GUESTS Archives ~ Bolting Bits

MIXED BY/ Sha Ru

Florent — Wed, 08 Oct 2025 13:05:32 +0000

Blending spoken word, heavy bass and club-driven experimentation into something raw, physical and deeply immersive, Sha Ru have carved out a sound that is as cerebral as it is visceral — one that uses low frequencies, texture and space to question how music is felt, not just heard. Their sonic world thrives on contrasts: poetry and pressure, intimacy and intensity, narrative and noise. It’s a language built from the ground up, tuned as much to the body’s response as to the ear’s perception.

With their brand-new self-released EP Vibra Vibra (out October 23), Sha Ru push this philosophy even further. Each track explores how sound ripples through the body and transforms space: sub-bass compressing the chest, subterranean frequencies grounding the gut, buzzing waves pulsing through the skull. It’s a work that positions bass as architecture — a tangible force shaping bodies and rooms alike — and in doing so, it reimagines the dancefloor as a deeply physical environment.

To mark the release, Sha Ru join our MIXED BY series with both an exclusive mix and an in-depth conversation. Across the interview below, the duo dive into the sonic science behind Vibra Vibra, the collaborative dynamic that powers their work, and the political and poetic dimensions that run through their art. Then, in the mix, they extend that exploration into a hypnotic, body-centric journey — a sonic landscape built to be felt in every cell as much as heard in every ear.

INTERVIEW

©CesarBurton

Can you describe the creative roles inside the duo — how do Ma Sha and Rù divide songwriting, vocal production, sound design and DJ/live performance decisions? How do your different origins (breakdancing/NYC / rural Italy production background) inform that partnership?
Our process usually starts with one of us putting down an idea, and then we session together to work out the concept. Sometimes vocals spark the track, sometimes they finalize it. Each of us has our strengths: one is more focused on basslines and rhythmic patterns, the other on sound design and composition. Over time, we’ve built a lot of trust, which means we’re not precious about ideas — if something doesn’t fit, it can be overwritten or deleted, and we move on.. Masha’s dance background makes her very attentive to the overall flow and physical impact of a track, while Ru’s band background brings a jam-based, intuitive way of kickstarting ideas. That mix keeps the process fluid and balanced.

Vibra Vibra frames bass as a tactile material and explicitly maps frequency bands to bodily zones (e.g., the EP text talks about 20–40Hz resonating the abdomen and 50–60Hz compressing the chest). How literal is that mapping in the studio — was it research-led, experimental, or mostly bodily trial-and-error?
It’s mostly rooted in bodily experience and performance feedback. We’ve learned a lot through touring — feeling how frequencies hit us on different sound systems and watching how crowds physically respond. We did read up on frequency ranges and how they affect different body zones, but the mapping became real through testing: pushing 20–40Hz and feeling it in the legs and gut, 50–60Hz compressing the chest, 60–100Hz buzzing in the skull. It’s not about clinical precision, but about using those zones as guides to shape a tactile experience. On top of that, every room and sound system resonates differently, so it’s also about playing the tracks out and noticing how each space produces its own unique physical response.

The EP tracklist (e.g. “Hz Bath”, “Vibrasum”, “Above, Below, Around”) reads like a sonic anatomy — can you walk me through one track (pick whichever you prefer) and explain how you translated an intended physical sensation into arrangement, bass choice and spatial mixing?
Take “Hz Bath,” for example. The idea was to create an enveloping low-end experience, like submerging yourself in vibrating water. The track features a sliding sub bassline that moves from top to bottom, giving the sensation of descending and fully immersing yourself. It also sets the tone for the tonal exploration that unfolds across the rest of the EP. On top of that, it allows us to analyze how different low frequencies resonate in the space and interact with the specific sound system we’re using. Spatially, we used wide stereo fields for the upper layers while keeping the subs tightly centered, so it feels as if the room itself is moving around a grounded core.

Spoken word is a prominent strand of your sound. Do you treat voice primarily as narrative (text + meaning) or as an additional percussive/sonic element? How do you decide what to leave intelligible vs. what to process into texture?
That’s a great question! It shifts over time. Our first EP used vocals mostly as texture. Later, with “White Red White, Keep Up The Fight,” lyrics became the main message. With Vibra Vibra, we’ve circled back to treating voice more texturally again — it’s less about storytelling and more about how vocal sounds interact with bass and space. Only one track, “Above, Below, Around,” uses full lyrics; elsewhere, the voice acts like another instrument in the frequency architecture.

On a technical level: when you design those low-end pressure waves, what tools and techniques are your go-tos for subs and low-mid control (synthesis, filtering, multiband compression, physical sub treatment)? The press credits Ten Eight Seven for mastering — how collaborative was the master process to preserve intended tactile effects?
We rely a lot on clean synthesis for the sub — mostly sine or triangle waves, carefully layered and filtered. On this EP, we also experimented quite a bit with parallel compression, limiting, and saturation. Since our “studio” often fits into our luggage, we don’t have a fixed room to work in, so a lot of fine-tuning happens during sound checks on real systems.

©Karla-Del-Orbe

What’s the gap between how a track feels in your studio monitors vs. a club system? Do you ever design separate versions (edits, VIPs) specifically to hit certain body zones in a club? How do you test venue playback to ensure the physical mapping carries over?
There’s always a gap, especially since we work in temporary setups. Instead of making separate club edits, we rely on testing tracks during sound checks on tour. That’s where we fine-tune how the frequencies behave in different spaces. It’s less about creating “VIPs” and more about iterating in real time and letting the system guide us. Also, the low-end reach of sound systems varies a lot, especially since most clubs focus on house and techno and don’t usually have such a deep extension. Finding a system that can actually go down to 20–30Hz in a club is pretty rare. So maybe some of this music is written for the sounds of the future :) or just meant to be enjoyed on different devices.

