The release is a tribute to the class 90’s hip-hop sound with it’s big rumbling kicks, dusty horn and piano samples and rumbling bass. Crooks and Lowdown are definitely the heftier tracks on the EP, the likes of which we haven’t seen from Saine in a couple of years at least. Our premiere track Cherish is just a bit lighter with its mellower, trippy horns, jovial melodies and easy-going percussion. This friends, is vintage Saine. The final track on the EP, Finesse, is perfectly titled and would have found a good home on his beat tape last year (those strings though wow!).

Fear not wax collectors as this is not it for Saine this year, he’s got something else coming out soon. Needless to say, we all know what 2020 has been like for musicians. Please buy and support the music if you have the means to do so. The Cherish EP is out now on Bandcamp and will be available for streaming this coming Friday.

Igor

Cet article Saine – Cherish [Self-Released] est apparu en premier sur Bolting Bits.

Ali Herron aka OOFT! Music has been doing the rounds for years with his rock solid original productions and numerous edits. Releasing on Instruments of Rapture, Delusions of Grandeur and Wolf Music, he’s been a long-running regular at Glasgow’s Berkeley Suite, with a former residency at the notorious The Sub Club. Ali also ran the L.E.S.S. Productions imprint alongside The Revenge. Shortly to release his ‘Reclaim Landscape’ EP on Leeds label Clandestino, he has a little chat with Bolting Bits.

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INTERVIEW

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Can you tell us a little bit about where you’re from and about the scene in your city?
I’m from Glasgow in Scotland, and we have a very strong nightlife scene up here. Considering the population is only around 600,00 we have several truly great club spaces alongside bigger event locations and numerous bars which should really belong to a major capital city. We also have a whole heap of local talent musically, and I’m very glad to be part of it.

Is Sub Club still the best club in Glasgow? What is it that’s so special about that place?
The Sub is definitely still the benchmark for clubs here (and far beyond) and as a purpose-built space still has the edge. However we’re also lucky to have both The Berkeley Suite and La Cheetah which also have world-class sound systems and great regular crowds. A few years back when I was touring around more regularly one of the biggest things that struck me heading to Europe etc is that the atmosphere is really unmatched when it comes to clubs back home.

OOFT! Is it a feeling? Where does that comes from?
It’s a bit of a stupid name for sure! However it’s probably a bit late to change it now. It has a similar meaning to “Whoa” etc, and certainly befits a man of my increasing age and hair loss. Not.

You’ve been playing the good stuff since 2002. Were you a DJ before a producer?
Yes, I’ve always thought of myself as a DJ first and producer second – I was DJing locally for about 5 years before I went anywhere near the production side of things.

How would you describe your style when you play out?
I like a lot of different styles of music, but the foundation has always been house and disco, and that’s reflected in the way I select and mix records I think. I don’t like to hear too much of one thing all the time though.

Is your taste the same for your productions?
I’ve always made loads of edits for DJ use which could be any style really, but for original material I veer towards the slow-ish end of deep house with a fairly electronic slant.

Have you got a process when you start to produce?
Not really, I generally fire up Ableton and some pieces of hardware and see if anything decent arrives. Or I could start from having a record I want to sample. I have a blank Ableton template set I always start from which has some delays and reverbs etc set up but after that every time is different.

What was the first record you made?
According to Discogs the first proper thing released on vinyl was “This Sound” which was made whilst I was still learning the ropes and had The Revenge guiding me through the production process.

The first one which was all my own work would’ve probably been “Ride In To The Red Zone”

Do you still buy records? What’s the last record you bought?
Yes definitely, although it tends to be old stuff from discogs. I only really buy new vinyl releases if I can’t get a digital version, or if I think something is exceptional. Having said that I got a couple of new-ish things this week, a couple of V/A’s with this as my favourite track:

Groove Magazin · Donald’s House – 3 A.M.

What’s the hidden spot to buy in Glasgow?
I’m not a massive digger, but I have to say the Palais De Danse shop is sometimes a bit overlooked and always seems to have a nice selection of old and new 12″s.

