduced me to hardware, and as soon as I got my CERB check I spent it on Ableton 10 and a secondhand Elektron Digitakt. It wasn’t actually until the summer of next year (2021) when I went to my first rave, Normiecorp’s launch party for Pride at the Dolly Patio. About a month later, I picked up my first controller, and that was that. So that makes 2 years, this summer!
As for production the darkwave stuff didn’t exactly work out. I was really grateful to meet a mentor that summer who got me started with DJing- setting up in terms of gear, and sharing our weirdo tracks with each other. Once I was playing around with other people’s tracks it became a lot clearer as to what kind of music I wanted to make. After a lot of experimenting I finally put out Crown Shyness for PPRZ which I cooked up in the box around January 2022.
“The biggest thing for me was wrapping my head around the idea of a public image that was both true to me and also marketable as a DJ- for both promoters and the people buying tickets”
Were there any challenges you faced putting your name out?
I got very very lucky to have entered the scene knowing the right people and the right venues to hang out at. To this day, I still can’t imagine trying to break through the scenes in “Vancouver” that aren’t necessarily mainstream but have larger crowds and larger funding. I have so many to thank for that- the core community at Dolly for welcoming me so warmly, Unmarried Woman who had me guest at her radio show on Bside even though I still couldn’t really wrap my head around playing on CDJ’s. Normiecorp for taking a chance on me and so many other queer/BIPOC bedroom DJs post lockdown, Acceleration Radio for adopting me, and Nowhere Studios for having me be a part of their space so early on (long live!).
That being said there were challenges for sure, probably mostly internally. The biggest thing for me was wrapping my head around the idea of a public image that was both true to me and also marketable as a DJ- for both promoters and the people buying tickets. That’s probably part of why I feel more at home with more underground/queer parties, and seeing some DJ’s before me that set the ground for keeping it real. Best advice I can give to anyone about this is that promo and putting yourself out there- it’s always going to be a struggle, but in the end it’s your music speaking for you. You may not always get the masses, but at least the self and the music you’re putting out there is true to you.
I got very very lucky to have entered the scene knowing the right people and the right venues to hang out at. To this day, I still can’t imagine trying to break through the scenes in “Vancouver” that aren’t necessarily mainstream but have larger crowds and larger funding. I have so many to thank for that- the core community at Dolly for welcoming me so warmly, Unmarried Woman who had me guest at her radio show on Bside even though I still couldn’t really wrap my head around playing on CDJ’s. Normiecorp for taking a chance on me and so many other queer/BIPOC bedroom DJs post lockdown, Acceleration Radio for adopting me, and Nowhere Studios for having me be a part of their space so early on (long live!).
That being said there were challenges for sure, probably mostly internally. The biggest thing for me was wrapping my head around the idea of a public image that was both true to me and also marketable as a DJ- for both promoters and the people buying tickets. That’s probably part of why I feel more at home with more underground/queer parties, and seeing some DJ’s before me that set the ground for keeping it real. Best advice I can give to anyone about this is that promo and putting yourself out there- it’s always going to be a struggle, but in the end it’s your music speaking for you. You may not always get the masses, but at least the self and the music you’re putting out there is true to you.
“So many collectives have built from the ground up- Normiecorp, Drill, Madebywe, Breakcoredrive, Gateo and Neptune7, and even Resonance Collective in “Victoria”, and they are all throwing parties that I wish could’ve existed in my early 20’s.”
What are your thoughts on the music scene in Vancouver?
I am so incredibly shook at how much the scene has changed since I entered it- in only 2 years! Like I said, I know very little about the underground scene before 2020, but I know spaces like Open Studios and 333 existed (long live!). There are a few things I want to highlight, and I think everyone should know how privileged we are in “Vancouver” to witness such massive breakthroughs in how the scene is structured now, the people that are being booked, and the amount of safe spaces that exist here.
So many collectives have built from the ground up- Normiecorp, Drill, Madebywe, Breakcoredrive, Gateo and Neptune7, and even Resonance Collective in “Victoria”, and they are all throwing parties that I wish could’ve existed in my early 20’s. The music, bookings, and themes are all so diverse and unique, and honestly very wholesome- not your typical description of a club night out. Huge that promoters from these and other more established brands are booking very good talent- especially grateful for the more experimental and obscure. It’s incredible that you could go out on any weekend and want to hear deep DNB, dembow, or neo-trance, and you can get that. Big shout to the radio as well- the scene wouldn’t be as good as it is now without the FM or otherwise. Bside of course, Art of Beatz for holding it down, and my crew at Acceleration.