Listening to earlier releases (e.g. They Are Textural, Time Turns Liquid) you move between post-punk, hardcore textures and deep bass club forms. Was Vibra Vibra a continuation of that trajectory or a deliberate stylistic detour? What previous techniques or themes carried over?
It’s definitely a continuation. Deep low-end has always been the backbone of our sound, and you can hear dubstep, jungle and experimental tones running through the EP. What’s shifted is the role of vocals — we’ve moved back to using them texturally, which connects to our earliest work, while still keeping that raw, bass-heavy energy.

The artwork credit lists BUBU and your own involvement — how important are visuals for Vibra Vibra? Do you conceive mixes/EPs as audiovisual pieces where the artwork, staging and sound form a single organism?
Visuals are crucial for us. Since the beginning, we’ve treated each release as an audiovisual organism. For Vibra Vibra, we focused on capturing the body in an abstract way — no faces, unlike our previous covers — to let vibration itself become the central motif. We wanted the artwork to feel like another layer of the frequencies.

For the MIXED BY set: will you approach it as an extension of Vibra Vibra (keeping tactile low-end and spoken elements front and centre), or do you plan to present a wider portrait of Sha Ru’s influences and club edits? Any technical tricks you plan to use in the mix (heavy layering of subs, live voice samples, EQ automation) to recreate that bodily experience for listeners at home? (If you want, we can publish a short “mix notes” block explaining these choices for readers.)
For this mix, we aimed to capture a feeling similar to Vibra Vibra. We open with the first track from our upcoming EP, Hz Bath, and then dive into heavy bass tunes that highlights different frequencies and rhythms. To give the mix a rawer edge, we layered some transitions with a dub delay.

You’ve released on labels like Jupiter4, Woozy and others and self-released this series — what’s your thinking around labels vs self-release for a concept like Vibra Vibra? Did self-releasing let you keep conceptual control over mastering/packaging?
This is our first self-released EP since 2021, and it feels exciting to return to a DIY approach. We love working with labels and are grateful for every collaboration, but self-releasing gives us full conceptual control — from mastering to packaging — which suits a project this focused on tactile sound and personal vision.

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MIXED BY/ Gearmaster

Florent — Tue, 08 Jul 2025 13:00:22 +0000

For this edition of our MIXED BY series, we’re thrilled to welcome Gearmaster, the fresh alias from the minds behind former duo Abdul Raeva. Emerging from the vibrant underground scene of Tallinn, Gearmaster represents a new chapter marked by a refined sonic identity — “more groove, less goof,” as they put it.

In the interview, the duo reflects on their artistic evolution, explaining how the Gearmaster project distills years of experimentation into something more deliberate and groovy, while still carrying the punch and playfulness that made their previous work stand out. With the launch of their own label Slipdisc Recordings, they now have full creative control, and their debut release Time To Slam sets the tone: high-energy, groove-forward club music with a sharp ear for texture and detail.

Bolting Bits · MIXED BY/ Gearmaster

Expect a mix that echoes this philosophy — percussive, fun, and purposeful — balancing subtle movements with floor-ready energy. It’s a fusion of everything they’ve learned through years of alias-hopping and sound design, delivered with clarity and character.

Tune in, turn it up, and let Gearmaster guide you through their finely tuned universe.

INTERVIEW

You’ve recently transitioned from Abdul Raeva to Gearmaster. What sparked the shift, and what does Gearmaster represent that Abdul Raeva didn’t?
The Abdul Raeva project started just before the pandemic and very quickly developed a hyper energetic life of its own, which was really fun but also super chaotic. In many ways it felt like Abdul defined us instead of it being the other way around, and we realised the project no longer reflected who we were becoming as artists.

Over the past few years we’ve both gone through a lot of personal changes too. That gave us the space to zoom out and really think about what kind of project we wanted to build for the long run. We quite quickly understood that it had to be slightly more refined, so the mantra became “more groove, less goof”.

But it’s important to state that we’re not trying to wipe the slate clean. Abdul Raeva will always be a part of us and something that we’ll look back on with immense pride.

Looking back, Abdul Raeva had a strong identity with its acid and progressive house roots. How did your sound evolve during that time, and how is it different now under the Gearmaster name?
With Abdul, we were constantly trying new things, testing boundaries, playing with styles. That gave us a lot of room to grow, but also created some creative noise. Switching to Gearmaster helped us filter through that and narrow down a sound that feels more intentional. The acid and progressive roots are still there, we’re just not leaning on them as heavily. Now it’s about stripping things back to focus more on groove and flow. Subtle movements.

You’ve just launched Slipdisc Recordings, with Time To Slam as the first release. Why was now the right time to start your own label, and how does Slipdisc fit into your broader artistic vision?
Slipdisc was partly a practical decision. Changing your artist name is effectively like hitting the reset button, so a lot of labels were hesitant to sign us as we wouldn’t generate the same interest as before. We knew there was a high risk of that happening and decided the easiest solution would be to self-release.

It gives us full control to curate everything surrounding a release, which is really liberating. We always used to refer to Abdul Raeva as a “playground” or “sandbox” for exploration–in some ways Slipdisc emulates that. At the core it’s about having a direct channel between our ideas and the audience.

There’s an undeniable sense of fun and punch in your new tracks. Was there a deliberate effort to lean into that playful, high-energy aesthetic — or did it come naturally?
It came pretty naturally. We’ve always gravitated toward grooves that make you move, and that energy just started bubbling up more as we worked on the Gearmaster material. There’s also something really satisfying about making tracks that hit hard but don’t take themselves too seriously. That tension between precision and chaos is kind of our sweet spot.

