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Published on December 12th, 2013 | by Superstar DJ

An interview with…. Giles Appleton

1.Raison d’etre – why are you and what is your reason for being

As I’m constantly learning and evolving in relation to the world around me, at the age of 32 that seems unquantifiable, within the present. If I ceased to exist, the answer would seem somehow balanced between people’s perception along with the music or imprint upon the world that is left. Only at the end of being, could a definitive reason be expressed. The ‘how’ and the ‘when’ would be of the past, defining the ‘why’, reverberating into the future.

2.Process – please express in as simple or as complex terms as is required or desired

A majority of my material is born from a concept first-and-foremost. Of which are generally derived from life-experiences, people that cross my path friends & foes. The world at large, so much information that leads onto inspiration bombards us all on a daily basis. Providing a never-ending catalyst of inspiration, forming the building blocks as the basis of a project. This constant cycle of information, a folding loop, drives the process, through interaction with world we occupy. I find the concept provides me with the process, narrative, plot, synopsis in a way that any words cannot begin to express, it’s the sound itself, the energy, frequency and vibration that we experience, for me, the lyrical content is second to that and preceded by the initial cause and effect. A premise for a track can be spawned, out of a single emotion within in a fixed point in time; extending to an elaborative concept. I find this more engaging, as if the subjective meaning that exhibited by a piece of music is suspended in time, a connection waiting to happen with any future listener that may cross its path. Providing a never-ending loop of interpretation, relative to future events, with past-and-present concurrently running in parallel. Eclipsing logic reasoning and fact, as with the recall associated with Déjà vu, or as sound is concerned Déjà entendu. In certain cases the concept can also provide the composition, to the extent where I simply produce the presented data. As with the track ‘Glacier Torch’, where open-source data collected from an Ice-Core drilling expedition to the Antarctic was utilised, relating to the scientific field of Palaeoclimatology. When analysed, the samples of ice obtained through drilling thousand meters beneath the surface provide insight into Co2 emission and variations in temperature over vast amounts of time, enabling the relative relationship and correlation between the two units of data to expressed this musically. The resulting lists of static data where converted, through mangling the units of measurement in MAX MSP, to function within the boundaries Midi protocol. The notation within the composition is a representation of Temperature (Degrees Celsius) readings, which have been converted in Midi protocol note of/off. In contrast to the Carbon monoxide concentration in the Atmosphere, expressed with the unit of Per Parts Million, is utilised as a modulator to the instrumentation found, within the track. Providing expression, brightness, note length and swing, in correlation to the data readings. The final piece expresses the dramatic change in temperature chronologically up to the present day, or just simply a piece of music, in its own right.

3. Influences – they don’t have to be music related, physicists are also greatly accepted

Everything within my immediate life has a direct influence upon me. The similarities between the visual and aural world around us that can be drawn, such as how we scan in crowds of people for someone we know, although it’s completely irrational, as so do our ears also cry out for electrical signals or sound. Yet, a vast majority of this information is of no use or interest what so ever, yet some close to individual’s hearts, some of extreme value or secrecy, though not of the collective consciousness and polar opposites. With so much noise, it’s purely subjective when it crosses the line from sound to annoyance and into pleasure, then into the realm of beauty or in this case music. How thin are these hypothetic lines and when are they crossed. Could it be that we’re filtering out more than ever, when we should be tuning in. Also increasingly science and physics are becoming a focal point for inspiration. Numbers, symbols, symmetry, geometric form, it could be argued are way more prevalent than we are consciously aware of when engaging in creativity, we all recognise our own ideals of beauty, we experience and appreciate, though rarely understand. I see very little coincidence in the order, sequence or alignment of what aesthetically appeals, and the parallels can be attained with regards science, maths, physics and the universe at large.

4. Desires – if you had the black budget at your disposal, what would you do with it

I feel I have everything I need at this point-in-time regarding music. What I want is a different matter, and purely immaterial, from my point-of-view. It’s to have more inspiration than time, paired with the health, instruments and tools to apply them. In a sense, I’m chasing my desire is to create, one step behind until completion of a project, upon completion and brief personal satisfaction, the whole process is reiterated, lending a infinite process of development, from project to project, that I’ve not grown tired of yet. If I had to name one true desire, it’d be that the passion and enjoyment I gain from music, never escape me.

5. Current Projects – this is your soapbox, use it wisely

I’ve got an album forthcoming early in the new-year and I’ve just commenced work on an E.P and a collaborative project with a talented vocalist that I’m excited to hear the results of. I’ll be continuing to write new material throughout 2014.

About the Author

LSM regularly get it's favourite DJs and producers to write gust posts about what tech they use or what tunes they're digging. See what they have to say here on LSM.

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