"For me, it's all about improvisation, spontaneity, and the beauty in unrefined or implied ideas," explains young New Zealand sound artist Affsid Kidjhagiffy (Government Name: Elias Dobbyn). "I like to imply that elements are in my music when they are not quite there. This involves the listeners brain in the experience, making people have to work a little bit to be fully affected by the music. Hiding melodies behind noise and muddy frequencies has always been a key part of my process." Writing to me from his hometown of Auckland, Affsid is giving me a window into his personal philosophy towards creativity as it informs his recordings and live performances.

Active as a multi-instrumentalist, producer, DJ, and vocalist, over the last six years he's been building on a music-heavy upbringing spent in recording studios and concert halls. The fruits of his labour are the unapologetic beats 'n' noise soundworlds heard throughout his debut solo album Memorable Experiences From The Appliance Store (released earlier in the year by Cosmic Compositions). A mixture of beat loops, short instrumentals and the odd digitally manipulated vocal track, Memorable Experiences From The Appliance Store draws inspiration from the sonic wellsprings of asymmetrical hip-hop, noise, house, techno and ambient music. In the process, it emotionally articulates, as Affsid puts it "the story of my journey as an artist." It's a journey, which childhood experiences notwithstanding, began in his early teens.

In 2010, Affsid's musical tastes leaned towards hardstyle. "I showed my cousin the music I was listening to, and he commented on how easy it would be to make," Affsid reflects. After thinking about it, he got himself a copy of Logic Express and started writing electronic music. While digging around on the internet, he discovered J-Dilla's subtle swing and began composing instrumental hip-hop in a similar style. "This gave me a real foundation and taught me various hip-hop production techniques." Eventually, boredom set in. Affsid shifted over to Ableton Live and began experimenting with ambient music, along the way studying the philosophies and works of Brian Eno and Eno's process of playing the instrument as a studio. "I became very interested in distortion and muddy frequencies," he enthuses. "There's this sweet spot around the 125Hz range when things become alien. You can find these chords and harmonies which hide themselves around that frequency band. So I would mess up samples, run them through various oddities, and try and find the equilibrium of pleasant to painful."

Resistant to the idea of strict genres, he developed an open ear. After leaving high school at age fifteen to study at MAINZ (Music and Audio Institute of New Zealand), the experimentation continued. He'd been feeling depressed and despondent about life, and while he admits these feelings are still issues for him, things began to change. At MAINZ, Affsid cultivated a network of mentors and peers within Auckland's wider music community. His tutor Recloose (a well-known electronica DJ and producer from Detroit, who washed up in New Zealand for a decade) introduced him to, as he puts it "real" house and techno. He befriended Cosmic Compositions founder Addison Chase and a group of young DJs, rappers and music makers who would eventually become The Grow Room collective. Together, grow was exactly what they did, leading to the establishment of a temporary shared creative space in the central city. "Suddenly I wasn't as alone as I had thought," he writes. "That room gave me a new purpose and restored some of the faith I had lost in humanity. If it wasn't for those guys I'm not so sure I would still be doing this; they really showed me that being myself was the best way to go."

During his third year studying at MAINZ, Affsid consolidated his musical ideas into the Affsid Kidjhagiffy identity. Sick of trying to come up with an artist name, he made use of a borderline Dadaist technique. "I just mashed the keyboard [with my fingers], separated it into two words, and stuck with it," he admits "I'm so happy that I mashed the keyboard in that particular way. I think it's pretty awesome as a name." Soon afterwards, he started having some conversations with a new tutor at MAINZ named Scott Bulloch. A New Zealander, who had spent time overseas in the UK and North America, Scott was a member of L.A's Hit+Run arts collective and had just helped Egyptian-Scottish DJ/producer and visual artist Kutmah establish IZWID Records. Scott gave Affsid the encouragement, inspiration, and support he needed to turn Affsid Kidjhagiffy into a reality. Having just been approached by Red Bull about acting as a curator on their then new Sound Select project, Scott brought Affsid in and gave him his first proper live shows.

In late 2015, I saw Affsid make one of these performances inside a basement bar in Wellington, New Zealand. Wearing a hoody and a bucket hat, he worked his way through a mixture of screamo noise, abrasive techno and screwed down rap music, challenging and entertaining the audience in equal measure. "There is a phenomena in music which is amazing: if you are angry, and then put on some angry music, you become less angry, as the music in a sense, feels the anger for you," he explains. "It allows you to cope better with it. The same goes for sad music, which is why I love music so much. So I long to tell people about it, and how it has helped me."

Since then, Affsid has become an active and increasingly visible figure in Auckland's D.I.Y underground. He'd been DJing in clubs and on radio for a while, but performing his own music live took things to the next level. Addison from Cosmic Compositions had been a close ear for a few years and was slowly piecing together his favourite demos from Affsid's catalogue. He proposed an album release and Affsid went for it. "I never had a concept for the album, nor a way that I wanted it to sound," he admits. "I hope that it helps people to put together projects with a variety of sounds, not just the project where each track blends perfectly into the next. I just want people to have fun with music, not think too hard about it, and just to do it."

Since Memorable Experiences From The Appliance Store's release on cassette and digital formats, Affsid has been busy pushing himself forward again, this time in a direction informed more by his live experiences. "I've been getting more and more into noise music, atonal music, and just straight up thrashy punk stuff," he explains. "I'm trying to combine noise with instruments into an incoherent yet listenable form. Which is a challenge, but in my mind it is a worthy one. At this point in time, making nice, polite music is impossible, and not something I want or need to do."

Memorable Experiences From The Appliance Store is out now via Cosmic Compositions (listen/buy)