Gearmaster feels both more refined and more unhinged at the same time — almost like you’re letting go while sharpening your tools. What does your current production process look like?
We’ve leaned heavily into layering and texturing. Taking simple sounds and making them bigger through EQ, hiss, saturation, and stacking. Sometimes we use five different synths just to make one pad. It’s a lot of trial and error, but also a lot of fun. A big part of it is also resampling. We’ll run random sounds through heavy processing, take out the interesting bits, then chop and repurpose them.

You’ve worn many hats and monikers over the years — Boom & Rang, DJ Deep State, Mateo Flex. What does working under different aliases allow you to explore creatively?
Every alias gives permission to try something new without baggage, so it really just helps us keep things fresh and broaden our horizon. Some might think it’s about “artistic freedom”, but in reality it’s so we don’t get bored. Of course each moniker has its own direction, but the lines blur a lot and Gearmaster turned into a culmination of all of that—pulling from different corners but delivering with intention.

As individuals, you’re both deeply involved in music beyond the duo — Joonas as a sound designer and Steffan as a label head. How do these roles influence the Gearmaster sound?
Working with sound design and engineering naturally provides a deeper understanding of texture and dynamics, which directly feeds into how we approach production. It also keeps us focused in terms of utility, like how a sound might work in different settings. Joonas often listens back to new demos on the cheapest, worst possible in-ear headphones, at minimum volume, when going to bed. If the energy level comes through properly then, it most likely will in the club too.

Our early label management experiences provided a great deal of context in how the market ebbs and flows. It’s not always just about making cool tracks but also how they’re packaged, presented and received. Through that work we also built a large industry network, which enabled us to make informed decisions on how to publish and license our music.

Tallinn’s underground scene seems to have a strong presence in your story. How does your environment shape your approach to club music?
Tallinn is small but very passionate. There are lots of indie venues and crews that foster creativity and experimentation, without pressure to conform. It’s also very hands-on, so you’re not just a DJ or a producer, but part of a community, which always provided us a lot of space to find our sound organically.

What kinds of artists or sounds are you hoping to showcase on Slipdisc in the future? Are there any releases already in the pipeline?
For now, it’s mostly a vehicle for our own music and stuff from close friends. We want to build that same kind of community, where our label roster feels like they’re part of something bigger. Not just another transactional relationship between label and artist. In the long-term we’d love to open it up to artists who share and can connect with our ethos. No spoilers, but we are actively working on a couple of releases.

Now that Gearmaster is front and center — what’s next? More music, gigs, collaborations? Where do you hope to take this project in 2025 and beyond?
Right now we’re taking some time off from touring to work on tracks, create new sample packs and just jam. There’s a lot of studio time ahead. No shortcuts, just honing the craft.

Gigs are definitely on the horizon though. We want to bring the new Gearmaster sound to more dance floors, meet new people, collaborate with other artists and expand the Slipdisc universe.

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MIXED BY/ Anastasia Zems

Florent — Tue, 10 Jun 2025 13:02:09 +0000

Anastasia Zems doesn’t just play music—she performs it. With a background in jazz vocals, theater, and dance, her approach to DJing and production is as intuitive as it is refined. Whether she’s recording raw, first-take vocals in the studio or pushing the boundaries of a dancefloor with trance-inflected techno, Anastasia crafts moments that feel both deeply personal and unapologetically physical. Her releases on labels like Hard Fist, Les Yeux Orange, Ransom Note, and now Human Endeavour reflect not just a sound, but a sense of artistic alignment—of shared values, risk-taking, and emotional weight.

For this edition of our Mixed By series, Anastasia delivers an exclusive mix that captures the same energy and emotional depth that define her live sets. Alongside the mix, she opens up about her creative process, the evolution of her sound, and why true collaboration matters more than label size. As her style continues to move toward faster, high-impact territory, one thing remains constant: it’s all about connection, movement, and making people feel something.

INTERVIEW

Your background in singing, dance, and theater clearly shapes your musical output. How do these disciplines still influence your approach to DJing and producing today?
My roots in jazz vocals probably shape me the most. I’m always pushing to bring more of my own voice into the mix—actual singing, not just talking or chopped-up phrases—but it’s tricky, because I’m not trying to turn a dance track into a pop song. Dance and theater taught me what it really means to perform, and how a track needs to hit if you want people to move. If I find myself dancing to a demo after I’ve made it, that’s how I know I’m on the right track.

Your music feels deeply intuitive, often featuring first-take vocals and raw emotional textures. Can you tell us more about your process in the studio — do you follow a structure or is it purely instinctual?
It usually starts with drums and a solid bassline—that’s my foundation. From there, I dive into melodies, sound design, synthesis… that part is quite structured. But everything that happens after is pure magic. I hit play and record vocals without any written lyrics or pre-planned melody. The goal is to feel what the track is trying to say, then the words just come to me. I pick the strongest takes and build from there. And I’ll be honest, being able to work that instinctively didn’t just happen overnight. I’ve been doing music since I was four, so this intuition is really the result of years of vocal training and experience.

You’ve released on labels like Hard Fist, Les Yeux Orange, Ransom Note, and now Human Endeavour. What draws you to a label, and how do you choose who to collaborate with?
Shared values are everything to me. I need to feel like it’s a true collaboration, that the label is actively involved in the release. Honestly, I’d rather put out a track with a smaller label that’s been with me from the first demo through the artwork and promo strategy, than work with a bigger name that just drops the track and disappears. What’s the point otherwise?

I think a lot of fellow artists will relate, you spend months, sometimes years, crafting something in the studio. It deserves more than just showing up on streaming platforms and getting buried when the next release comes out two weeks later.

The blend of trance, techno, and progressive elements in your work is very distinctive. How would you describe the sound you’re currently building — and where do you see it evolving in 2025?
I think a lot of people still remember me for the slower, moodier stuff I used to play and produce. But with time, I realised that locking myself into one genre just doesn’t make sense, especially when you’re trying to move a dancefloor. Now I focus on what works in the moment: trance, techno, Chicago house, progressive, garage… if it hits, it fits. For me, it’s all about reading the room, building tension, releasing energy, and keeping people in that zone where they don’t want to stop dancing. That’s the only thing I care about.