Still there’s a lot of things that could be improved. Promoting is no easy job- good talent is expensive, and so are venues. But it would be really nice to see more accessibility from all productions. Many already offer the PWYC option. Maybe even a discounted price if you’re low-income or a QTBIPOC. I’d also like to see more Indigenous DJ’s, and shows curated around lesser known pockets of culture. If you’re reading this and accessibility to gear is stopping you, shoot me a message and maybe I can help you out.
It’d also be so great to have more spaces accessible for collectives or even just one-off’s to throw shows in, and that comes with public funding/grants, and a general ease from the city from shutting down spaces every year (a pipe dream). On the other side of that comes the responsibility of the ravers themselves. I’m not about to police a night out, but I would really like to see ravers take care of venues as if they owned the venue themselves. It’s as simple as keeping the volume low when you’re out smoking in the alley. If you don’t want a space to shut down, don’t be the reason why they might have to.
I am so incredibly shook at how much the scene has changed since I entered it- in only 2 years! Like I said, I know very little about the underground scene before 2020, but I know spaces like Open Studios and 333 existed (long live!). There are a few things I want to highlight, and I think everyone should know how privileged we are in “Vancouver” to witness such massive breakthroughs in how the scene is structured now, the people that are being booked, and the amount of safe spaces that exist here.
So many collectives have built from the ground up- Normiecorp, Drill, Madebywe, Breakcoredrive, Gateo and Neptune7, and even Resonance Collective in “Victoria”, and they are all throwing parties that I wish could’ve existed in my early 20’s. The music, bookings, and themes are all so diverse and unique, and honestly very wholesome- not your typical description of a club night out. Huge that promoters from these and other more established brands are booking very good talent- especially grateful for the more experimental and obscure. It’s incredible that you could go out on any weekend and want to hear deep DNB, dembow, or neo-trance, and you can get that. Big shout to the radio as well- the scene wouldn’t be as good as it is now without the FM or otherwise. Bside of course, Art of Beatz for holding it down, and my crew at Acceleration.
Still there’s a lot of things that could be improved. Promoting is no easy job- good talent is expensive, and so are venues. But it would be really nice to see more accessibility from all productions. Many already offer the PWYC option. Maybe even a discounted price if you’re low-income or a QTBIPOC. I’d also like to see more Indigenous DJ’s, and shows curated around lesser known pockets of culture. If you’re reading this and accessibility to gear is stopping you, shoot me a message and maybe I can help you out.
It’d also be so great to have more spaces accessible for collectives or even just one-off’s to throw shows in, and that comes with public funding/grants, and a general ease from the city from shutting down spaces every year (a pipe dream). On the other side of that comes the responsibility of the ravers themselves. I’m not about to police a night out, but I would really like to see ravers take care of venues as if they owned the venue themselves. It’s as simple as keeping the volume low when you’re out smoking in the alley. If you don’t want a space to shut down, don’t be the reason why they might have to.
What sounds are you currently into?
This is always changing, but I take a lot of inspiration from different things. I like the sound my water bottle makes when I hit it against metal, half filled with liquid and with the lid off (try it!). I like the deep, big, subby drone I hear when I pass by some buildings sometimes (one on Pandora and a block east of Commercial, I believe). When I’m digging these days I gravitate towards tracks that sound like they were recorded on tape. Greenleaf - Hidden Highways released recently on Pinecone Moonshine (Portland) has some really nice textured jungle/drumfunk; as well as Maara - The Ancient Truth on Step Ball Chain. Highly recommend that if you like trip-hop and lush DNB.
My usual go to’s as most people will probably hear in my stuff are trippy, well-modulated breaks which make for really fun blends when I’m mixing. I also like the inbetween of organic and more futuristic sounds, which you can hear a lot of in Qeone’s releases (Berlin). Vocally I’m drawn to more child-like pop-influenced and more rhythmic voices, and just getting into harder ones like Swordman Kitala and Magugu.
This is always changing, but I take a lot of inspiration from different things. I like the sound my water bottle makes when I hit it against metal, half filled with liquid and with the lid off (try it!). I like the deep, big, subby drone I hear when I pass by some buildings sometimes (one on Pandora and a block east of Commercial, I believe). When I’m digging these days I gravitate towards tracks that sound like they were recorded on tape. Greenleaf - Hidden Highways released recently on Pinecone Moonshine (Portland) has some really nice textured jungle/drumfunk; as well as Maara - The Ancient Truth on Step Ball Chain. Highly recommend that if you like trip-hop and lush DNB.