Are you precious about what format you play?
Not at all. I play both vinyl and digital these days, coming off the back of being solidly digital for about 10 years before that and vinyl only when I started out (that wasn’t a format choice – it was the only way to get the music back then).

If you could change something about the music industry what would it be?
I have no idea, maybe push it towards having talent and creativity rather than making massive successes out of mediocre acts because they’re perceived as “cool”. But I’ve never really thought of myself as actually part of the industry seeing as I operate on such a small level.

Who do you think is hot right now?
I’ve been digging a lot of the stuff Romain Wax has been doing over the last year or so, from rare edits to original productions. Here’s one of my faves:

Is there a female producer that you rate?
Cinthie has been super solid recently, excellent tunes accompanied by tight production. As I said above we have a lot of local talent here in Glasgow so it would be rude not to also mention both Rebecca Vasmant and Nightwave who are making excellent music.

How did you hook up with Clandestino?
They were actually one of the first crews to book me to DJ outside of Glasgow, must be over 10 years ago now. Since then we’ve kept in irregular contact on Facebook etc. and I sent them some tunes which they ended up liking and signed from there!

Tell us about your new release?
I’m pretty happy with all of the tracks on this EP (which is a rare thing for me to say). The lead track channels some late 80s balearic/house vibes and I managed to get that sound across in the production. I also used some of my own vocals in there which is a bizarre thing to listen back but I’m happy with the way it all turned out. The other tracks are probably more current sounding but still have that OOFT! stamp I think.

The past few months have been colourful. From ridiculous storms, to the passing of Weatherall, from a global pandemic, to the death of Floyd George. What is your message?
Be kind, be nice. Help each other. Don’t be a dick.

What’s up next for OOFT!?
Erm, sitting at home for the foreseeable :( Although whilst we’re still locked out of bars and clubs I’ll be doing a weekly live stream from my studio every Friday from 5-7pm BST to remind me that it’s actually the weekend haha.

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Cet article Times & Tunes with OOFT! est apparu en premier sur Bolting Bits.

Bixi’s sophomore EP on Canadian imprint Breathing Room Records is upon us. Simply entitled Natural, the release is a further exploration into the Switzerland-based artist’s love of organic sounds and textures. Following up on his debut Aquarius EP released last year, this time Bixi, who also goes by his more jazzy main alias Lokke, decided to forego the sampling and played most of the instruments himself with a little help from his friends. This includes keys, guitars, bass, synths, kalimbas and all sorts of other percussion. The four track EP is also the first in a set of upcoming digital-only releases for Breathing Room.

The title track, Natural, is led by a tranquil kalimba melody while being underpinned by a driving moog bass. A percussive break in the middle of the track serves as a reminder that the track is still meant for the dancefloor, BPM not withstanding. Flip has a sharp kick and hefty moog bassline reminiscent of last year’s Cosmic Water, while the melodies are once again contrasting that heaviness with a light-hearted flair. The third track, Phanta, is a percussive affair with rhythm guitars aplenty, perhaps being the most footwork friendly of the bunch. The closing track Moka, and our premiere today, takes on a breezy atmosphere with sunny pads and playful melodies, transporting you straight to the beach.

The perfect EP to soundtrack the rest of your summer is here. You can pre-order your copy directly via the label’s Bandcamp.

Cet article Bixi – Moka [Breathing Room Records] est apparu en premier sur Bolting Bits.

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new “Summer Selections” sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases. Including tracks from Igor B, George Koutalieris, Chris Coco remixing Yggdrasil, Mike Salta and Mortale, label boss Phat Phil Cooper remixing Faint Waves and NuNorthern Soul regular BJ Smith, there’s a balearic gem inside for even the pickiest of listeners.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled “Deep Breath”, the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

With its’ latest full-length release, NuNorthern Soul continues to champion soothing, seductive and sun-kissed sounds from producers on the up. “Stranded Seaside” is the most expansive release yet from label debutant Igor B, with its eight becalmed, colourful and fluid cuts offering a particularly languid and alluring take on nu-Balearica rich in enveloping ambient chords and global percussion sounds.