You’ve toured extensively across Europe. How do different dancefloors — say, Lisbon vs. Berlin — shape the way you play or prepare a set?
I’d say it’s less about the city and more about the specific dancefloor, because even in the same club, with a similar lineup, the vibe can shift completely. Everything plays a role: the weather, other parties happening that night, a million little factors. But one thing I can say for sure: Berlin gives me the most freedom to experiment. That city feels built for the unexpected, for the weird and wonderful. It’s where I can really take risks and go with the flow.

“Human Nature” on Ulla Records showcased a heavier, acid-tinged side of your sound. What inspired this release, and how do you decide what kind of energy to channel into a record?
That’s true. Honestly, with this release, I wanted to mark a new “me.” It was an attempt to look at my music from a fresh perspective and have an honest conversation with myself: “What do I really want to play? What do I want to dance to?”
Plus, everything in my life was turned upside down while I was working on this EP, it became a way to channel that energy and release it in some form. I think the main idea behind this release was to explore and try something different.
We read that you often rely on your intuition when creating or performing. How do you stay connected to that instinct in the high-pressure, fast-paced environment of club culture?
It’s definitely challenging. I’d say the more you grow as an artist, the more you feel the pressure from the industry. I’d be lying if I said I don’t have doubts sometimes, but I try to listen closely to my inner self and my intuition. Some days I feel more inspired, others less, but that’s just part of the creative process.

What kind of stories or emotions do you hope listeners take away from your sets and productions?
I love it when the audience is genuinely interested in what I’m doing, especially nowadays, in the age of fast content and 30-second clips. Getting someone to listen to a full hour-long set or an entire track is no easy task. For me, the highest compliment is knowing that my tracks are recognizable and make people feel something.

Are there any artists, scenes, or movements right now that you feel particularly inspired by?
Among promo crews, I’m really into the Parisian collective HORS-SOL and Berlin’s HEISSS—that’s what comes to my mind first.
As for artists, I’m currently keeping an eye on In2stellar, Deaf Toucan, and probably Cristofeu.
Overall, I’m really excited about the French and Belgian scenes. Also, Australian artists have been breaking into lineups everywhere with their unique, fresh sound. It’s amazing to see the geography of great events expanding, and I always look forward to discovering new sounds.

Finally, what can we expect from you in the coming months — any upcoming releases, collaborations, or live shows you’re especially excited about?
In June, you can find me in Ankara, Berlin, Paris, and Copenhagen. I haven’t explored the Danish scene yet, so I’m really curious to see how my debut there will go.
Release-wise, I’m working on a new EP that should be out by Autumn but overall, I would like to slow down a bit on releasing music and focus on creating a live show. That’s what I think would be a next step for me as an artist.

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MIXED BY/ Phasmid

Florent — Wed, 09 Apr 2025 13:00:45 +0000

For our latest MIXED BY feature, we’re excited to welcome Phasmid, a producer and DJ who has been steadily making his mark on the UK electronic scene. Rooted in Leeds, his sound is a sharp, bass-driven fusion of breakbeat, electro, and trance, meticulously crafted with a keen ear for dark, percussive textures and leftfield sound design.

His recent Hadal Zone EP on Gimme A Break Records is a testament to his dedication, a project that took two years to perfect. Featuring a remix from long-time inspiration Kessler, the release encapsulates the depth of his sonic explorations, seamlessly weaving together UK club influences with his signature crisp production style. Beyond his solo work, Phasmid also runs Taipan Trax, a label that has become an extension of his own musical identity, bridging the gap between his personal projects and the artists shaping the underground scene around him.

This past year has seen him step further into the spotlight, taking his sound on tour across Asia, where he’s connected with audiences from Singapore to Japan. The mix he’s crafted for us was recorded at Wild Pearl Radio in Singapore, capturing the energy of his travels in a carefully built progression of tempo and intensity.

We caught up with Phasmid to talk about his creative process, the challenges of running a label in today’s ever-changing digital landscape, and how the Leeds scene shaped his path. He also shares some under-the-radar artists worth keeping an eye on and hints at what’s next—including a collaborative project that reflects the connections he’s made on the road.

Hit play and dive in.

INTERVIEW

You recently released the ‘Hadal Zone’ EP on Gimme A Break Records. Can you tell us about the creative process behind this project and the influences that shaped your sound on this EP?
This project has actually been a long time in the making. I first started on the title track about two years ago! I can be a bit of a perfectionist when it comes to last minute tweaks (as Gimme A Break know all too well…), but I’m super happy with how it’s turned out. I’ve tried to incorporate my more electro-influenced sounds with more percussive, left field sound design across this EP, so I think taking my time on this has helped the release reflect the full spectrum of sounds I’ve been exploring since I first started on it.

As the founder of Taipan Trax, how do you balance your role as a producer and a label manager? What challenges do you face running an independent label in today’s electronic music scene?
I think they tie quite nicely in with each other, so a lot of the time it doesn’t feel like two projects I have to split my time between. A lot of the time I spend on discovering new music on Soundcloud often ends up doubling up as A&R, finding new producers that fit both my sound as a DJ and the sound of the label. My next project as Phasmid is a collaborative VA on Taipan, so the two have been very much entwined over the last few weeks! I’d say the overarching challenge faced by most online music projects is just keeping up to date with how to promote what you’re doing on socials, as the goalposts seem to be shifting all the time with content types, platforms, and algorithms – the necessary evils that we all have to subscribe to these days!