My usual go to’s as most people will probably hear in my stuff are trippy, well-modulated breaks which make for really fun blends when I’m mixing. I also like the inbetween of organic and more futuristic sounds, which you can hear a lot of in Qeone’s releases (Berlin). Vocally I’m drawn to more child-like pop-influenced and more rhythmic voices, and just getting into harder ones like Swordman Kitala and Magugu.
“Having time to reset and rebuild only helps develop your sound further and help you take it in ways you might not expect.”
IHA performing a live set at FountainsHow has your djing/producing evolved since you started?
Honestly it’s evolved so much, I don’t even know where to start. Having my own set of CDJ’s made a huge difference when I was first starting- trying to learn equipment as you are playing a show is really not the most ideal. Playing in different venues and different settings have also been huge. Learning how a space sounds and what kind of music would work best, which often times may not necessarily be what I planned to play. Always having a backup: set, usb, hard drive. Getting smarter at playlisting and knowing how my own brain works in fishing out memory for that one track I played that one time.
B2B’s with people- my absolute favourite thing- always teaches me a lot, cause everyone mixes differently and I find it so fascinating. The collaborative work in setting a tone for the night is so real. Holding blends for longer, setting up hot cues, and playing the DJ gear more like an instrument. Revisiting older purchases is also something I’ve been trying to incorporate into my process- getting out of the mindset of buying new for every gig.
Production wise it’s always evolving. It’s taking me a lot longer to release tracks now than when I was first starting because naturally, my ear has become more sensitive to the cracks in my production. I won’t mention them, cause once I point them out it’ll be more obvious (ha ha). Using more of my own samples helps a ton, as well as relying less on trusty VSTs, cause they tend to garble a lot of the purity of the sound.
Honestly it’s evolved so much, I don’t even know where to start. Having my own set of CDJ’s made a huge difference when I was first starting- trying to learn equipment as you are playing a show is really not the most ideal. Playing in different venues and different settings have also been huge. Learning how a space sounds and what kind of music would work best, which often times may not necessarily be what I planned to play. Always having a backup: set, usb, hard drive. Getting smarter at playlisting and knowing how my own brain works in fishing out memory for that one track I played that one time.
B2B’s with people- my absolute favourite thing- always teaches me a lot, cause everyone mixes differently and I find it so fascinating. The collaborative work in setting a tone for the night is so real. Holding blends for longer, setting up hot cues, and playing the DJ gear more like an instrument. Revisiting older purchases is also something I’ve been trying to incorporate into my process- getting out of the mindset of buying new for every gig.
Production wise it’s always evolving. It’s taking me a lot longer to release tracks now than when I was first starting because naturally, my ear has become more sensitive to the cracks in my production. I won’t mention them, cause once I point them out it’ll be more obvious (ha ha). Using more of my own samples helps a ton, as well as relying less on trusty VSTs, cause they tend to garble a lot of the purity of the sound.
What are some future plans you have with djing/producing?
I’m not sure if anyone really plans their future for DJing. Frequency of bookings is so random, and the pressure to be “relevant all the time” isn’t healthy for anyone. I should also say that getting booked all the time does not necessarily correlate to “success”. It depends on people’s standards and capacities, but for me it takes a lot of energy to play a really good set, and it can get draining trying to do that every weekend- creatively, mentally, and physically. Having time to reset and rebuild only helps develop your sound further and help you take it in ways you might not expect. Plus there’s so many good DJ’s here in “Vancouver” and there’s more than enough space for rotation and variety. That aside, it would be so nice to visit Europe sometime in the future and see what’s up, travel a bit and meet some people there who curate the deeper stuff I’m into that does exist here, but less frequently and only in small pockets.
Production wise I do have plans to launch a podcast series and label very soon- less for me but more to create a community around the sound I’m envisioning.
My hopes for that and the discord I co-run is to see more music coming out of “Vancouver”, specifically music that doesn’t quite fit inside the box of the labels that exist here now.
I’m not sure if anyone really plans their future for DJing. Frequency of bookings is so random, and the pressure to be “relevant all the time” isn’t healthy for anyone. I should also say that getting booked all the time does not necessarily correlate to “success”. It depends on people’s standards and capacities, but for me it takes a lot of energy to play a really good set, and it can get draining trying to do that every weekend- creatively, mentally, and physically. Having time to reset and rebuild only helps develop your sound further and help you take it in ways you might not expect. Plus there’s so many good DJ’s here in “Vancouver” and there’s more than enough space for rotation and variety. That aside, it would be so nice to visit Europe sometime in the future and see what’s up, travel a bit and meet some people there who curate the deeper stuff I’m into that does exist here, but less frequently and only in small pockets.