The Canadian producer is still in the formative stages of his career but has already delivered a handful of must-check releases. After debuting on Rocksteady Disco in 2018 with two dusty cuts shot through with clear Brazilian influences, Igor has appeared on hyped London label Church and established his own imprint, Breathing Room Records.

“Stranded Seaside” offers a wider exploration of the Canadian’s influences and inspirations than previous excursions, sashaying between warm and heady downtempo cuts – see the ambient bliss of “Southern Dawn”, “Secret Garden” and “Deep Breath”, as well as the new age-inspired percussion-based workout “Into The Wild” – and inspired moments of humid dancefloor warmth.

Even within this broad category Igor B displays much versatility. Compare and contrast the steel pan-led tropical grooves of “Tangerines” and the bassline-driven headiness of the track that follows, “King Island”, where thumping, restless drumbeats and acid-style low-end are peppered with woozy chords and impeccable, eyes-closed melodies. Or for that matter that breezy, percussion-heavy cheeriness of “Pelican’s Coif” and “Stranded Seaside”, an undeniably loved up, atmospheric and melodious affair whose kaleidoscopic, club-ready dreaminess recalls the halcyon days of the Italian ambient house movement.

Considered as a whole, Igor B’s first album-length excursion is not only impressively evocative and emotive, but also representative of his developing trademark sound. Expect big things in the months and years ahead.

Pre-order the summer sampler here.

Pre-order the digital album here.

Cet article Igor B – Deep Breath [NuNorthern Soul] est apparu en premier sur Bolting Bits.

Taking Paul’s originals and re-crafting them together into more polished yet gritty, rave-ready slammers with live drums has been their M.O.. Thus far, the tracks have been hot and heady. The forthcoming PPE/LFO EP on Cosmic Resonance is no different.

Our premiere today is LFO, a cover of a track by the same name released in 1990 on Warp Records. The track wastes no time and jumps straight into the nitty gritty. The familiar bleeps from the original play over a beefed up and revised version of the bassline. The same pads are now seemingly much wider and take you deep into the late night dancefloor, becoming a focal point of the track. The drums add a crisp and polished feel to the whole composition. A modern version of a classic tune, this one easily does the original justice and in our opinion, even ups the ante. We only wish it were longer!

Keep an ear out for more music from the Paulo Sinski Microband and if you’re in Toronto, be sure to hit up some of their live shows once we’re able to enjoy live music again. In the meantime, dig into their discography and pre-order this record here.

Picture: Brad Golding

Igor

Cet article Paulo Sinski Microband – LFO [Cosmic Resonance Records] est apparu en premier sur Bolting Bits.

Maajo, the afrolectric troupe from Finland is back with their second full length album, “Kuru Kuru”, once again on UK label Queen Nanny which launched in tandem with the group. Debuting with their “Tropic of Tulli” LP in late October of 2016, they’ve been on our radar ever since. With their sparse discography, each of their rare EP releases in between albums, such as Defo/Mansaba, have gotten us equally excited.

Merging more traditional African sounds with modern electronic instrumentation, Maajo have managed to create a sound that’s truly in a category of their own. They’ve built on the sounds of the initial album and “Kuru Kuru” is a direct extension of their journey. Similar yet different, you can hear the progression in their identity as they incorporate a greater number of African instruments such as balafons, more original vocals and an even wider array of influences as well.

Last March they released a single entitled ‘Sèmbè’ alongside Senegalese vocalist Ismaila Sané. They clearly enjoyed working together so much that a couple of the tracks on the new LP feature his vocals. Our premiere today, ‘Esukey’, is one of them. A slice of nostalgic Afro-pop, Sané’s vocals are the main attraction. Dancing around them are electric guitar lines, stabby synth pads, electric strings and an afro-disco groove with plenty of percussion. This one’s a surefire crossover hit that’s going to be a staple for us this summer. What’s more is that we’ve got the exclusive video premiere of the single for you today, featuring the band and Ismaila Sané themselves, singing, playing instruments and a game of chess.