Your musical journey has led you to explore various genres, including breakbeat, electro, and trance. How do you fuse these styles to create your signature sound?
I’ve always been careful to not limit myself too much in terms of genre – I’ve previously produced Breakbeat, Garage, Electro, Jungle, Drum & Bass, House and Trance and a few bits in between. But I think the way in which you can stay versatile without losing your sound/identity is keeping a consistent atmosphere, regardless of the genre. I try to take elements from different genres, and then tie them together under a consistently menacing, dark and leftfield atmosphere that I think helps to form my sound.

Kessler recently remixed your track ‘Hadal Zone,’ adding his own touch with flanged breaks and his signature groove. What were your thoughts on his interpretation of your track, and how did this collaboration come about?
Kessler has been a long time influence on my productions, so having him on this release was a bit of a full circle moment for me. Really love what he’s done with the track. As it happens, he is a big fan of the original tracks I sample in Hadal Zone, and I especially like the chopped up pattern he has made from the synth melody. The basslines are ridiculous, as expected!

You recently toured Asia, which must have been an incredible experience. What were some of the standout moments from the tour, and how did the audience react to your music?
It’s all a bit surreal to be honest! I’m still making my way across Asia now with a few shows to go, and every single country I’ve played in so far has been incredible. All the promoters have been so welcoming and I’m very lucky to be able to experience these different places through music, which isn’t something I ever expected to happen! I think Japan might be a slight standout in terms of the crowd – they really know how to bring the energy…

As a DJ, how do you approach creating a mix for a platform like Bolting Bits? What key elements do you aim to incorporate to offer listeners a unique experience?
Having put out several premieres from both myself and the label on Bolting Bits, I feel like our sounds align nicely in that respect. I recorded this mix whilst in Singapore, where Wild Pearl radio kindly let me borrow their studio. This mix ended up being a bit of a reflection of the sounds I’ve been playing throughout this tour, and I wanted this mix to be a bit of a slow build in terms of tempo and energy, which is always a nice challenge within an hour long recording. I hope I’ve succeeded!

Leeds has played an important role in your development as an artist. How has the local scene influenced your music, and what opportunities has it provided you?
I owe a lot of where my music is today to living in Leeds. Moving there exposed me to so many different nights, genres and inspirations as I was first starting out with Phasmid as a project. I’ve made a lot of friends through music in Leeds and been able to work with some great people over my time there.

With electronic music constantly evolving, how do you see your sound developing in the coming years? Are there any new genres or techniques you’re eager to explore?
I’m always looking to sharpen my productions. I’m self taught so I still have vast gaps in my production knowledge I’m looking to plug, so I hope to keep improving my sound design. In terms of genres, I always reference Trance when people ask me what genres I focus on, but whilst I play a lot of trance in my sets, I haven’t actually released loads of it, despite having a tonne of unreleased trance tracks in the locker. However, I may have something a bit trancey on the way in the second half of the year…

What’s next for you in 2025? Any upcoming releases, collaborations, or projects that you’re excited about and can share with us?
I’m currently working on an EP on Taipan – it’s a VA, where every track is a collaboration with an artist I have worked with whilst on my travels. Very excited to share more details on this in a couple of weeks! I have a couple more bits in the pipeline later in the year, but you’ll have to wait and see…

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MIXED BY/ Tifra

Florent — Wed, 05 Mar 2025 14:00:40 +0000

Emerging from Utrecht, Tifra has been making significant strides in the electronic music scene with his distinctive fusion of leftfield house, progressive rhythms, and old-school breaks. In October 2024, he released “The Algorythm EP” on PROXY Records, showcasing his ability to blend 90s rave influences with contemporary production techniques.

Following this, his “Terra Incognita” EP was released via Haŵs, offering a journey through 90s/00s house, progressive, and undulating grooves. Tifra also contributed a track to the compilation “Neptune Discs Vol. 10,” released by Neptune Discs, further cementing his presence within the underground electronic music community. With performances at esteemed venues like Sisyphos in Berlin and La Mazette in Paris, Tifra continues to captivate audiences with his dynamic soundscapes. We caught up with him to discuss his recent projects, creative process, and future plans.

INTERVIEW

Your latest EP, “Terra Incognita,” is out now via Haŵs. Can you delve into the inspiration behind this project and how it builds upon your previous work?
It’s a combination of two things. The first is the inspiration I took from travelling to other continents, experiencing new landscapes and architecture. That gave me certain moods that are difficult to capture with text, so I tried to encapsulate this using pads, melodies, and rhythms. Secondly, I got inspired by the revival of South American genres, keeping tracks groovy with a stronger focus on drums.

From “Trans Atlantique” to “Mesoamerica,” and now with your recent releases, your sound has traversed various genres and styles. How would you describe your musical evolution over the past few years?
“Trans Atlantique” was really my first dedicated “Tifra” project. Around that time, electro was having a bit of a revival, so I wanted to integrate this into my productions—experimenting with offbeat drums and electro glitches. But I was already into the sounds of Kalahari Oyster Cult and Klasse Wrecks, appreciating the 90s nostalgia in their productions.

“Mesoamerica” feels like a natural evolution of “Trans Atlantique.” I discovered producers like Guy Contact, DJ Life, Solar Suite, Bliss Inc, and Maruwa, defining the sound we now call Prog.

With my recent releases, “Terra Incognita” and “The Algorythm,” I still apply a similar philosophy—creating something contemporary and nostalgic while incorporating today’s trends.

You’ve performed at notable venues like Sisyphos in Berlin and La Mazette in Paris. How do these diverse environments influence your sets, and do you tailor your performances based on the location?
I really like to prepare a track selection specifically for each gig, envisioning what the vibe of the venue might be. I also do my homework—knowing who’s playing before and after me, while keeping the timetable in mind. However, I always make sure the selection is broad enough to adapt on the spot. You can never fully predict what the DJ before you will play or how the crowd will react. I notice differences between cities and clubs in how far you can explore your deeper track collection. I like to tease the crowd sometimes with unexpected genres or breaky tunes, though lately, I’ve been keeping it more groovy—like the Bolting Bits mix.