Production wise I do have plans to launch a podcast series and label very soon- less for me but more to create a community around the sound I’m envisioning.
My hopes for that and the discord I co-run is to see more music coming out of “Vancouver”, specifically music that doesn’t quite fit inside the box of the labels that exist here now.
“On a more personal level, I am just grateful to have found something to be (almost absurdly) obsessed with. Focus, attention, and decision making have always been a big challenge of mine, and finding my love for this and everything around it really motivated me to change that.”
Who are some of your favorite DJ’s?
Some early ones when I was just starting out in terms of DJ’s would be Objekt, DJ Voices, CCL, Kiernan Laveux, and Polygonia- more recent ones are Special Guest DJ, Blume, Aaron J, Beatrice M. A lot of the names I mention also curate amazing music whether through their own releases or for their labels. I’ve also listed them specifically for their mixing styles. Listening to the way they mix, both in technical and in the narrative sense, really expanded my perception in terms of boundaries and convention and encouraged me to break some rules (hot tip: there are no rules).
Which concerts and venues have been your favorite?
Gigs and venues are a bit harder to pick out because so many factors come into play that determine how well a night went, and how you remember it. Aqua Lucidity last summer at Roberts Creek was very special to me in terms of curation and place, and such an intimate setting to meet some people I really value now/today. Active Passive in Galiano Island is magic every year. The High and Tight party series in Seattle, which I’ve only been once but madly intending to go again. Sustain Release, which would probably take me many pages to even talk about. Just ask me in person.
Some early ones when I was just starting out in terms of DJ’s would be Objekt, DJ Voices, CCL, Kiernan Laveux, and Polygonia- more recent ones are Special Guest DJ, Blume, Aaron J, Beatrice M. A lot of the names I mention also curate amazing music whether through their own releases or for their labels. I’ve also listed them specifically for their mixing styles. Listening to the way they mix, both in technical and in the narrative sense, really expanded my perception in terms of boundaries and convention and encouraged me to break some rules (hot tip: there are no rules).
Which concerts and venues have been your favorite?
Gigs and venues are a bit harder to pick out because so many factors come into play that determine how well a night went, and how you remember it. Aqua Lucidity last summer at Roberts Creek was very special to me in terms of curation and place, and such an intimate setting to meet some people I really value now/today. Active Passive in Galiano Island is magic every year. The High and Tight party series in Seattle, which I’ve only been once but madly intending to go again. Sustain Release, which would probably take me many pages to even talk about. Just ask me in person.
What are some learnings you got from your music journey?
So. So. Much. And it’s bled through every sense and every aspect of my life. The biggest thing would have to be my appreciation for the rave and what it does, having found it and instinctively and decisively wanting to contribute to it and protect it any way I could. It means a lot of different things to a lot of different people, but there is something to be said about how it facilitates feelings of escape, catharsis, and belonging. It’s not a well-kept secret among ravers. Sure it’s nice to bump to dingers, but a night out can be and is so healing for a lot of people. Connecting through music and seeing the sunrise with a crew, whether you know the people around you or not, can be kind of magic.
On a more personal level, I am just grateful to have found something to be (almost absurdly) obsessed with. Focus, attention, and decision making have always been a big challenge of mine, and finding my love for this and everything around it really motivated me to change that. And finally, taking myself seriously (but not too seriously) as an artist. It took me a long time to find an outlet for expression, still a long way to go and of course it’s not constant, nothing is, but I’m glad to be here.
So. So. Much. And it’s bled through every sense and every aspect of my life. The biggest thing would have to be my appreciation for the rave and what it does, having found it and instinctively and decisively wanting to contribute to it and protect it any way I could. It means a lot of different things to a lot of different people, but there is something to be said about how it facilitates feelings of escape, catharsis, and belonging. It’s not a well-kept secret among ravers. Sure it’s nice to bump to dingers, but a night out can be and is so healing for a lot of people. Connecting through music and seeing the sunrise with a crew, whether you know the people around you or not, can be kind of magic.
On a more personal level, I am just grateful to have found something to be (almost absurdly) obsessed with. Focus, attention, and decision making have always been a big challenge of mine, and finding my love for this and everything around it really motivated me to change that. And finally, taking myself seriously (but not too seriously) as an artist. It took me a long time to find an outlet for expression, still a long way to go and of course it’s not constant, nothing is, but I’m glad to be here.