Israeli instrumental post-funk juggernaut The Apples have been delivering genre melting, infectious grooves for over a decade. Comprised of decks, horns, double bass, drums and tape effects, The Apples' big band vibe mixes with their Middle Eastern influences to create a signature sound. The musicians' inspired chemistry and varied backgrounds allows them to impose the indigenous rhythms of the Middle East and the melodies of European Jewish heritage on top of American R’n’B, jazz and hip hop traditions, and enhance them with dubbed-out effects- often within the same track.

With the instinctive weaving of a DJ set, they not only balance upon, but frantically run up and down the tightrope that stretches between the composed and the impromptu. They move between the planned frame of a piece and the blank canvas that gives the players the space to reinterpret on the spot. The feeling that it could flow in any direction at any time and still keep a strong point of reference for the beholder’s ears, feet, soul and booty.

A double bass provides a deep dark rumble snaking between heavy drumbeats. The horn section is at times tight and stabbing, at times a warm blanket of sound. Everything is centred around hip hop’s first original instrument - the turntable- whose vinyl sources cover any and all of the aforementioned fields and much, much more - drawing on every corner of recorded audio history.

The Apples have released five full length albums, have been featured on Bowers & Wilkins live stage at WOMAD UK, and are currently working on their sixth LP, which finds them collaborating with exciting vocalists and exploring Yemenite, Ethiopian and North African elements.

‘Our drummer Yonadav, is living in NYC while the rest of us are located in Tel Aviv. Once in a while, for arranging and writing purposes, he used to send us his drum parts as he had recorded in his bedroom. I really loved the sound of those recordings, so I asked Yonadav, what mic he had used and in which position. Apparently he was using a portable recorder, but his micing technique was very unique: on the floor, between the bass drum and the floor tom, pointing towards the snare. I decided to try it for this album. I brought my Olympus LS-10 recorder to the studio. I had asked Yonadav place it in his magic spot. I had armed the device, and used the headphone stereo out as my output; plugging it through two DI boxes into the sound console. That gave me the sound I used to hear from Yonadav sketches. I then decided to try and use the device’s built in limiter. The heavy limiting sounded amazing to us, and while mixing the album, we used those “Olympus” stereo track as the main source for the drum sound.’


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