When producing a new track, do you follow a specific routine or process? How do you balance experimentation with maintaining a cohesive sound?
My starting routine differs every time. It can begin with a sample from an old record or an attempt to recreate a track—which never really works out, so I end up with my own unique twist. Sometimes I watch tutorials for a specific sound or genre I haven’t explored yet. Fiddling around with synths has also worked as a starting point.

The cohesive sound mostly comes from tricks I often apply—using the same FX plugins, drum samples, or arrangements. It’s always easier to pinpoint someone else’s specific sound than to identify your own.

Your music blends elements of leftfield house, progressive sounds, and old-school breaks. Which artists or experiences have significantly influenced your unique style?
Before 2018, I produced and played mainly slower deep/tech house. I felt stuck in the same patterns and wanted to experiment more. Discovering labels like Klasse Wrecks and Kalahari Oyster Cult helped me broaden my horizon. Artists like Roza Terenzi, D Tiffany, Fantastic Man, and Luca Lozano inspired me to be more genre-fluid and playful with BPMs.

Two friends—Súya (label owner of PROXY Records) and Maskilo Man—definitely steered me in this direction. The Australian scene from the last couple of years also had a big influence on me.

With “Terra Incognita” now available, are there any other upcoming projects or collaborations you’re particularly excited about? What can fans expect from you in the near future?
I’ll be part of two new VA compilations with labels I’ve worked with before. Another upcoming track is a remix for Cosmic G. Additionally, I received an exciting request to work on a downtempo track. After several VA contributions, I want to focus on a new EP again. I’m also heading into the studio soon with a Dutch DJ known for playing old-school breaks—excited to see what comes out of that session.

As a DJ and producer from Utrecht, what challenges have you faced in the electronic music scene, and how have you overcome them?
Amsterdam is still the epicenter of the Dutch electronic music scene, but Utrecht is catching up with clubs like NAR, WAS., Kabul A GoGo, and Basis. It can be harder to get noticed here. What helped me was recording mixes for podcast series I appreciate, doing radio shows, and connecting with the local scene. Interestingly, some people didn’t even know I lived in the Netherlands because most of my releases are with international labels and I follow a lot of artists from abroad.

With the rapid advancement of music production tools, how do you incorporate new technologies into your work? Are there any specific tools or software you find indispensable?
All my tracks are fully produced in the box—my DAW is definitely indispensable. I prefer keeping things lean and mean, mastering a few synths rather than using too many. From time to time, I add a new synth to the setup. I actually prefer my tracks not to be too polished, giving them an analog and nostalgic feel.

You’ve been associated with labels like Gestalt Records, Duality Trax, Neptune Discs, and Haŵs. How have these collaborations shaped your career, and what do you value most in these partnerships?
I really appreciate that Steffan Todorović (Gestalt Records) and Holly Lester (Duality Trax) trusted my music early on. I’m still in touch with them and have met them in person a few times. Tywi (Haŵs) and I have shared line-ups, and I value the shared passion for music within this sound. It’s great to see how interconnected these labels are, with Steffan and Holly launching the Terrazzo label.

What advice would you offer to emerging DJs and producers looking to establish themselves in today’s music landscape?
Start by recording mixes and radio shows. Connect with your local scene. And don’t overthink sending out demos—you might receive valuable feedback if the tracks aren’t quite there yet.

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MIXED BY/ Von Riu

Florent — Thu, 05 Sep 2024 13:30:37 +0000

Meet VON RIU, a Paris-based DJ and producer who has rapidly ascended the ranks of the electronic music scene. Co-founding his label Jerry Horny with Maté in 2020, VON RIU has become a prominent figure with a distinct, omnivorous sound palette. His productions traverse a wide array of styles, from cinematic gloomy atmospheres to incisive trancy techno, clubby bass & break music, and modern progressive trance. Transitioning from a passionate dancer to a master behind the decks, VON RIU’s deft mixing skills and adventurous electronic sets have earned him acclaim.

His label, Jerry Horny, stands out with its corporate-businesscore vision, utilizing self-improvement and growth hacking techniques to bring together top names in the electro, break, and bass music scenes through a series of well-received compilations and EPs. We’re lucky to be able to connect with him, who’ve put together an incredible blend of tracks for our MIXED BY series, and have answered a few questions.

INTERVIEW

Can you tell us a bit about your background and how you got started in music production?
Back in the days, in Orléans, my hometown all of my friends was into music production, they were all buying hardware gear to make music. So I had to buy mine, I got a Korg Electribe, a Boss DR-550 and a Korg Monologue to begin my music journey. It was in a kinda raw and naive way to do it but at the same time i really learn how to handle and understand the basics, that has been very important when I got into computer production.

What are some of the biggest influences on your music? Are there any artists or genres that particularly inspire you?
I would say that im influenced by a lot of different inspiration, I use to dig a lot of type of music everyday and try to pick some details of all of that big stew to shape my music. I shifted a bit in my productions, taking a lot of elements of some 00’s UK tech-house, old tribal progressive records, trying to get a sharp techy and trancy modern sound.

Your “Von Cristeuf” series has received great feedback. Can you talk about the inspiration and creative process behind this project?
Going for a collab with Cristofeu was pretty obvious. Its a good friend from Paris, we have same tastes in music and we had in mind bringing something super Ibiza, blended with some wet basement tech. We’ve been stuck to the studio for like 1 week, everything has been super easy and flowly. It was the first time for me working on a collab with somebody where everything got smoothly operating.

How do you balance the technical aspects of production with the creative process? Do you have a specific workflow you follow?
Music production is always kind of a struggle, now I feel confident with my music and mixing skills, but you always struggle with legitimacy. Sometimes I can wait like 6/7/8 months doing nothing but shit. Then on one weekend I’ll be getting back the inspo and producing 2-3 tracks on that same weekend and getting back confidence to it. We have to be very lenient with ourselves !

