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The weekly RA Podcast features an exclusive mix of electronic music from top producers and DJs around the world.
Housestep? Dubhouse? Whatever you want to call it, Appleblim's got it on this edition of the RA podcast.
Bristol-based Laurie ‘Appleblim’ Osborne has had a long history in the music biz. As a member of The Monsoon Bassoon, he even had a couple of NME "Singles of the Week" in the late '90s. But after a member left the band, the group soon disbanded and Osborne was left to start over again from square one.
Working in a record store and looking for inspiration anywhere he could find it, Osborne soon cottoned to the emerging sound of dubstep and, with Shackleton, began to craft strange tracks that seemed to reside at the edge of the genre. Brittle and metallic, they became celebrated alongside his Skull Disco labelmate's equally as off-kilter efforts for their otherworldly characteristics.
Those celebrants have been legion, but perhaps the most interesting have been the house/techno cognoscenti. Producers like Ricardo Villalobos and Radioslave have both made their love plain by penning original productions or remixing pre-existing tracks that straddle this new genre that has yet to been given a credible name. We're not out to do it today. Instead, we humbly offer up yet another podcast that continues to sketch out the fertile ground being forged by both sides, whether it be in Shed's remix of Radioslave or Shackleton's glistening take on Geiom's 'Reminissin'. Whatever it is, Appleblim showcases it on his RA podcast with aplomb.
What have you been working on recently?
I have been DJing a lot, I played at Glastonbury Festival which was a dream come true. I used to go there years ago as a kid and hadn't been for over ten years. So it was wicked to be asked. We had Bass Clef, Caspa & Rusko and then Magentic Man after me. (Magnetic Man absolutely KILLED it!)
Other than DJing, I am working on Apple Pips, the first release by Martyn is amazing, and keeps selling out, so all is good. 002 is Brendan Moeller remixes of me and Peverelist, so that’s exciting as well. Releasing tunes of this calibre is a dream for me. I'm very excited about it all!
Other than that, I've been in the studio with Geiom and also Ramadanman and am about to embark on some very exciting remixes with my good friend Komonazmuk from Bristol, who is an incredibly talented producer. I believe his ‘Bad Apple’ tune on Hench is getting dropped by some of the big house and techno djs like Villalobos, etc.
I am also playing the main room at Fabric for Craig Richards' "Nothing Special" night on July 19th, which has blown me away, really. I will do my best to represent my sound well!
Where and how was the mix recorded?
It was recorded in my room in Bristol. The dubstep section is a combination of dubplates and vinyl, and the techno/house section was mixed on CDJs.
Can you tell RA a little about the idea behind the mix?
I wanted to give an overview of the kind of things I like to play in the clubs, and I really wanted to do a 140 section and also a more 125-127 section. I started off with the housey stuff at the start and doing a really long 90 min set, but decided to start again and put the 140 stuff at the start and make people wait for the 125 bits.
I asked some of my mates at labels like Simple and Rekids for some fresh material, as this mix means a lot to me. I’m a big fan of the RA series so wanted to make sure I could give people something they can't really hear elsewhere. I was lucky enough to be given things like the Shed remix of Radio Slave by Matt himself, which I think is a perfect summing up of this strange exciting grey area between house and dubstep.
You've just done Dubstep All Stars Vol. 6, what was it like to put it together?
Stressful! Again, being such a fan of Tempa and that series, to be asked to do one is just mad. I really had to hone my skills and put the effort in. It took a lot of time, a lot of takes, and a lot of work, but I am pretty happy with the result. If nothing else, it is a little snapshot into this little scene I was lucky enough to be involved in, and it helps showcase the incredibly talented producers that are kind enough to give me their music. If it pushes them on, then I am happy.
How do you feel about the increasing spotlight on dubstep? Is there a different feeling in the Vol. 6 era to Vol. 1?
I just love good music, it doesn’t matter what style, so I mean, I always knew from the first time I ever heard people like Benga or Skream or DMZ that they were going to be successful artists, it was just so obvious, the music is just THAT good. Of course things are different to when Vol. 1 came out, utterly different! But things just keep moving and you can't really control which way they go. That’s what I love about music, you can't predict where the next mad curveball will come from!
What are you up to next?
Having a massive cup of black coffee and a fag!
>Photo credit: Shaun Bloodworth
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