AUDAX THE DAMSEL

A wicked poet with a fusion of genres like no other.

Basement: How did you get your start as a musician?

Audax: In middle school, I became interested in slam poetry after watching the documentary “Louder Than A Bomb,” which follows the lives of several young Chicago poets as they compete in a national poetry slam. By the time I got to high school, however, I realized that I enjoyed writing rap more than slam poetry; it felt exhilarating to meld my passion for rhymes with my love of music. I began recording in a studio close to the school, mentored by the ETHS poetry club coordinator Chuck Carra, and produced by ETHS alum Russell Wine, who continues to produce my music to this day.

Basement: What inspires your sound?

Audax: Growing up, my family listened to a lot of Soul, Bossa Nova, Tango, Salsa, and Argentine Rock Nacional. As I began to explore music independently, I added Neo-Soul, R&B, Rap, and Reggaeton to the mix. One artist who has been particularly influential for me is R&B singer Corinne Bailey Rae, whose eponymous 2006 album I will forever associate with my childhood. Her music is classy, soulful, and absolutely timeless--everything I aspire to do with my own work.

Some musicians influence me more lyrically than they do sonically. Uruguayan musician Jorge Drexler might be an example. (People who know me well will laugh because I always mention him when asked about my influences). I particularly love his 2004 album “Eco,” which I also associate with my childhood. His music is subtle but powerful, teeming with poetry.

Lately, I’ve been listening to Nathy Peluso, an Argentine musician who experiments with a wide range of genres including Rap, Reggaeton, Salsa, and Jazz. Her latest album “Calambre” is electrifying. She inspires me to “let it all hang out” with my own music—to not hold back. I’m also obsessed with Vel the Wonder’s recent album “Trophy Wife.” Her subversive lyricism, badassery, and beat choices are incredible. 

Basement: What narratives do you hope come across in your music?

Audax: I believe that in particularity, there can be universality. In my music, I strive to communicate the idiosyncrasies of my own identity, hoping that listeners are able to resonate with some of my experiences, stories, and reflections, finding parallels to their own. I write about and embody the complexity of identity. As a white-skinned Latina, my existence seems contradictory to those who refuse to look beyond their own preconceived notions of Latinidad. Voicing my thoughts about this and inviting others to reexamine their expectations has been healing and therapeutic for me.

Basement: What is unique about being a musician in Chicago?

Audax: Part of the reason I wanted to go to Northwestern University, where I am now a Sophomore, is its proximity to Chicago, which is one of the best places to be if you’re a rapper. Chicago has a history of incredible musicians and it continues to be a musical hot spot. Columbia College has an excellent music program and many former ETHS students who are also musicians end up there, opening up the possibility for exciting collaborations.

Basement: What’s next for you?

Audax: I definitely see a full-length album on the horizon, but for now, I’m working on writing and releasing singles. Stay tuned for my next song “Veloz”! I want to continue experimenting with different genres, styles, and subject matters, pushing myself out of my comfort zone. I also hope to bring to fruition plans to work with other rappers! I look forward to materializing my vision of musical fusion and collaboration.

“Tempo,” touches on the fleetingness of the present. All the songs on the EP grapple with the notion of time in some capacity.”

Basement: You just released ​Tempo​- what was the process of making that EP like?

Audax: I decided to work on an EP when the pandemic hit. After realizing that the stay-at-home order would prevent me from recording music indefinitely, I knew it was the perfect time to work on a project like this. Luckily, I was able to get into the studio by the middle of the summer. By then, I had written several songs and had a clear vision of the final product. “Tempo” is a reference to the overarching theme of the EP: time. I wanted to tackle this broad subject because it had been on my mind more than usual. I believe this was a direct result of the pandemic; I found myself nostalgic about the past, restless about the present, and hopeful for the future. I wanted to convey a range of emotions elicited by the pandemic, specifically regarding the passage of time.

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