You’ve released a variety of tracks on label such as Discoteca, Jerry Horny or Nehza Records . Is there a particular release that holds special significance for you?
Hmm, I would say the Oil Spill track I released on Nehza Records got me on a different level. Like I knew that track was going to be played and stuff, but I was impressed how good it has been received. Few of my oldest tracks now sounds a bit outdated, but I think that one could get older and still sounds kinda fresh, and I like the fact that the track can be played in a lot of different type of mixes.

You’ve performed at various venues and events. Is there a particular performance or venue that stands out as a favorite or most memorable?
There’s a lot that comes in mind ! Playing at Kodefervo in Rio De Janeiro for the carnival was something, going to Shenzhen and playing at legendary Oil Club was a blast too, and I have so much memories of The Office in Yerevan, Armenia, that is one of the best club I played. Of course there’s a lot more but these are my highlights.

Collaboration seems to be a significant part of your work. How do you choose your collaborators, and what do you look for in a collaborative project?
Socials are like unavoidable nowadays, its a pitty but if you wanna live with your music, you have to play the game. With my label Jerry Horny, we chose the form of humor and sarcasm to communicate. We feel like in the scene, we all sacralize too much the DJs being too serious behind the decks. We like to appear childish and silly, being as silly as the crowd dancing in front of you.

Can you share any upcoming projects or releases that your fans should look forward to?
I have a new EP ready, that will come with a Audrey Danza collab, that should be released on her label Proxima. That EP is big step change for me, tracks are cruising.

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MIXED BY/ Elfenberg

Florent — Wed, 03 Jul 2024 13:16:37 +0000

Welcome to the latest edition of our MIXED BY series, where we dive deep into the minds and music of some of the most innovative artists in the electronic scene. Today, we are thrilled to feature Elfenberg, a dynamic dj renowned for his unique blend of Ethnotronica, psy-house, and Indie Dance.

Hailing from Sweden, Elfenberg has made significant waves in the electronic music world, signing with esteemed labels such as Bordello A Parigi, Stil vor Talen and Correspondant. His music is characterized by its rich, diverse soundscapes, blending traditional ethnic elements with contemporary electronic beats.

Recently, Elfenberg has been busy with a slew of exciting projects, including his label, Trampoliner, which aims to foster a community of like-minded artists and push the boundaries of the genre. Trampoliner’s latest releases continue to captivate audiences, showcasing its ability to evolve and innovate within the electronic music landscape.

INTERVIEW

Your recent EP ‘Without Further A Dude’ on Correspondant has been well-received. Can you tell us about the inspiration and creative process behind this project?
I woke up one day and wanted to make something that took me back a little bit to the good old Eurodance era and the 90s electronic music scene in general. That was sort of the music I grew up with. I did have any clear creative process, just went with the flow on this one.

Since your debut in 2017, how has your music evolved, and what key experiences have shaped your sound over the years?
Back then I obviously made ethnic, organic, and Afro-type stuff, it was a lot slower in tempo even though I never actually played that slow. That’s the sound most people know me by I suppose, however, that was sort of a phase and the intro for the Elfenberg project. Nowadays I make more housey stuff, more traditional elements within the spectrum of disco, house, and techno, with my own twist to it of course.

You launched your own label, Trampoliner, in 2019. What motivated you to start your own label, and what vision do you have for its future?
Initially, the plan was to have a home where I could release my stuff, whenever I wanted, with no hassle. But It quickly became a home for friends and family in the scene as well, although I might go back to the original plan in the future, we’ll see.

Can you walk us through your typical process of creating a track? How do you start, and what tools or techniques do you rely on?
To be fair, I don’t have a creative process whatsoever, sometimes an idea pops up in my head, and other times (most times) I go into the studio completely blank. Sometimes I start with a melody, other times with a beat, as long as I’m inspired.

You have collaborated with various artists and labels, including Bordello A Parigi and Playground Records. How do these collaborations influence your work, and are there any artists you particularly enjoy working with?
Not really, I love collaborating with many labels and artists, and I’ve promised myself to do more of that in the future. I’m pretty open-minded as long as it’s serious from both parts. I have a fun track coming up pretty soon that I made together with Whitesquare. Keep your eyes open for that one.

You have upcoming shows in places like Barcelona and Istanbul. How do you prepare for your live performances, and what can fans expect from an Elfenberg set?
I don’t prepare more than making sure my music is up to date. I sort of have a feeling of what I want to play but it can quickly switch once you’re behind the decks. I love improvising and reading the crowd. I don’t see the point of having a fixed setlist, I could never do that.

Can you share five tracks that have been on heavy rotation for you recently? How do they inspire or influence your own music?

Holo – In Tokyo (as heard in the mix)
Guy Contact – Motomami’s Chant
Politics of Dancing – Mamma
Tiga & Hudson Mohawke ft. Channel Tres – Feel The Rush (Honey Dijon Remix)
Instant House – Awade (Joe’s Jungle Sounds Dub)

These tracks inspired me in all sorts of ways, they make me what to go to the studio that’s for sure.

What can we expect from Elfenberg in the near future? Are there any upcoming releases, tours, or projects you’re excited about?
More music, I have been away from the studio recently, and I have not been that inspired either, but it is always like that during the summer. I guess I need less sun to get inspired lol. But I promise more music shortly on both my and other labels. I have some stuff in the pipeline but I can’t say too much :)

Your music spans many different kinds of genres. How do you blend these diverse styles, and what draws you to these particular genres?
As I mentioned above, I did one thing many years ago, that later became a disco/indie dance-affair. In the present, it’s more old school, back to the roots if you will. However, I love blending as many genres as possible as long it feels right, even though it’s sometimes very subtle. I mean I love the percussions of the “ethnic” sound, I love the catchy and happy sounds of Disco, and finally the deep, raw, and confident sound of house and techno.

