Giles Appleton’s Shellac EP recently dropped on Inperspective records and it’s 4 pieces of excellent electronica. I caught up with the man himself to find out a bit more about his music…

 

Thanks for speaking us today, could you start by introducing yourself to the readers and telling us a bit about your sound?

My pleasure, I release under the artist name of Giles Appleton, on my own imprint Abstracted Music and various other labels. I also provide engineering and tuition services. I started writing music in 1999 after getting interested in collecting records and mixing. I managed to get my first sampler in 2001 with a custom PC running Cuebase, as technology was becoming more accessible. Today, I still use a hardware-based studio, with varying analog processors, samplers, synthesizers and a hardware sequencer, with Protools at the core. My output is usually very rhythm orientated, though recently I’ve also been exploring a more notation based sound, concentrating on performance, harmony and melody, blending aesthetics of jazz and classical composition, with a concept or narrative, dictating the direction of the production.

 

Your new EP is on INP:digital, could you tell us a bit about how it came together?

Chris picked up on my music online a couple of years before the Shellac EP was released, which led on to him playing some tracks out on an Inperspective Records Podcast. The Shellac EP features four of a selection of tracks I sent over and I was working on in 2014.

 

As you’d expect for an Inperspective release the drums are pretty prominent! how did you go about constructing them?

Most the acoustic hits were tracked back in 2011, then mixed down to a stereo file, chopped up in recycle and then exported as an Akai MPC drum program. The resulting programs where then imported for further manipulation inside an MPC4000, enabling individual hits and differing kits to be re-programmed, re-pitched, sequenced and processed further in combination with my DAW and mix-down. All the rhythm tracks are sample based from varying sources, sliced up and re-sequenced, within the MPC sampler/sequencer. The resulting rhythm parts were then printed on individual tracks to Protools, for further editing and processing in a post-production context, prior to the final mix-down.

 

Who or what would you say influences your sound?

Some of the artists that have influenced my music and that I’ve gravitated towards have been David Axelrod, Gill Davis, Four Hero, Portishead, Krust, Ed Rush & Optical, Paradox, T-Power, pretty much anything with breaks, depth of meaning and a soul. Earlier on the music of others was the main source of influence, mimicking and trying to replicate, though over time, I’ve found this to be less of a source of analytical influence and more something to enjoy again. I think the individuals and concepts closest to my heart and in an inverted sense; the ones furthest away are the true source for me. I believe music should be true and not masqueraded.

 

Can we expect more Giles Appleton music in the near future?

I plan to have a busy year writing new material along side engineering and tuition. I’ll be working my way though a series of EP’s and singles that will bit more synthetic in nature for the first part of the year and focusing more on the visual aspect of releases over the summer months.

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