Apashe, Vladimir Cauchemar, and the Tripartite of Medieval Society

Halima Duarte

06.28.25

History does not just repeat itself, but draws inspiration and room to critique what we once knew. It is a base for one to continue to build upon — not just in action, but in expression. This January, Apashe shook the music industry with the intriguingly groundbreaking  EP: ORATORES, BELLATORES, LABORATORES. The title fittingly derives from old European literature to describe the order that exists in society.

John De Buck, also known by his stage name, Apashe, has been celebrated for his ability to revive classical music into EDM since his 2020 album, “Renaissance,” so it’s no surprise that he has returned to disrupt old literature in the most innovative way. Following EPs “Requiem” and “I Killed the Orchestra,” and follow-up album “Antagonist,” Apashe has sonically revived the presence of a fading genre.

Apashe sought the assistance of Vladimir Cauchemar, French DJ and versatile producer. This is not the first collaboration from the two, as the pair collaborated to produce “RIP,” a feature on Apashe’s album “Antagonist.” Through this project, Cauchemar  honored Apashe’s contemporary resurrection of classical music.

ORATORES: Those Who Pray

In medieval society, the church ruled all — not even a king had the authority of those appointed by God. They fought an invisible battle against demons and hardships, keeping people safe, healthy and out of God’s wrath. 

Therefore, like God, the Oratores were worshipped and respected without question. The people paid the church, and excused the flaws in their worship. The people were indebted to the church and their God — for the good and the bad.

Thus, “ORATORES” makes its debut. The track weaves an ethereal, angelic voice into a ballad that allows the lyrics to speak for themselves. Beneath the grandeur of orchestration and a bold vocal delivery, the words unveil the undeniable power the clergy wielded, and the fear of God that loomed over the other medieval classes:

I am so much bigger

Than you ever could have feared

I'm far more dangerous and terrible

I am the nightmare you created in your head

And still you love me

Your greatest weakness

It's not my fault you love me

The Catholic Church has long been subject to critique, even in medieval times, yet its influence was absolute. It was nearly impossible to escape its reach or challenge its authority. Love and devotion were demanded, often through fear, reinforced by the consequences of disobedience. This is woven throughout the track:

Do you see this power?

Power you gave me

Undefeated

I am in control

Disguised as a love song, "ORATORES" is, in reality, a powerful critique of clergy dominance. It explores not only the authority of the church, but also the dangers of blind adoration — how power, once given, can become absolute. Beneath the beauty of the track lies a haunting message: devotion and fear are often two sides of the same coin, forcing compliance from fear of punishment.

BELLATORES: Those Who Fight

While Oratores fight battles between Heaven and Hell, Bellatores protect the Earth. They are the warriors, knights, even kings who protect the land. They wielded swords instead of  scripture.

Apashe (left) Vladimir Cauchemar (right)

“BELLATORES” is a wordless, operatic melody interrupted by the punch of bass within a minute — immediately disrupting the track’s orchestral, soft elements with ruggedness and attack. Yet, they mix beautifully despite their stylistic disparity. “BELLATORES”  commands attention and effortlessly keeps it. 

The lack of words is intriguing, but also sparks discourse. Actions have always been seen as a polar opposite to words — and action, the fight associated with them, is something Bellatores possess like a second nature. The track is a battle cry in its own right.

LABORATORES: Those Who Work

Laboratores do not fight in the way Bellatores and Oratores do, as their fight was invisible — they are the peasants, skilled workers and those who serve. Laboratores feed the people, pay the clergy and serve the warriors, yet their labor is overlooked. Seen as the lower class, they endure harsh conditions and long hours, their struggle waged not against enemies on the battlefield, but against the very society that diminishes them.

"LABORATORES" is arguably the boldest track of the three. It carries an alternative, almost metal and rock influence, setting it apart from its orchestral counterparts. Unlike the grand, ethereal tones of "ORATORES" or the cinematic clashes of "BELLATORES," this track is raw and unrelenting. With a few striking lyrics that cut through the noise, “LABORATORES” delivers a punch from beginning to end, embodying the grit and defiance of the laboring class:

You want my body,

My body’s not for you

You want my labor

My labor’s not for you

This drives a message about the working class — they may not wield swords or protect the land from paranormal influence, but with their labor, they protect the land in their own right. 

Still, even a weapon can grow dull. “LABORATORES” is not just a song of resilience, but of rebellion. It echoes the exhaustion of the unwanted, the underpaid and the overlooked. “LABORATORES”  is a cry for freedom — a demand to break free from the perceived purgatory of endless labor, where effort is met with indifference and struggle is an expectation, not an exception.

The EP drives the classical music revival already accomplished by Apashe to a whole new level. The way Apashe and Vladimir Cauchemar were able to pull off a fleshed-out literary analysis through music has pushed the exposure of their talent and capabilities.

The question remains: Is the EP an anecdote of the tripartities, just a source of inspiration or a way to show that history repeats itself? Remixing an older form of music may not be just a test of talent and creativity, but a way to show that one possesses the power to learn from the past and hold a contemporary mirror to it.