Whatever you do, don’t sleep on the rest of “Kuru Kuru”. This one is a must grab, hands down. Full of drums, instruments and influences from across the African continent and beyond, there’s a little slice of sunshine for everyone, something that’s desperately needed right now.

Maajo means the month of May. This album is coincidentally releasing in late April, just on time. Be sure to get it here as it’s a fantastic piece of music to listen to as the weather changes from rainy spring to sunny summer, especially as we’re all still feeling the effects of this crazy global phenomenon.

Igor

Cet article Maajo – Esukey ft. Ismaila Sané [Queen Nanny] est apparu en premier sur Bolting Bits.

Cet article Underdog Edits – In Need Of That Phone [Razor-N-Tape] est apparu en premier sur Bolting Bits.

After a debut 12″ late 2019 on the London based imprint Delusions Of Grandeur, Larry Quest comes back for a third release on Log Records. ‘Be:Quest’ is a single with two versions bouncing off each other celebrating the Rave subculture going back and forth between the US and Europe over the past decades.

The ‘Gateway Mix’ is tinted with the breathing character of the mid 1980s Chicago Acid House and conveys a serious punch with its strong Jacking bass line topped up with hazy pads and keyboards. Shake the core of the track with a 2-Step tweak on the beat with warped and throbbing sounds and you get the ‘Garage Mix’ bearing the absorbing flavours of the 1990s London genre binding late hours.

This is out April 2, pre-order it here.

Cet article Larry Quest – Be:Quest (Gateway Mix) [Log Records] est apparu en premier sur Bolting Bits.

Opening track and our premiere today, Cityspell, goes for the jugular with a pulsing 16th-note bassline sitting centre stage while huge washes of deep pads layer up around it. Sirens and horn stabs join the scene adding increasing energy, making this one of those tracks that nails the balance between hypnotic deepness and hyped up intensity perfectly for the dancefloor. Flipping over we have Do U Luv Me? which kicks off with a simple one-note Moog bassline and syndrum white noise snares before some crazy, off-kilter cross-rhythm synth stabs join the party; cue heads running to the booth asking wtf?! Just the kind of wonky, outerspace sh*t that we’ve come to love and expect from masters such as Maurice Fulton or Recloose.

Finally Tee Mango closes off with another absolutely killer cut featuring live-sounding drums calling ‘Paperclip People’s Throw’ to mind with those rasping open hi hats and rolling two beat bassline. A tripped-out female vocal sample and extra acid-esque synth line add to the frenetic atmosphere but melodic arpeggiating chimes ensure things remain deep and musical. A really strong three tracker we’re sure you’ll agree. Pre-order here.

Cet article Tee Mango – Cityspell [Delusions of Grandeur] est apparu en premier sur Bolting Bits.

Following their debut EP Near the Equinoxes released in November on Sorry Records, Ma Sha Ru are set to release four more club ready tracks via the brand new label Kindergarten Records. Out on April 3rd, Zer0 sees the couple exploring the deeper and more chaotic side of their variety of influences. Made in between their respective hubs in Brooklyn and Berlin, Masha and Rù combine here for an exciting mixture of UK bass, electro and gabber that will emerge in plenty of DJ sets around the world once clubs are set to open again. 

The title track is a trippy exploration of deep bass and 808 patterns layered with a hypnotic, computer generated vocal sample. While the focus here is on the rhythm, small changes to the underlying portions of the track will catch the conscious listener’s attention. As the track develops, so does the bassline and more chopped samples provide melodic cover to push the energy forward. A switch to a straightforward kick pattern carries the middle of the track, as the samples and bassline continue to unfurl upon each other and build tension. Once the original patterns and vocal sample return to conclude the song, the listener has completed a heady journey through the couple’s shared love of industrial electro sounds. 

Cet article Ma Sha Ru – Zer0 [Kindergarten Records] est apparu en premier sur Bolting Bits.