As someone who has successfully navigated the music industry and established your own label, what advice would you give to emerging artists looking to make their mark?
Have a clear plan and stick to it. Try to find yourself before throwing yourself out there. It’s fine to evolve as an artist and person, that’s both natural and necessary however, take a step back and look at what you want to do, otherwise, everything might be a bit messy from a musical and aesthetic point of view.

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MIXED BY/ Dual Monitor

Florent — Wed, 12 Jun 2024 13:05:04 +0000

In the years since doors and floors have opened back up post-pandemic, it’s still nice to hear a crop of newer artists experimenting heavily with half-time tempos and mechanoid sound design; a welcome zag from the blisteringly paced, festival-ready music that’s a bit overly reliant on referencing the past. Dual Monitor is one of these newcomers that has consistently upped the bar for themselves and their peers across the UK Bass continuum since arriving on the scene. Comprised of Fliss Mayo & Zebb Dempster, Dual Monitor has had a relatively fast ascent, weaving strands of everything from proper dubstep and R&B, to techno and dembow into a seamless quilt of absolute barn-burners.

They’ve released a number of singles with Cloudcore, a label that has proven over the past few years to be as vaporous as they are provoking, and they’ve let loose other undeniable projects on labels like DJ Cosworth’s tools-leaning HARDLINE. Earlier this month, Dual Monitor announced their 4th release of the year: an immaculately produced 2-tracker EP off SPE:C. Step Pattern is an absolute showcase of Fliss and Zebb’s incredible ability to marry the rhythms of bygone eras with au-currant textures. We’re lucky to be able to connect with the duo, who’ve put together an incredible blend of tracks for our MIXED BY series, and have answered a few questions from us as their latest output continues to seep deep into the psyche of the broader electronic world.

INTERVIEW

Hello Fliss and Zebb! Thanks so much for chatting with us – where in the world are we catching you at the moment?
Z: Hey! Thanks so much for having us! I’m back in sunny Essex having some down time. We had a very merry month of May with shows so it’s good to have some time to relax and work on music.

F: Hello! I am up in Liverpool where I currently live, getting prepped for festival season.

Knowing that Dual Monitor kicked off in earnest towards the middle of 2022, can you tell us a bit more about how yall linked up for this project?
F: We were introduced via a friend when I had just moved to Bristol and had no mates. Me and Zebb met at the Christmas Steps pub for the first time and got on like a house on fire. We spoke a lot about music and what has inspired us. Zebb mentioned that he had recently started a solo project and we made a rough plan to hang out and make music together.

Z: Fliss then came to my house in Bristol where I had a pretty basic home studio set-up and we just had a really fun time messing around making some bleep bloop 4 bar loops and the project naturally evolved from there!

F: I really liked the way that Zebb was so keen to try out different styles and genres and he was also incredibly good at explaining the things that I didn’t understand. I felt like I could trust him from day one.

Z: Thank you that’s very lovely to hear! It’s also incredibly insightful working with Fliss. When I write on my own I can get in my head quite a bit and it’s so lovely to having each other to bounce ideas off.

It seems like one of your earliest public releases was with the smoky digital-only collective Cloudcore. How did you pop up on each others’ radars, and what (if anything) about your shared ethos made it clear that they would be good to partner with?
F: I came across CloudCore through a close friend of mine and really loved the sounds that they were pushing. I then joined their discord channel not long after and submitted a rather terrible track to the feedback channel which was met with such kindness and a LOT of feedback. I then sent it to Zebb who was keen to work on it.

Z: We spent a few days going back and forth with different approaches and the lightbulb moment was when we looped a part of the vocal to create this phrasing that would go onto be the main hook of the track.

F: I had such a good feeling about the label in general and luckily they were so kind to have us on there for our first release!

Listening to a few of your sets that have been made available online, it seems like you two not only have fun playing for audiences, but for each other as well. How do you both balance the responsibilities of performing while also making sure you’re having what appears to be the time of your life?
Z: For me, one of my favourite things in the whole world is when I meet up with Fliss and we spend the day showing each other new music that we’ve discovered and having a grand old time. I see our sets as an extension of our shared energy and the excitement we both get from discovering new music. We are definitely playing for the crowd but are also playing for each other and I think that comes across a lot in our sets.

F: I completely agree. What I love about Zebb is that he’ll always throw in such an incredible undiscovered track into every set that we play together. He absolutely loves digging for tracks that aren’t well known but are so good. I’ve never trusted someone so much like I have with Zebb behind the decks and every set is a new adventure!

Pulling focus towards your latest project – Step Pattern is an unabashed love letter to a FWD-indebted time in UK-based electronic music, all while keeping its eyes up toward the unexplored corners of scenes yet to come. What is currently inspiring you both to deftly thread this needle throughout your work?
Z: Thank you so much that is a massive compliment! We are both huge fans of dubstep and whilst we were (sadly) not old enough to experience that very special time in UK dance music we take a huge amount of inspiration from it. We were sampling a fair amount of dubstep and dub into our previous 4×4 releases so it made sense to progress into having a crack at the genre wholesale, whilst trying to give the tracks our own trippy, spicy twist.

F: I’d also say we really love to progress and evolve in our sound. We don’t really know where a track will take us when we first start it – we end up just trying to make it as ‘Dual Monitor’ as possible by doing a LOT of incorrect things before we end up giving each other that face that says, ‘yeah that was pretty good’.

Can you tell us a bit about the mix you’ve prepared for Bolting Bits?
Z: In this mix you’re going to hear a lot of the music and artists who have been inspiring us at the moment as well as some unreleased stuff from us. It’s not a home listening mix but we wanted to thread a zoned out dubby atmosphere throughout.

Thanks again for your time and for your incredible contribution to our mix series…to wrap up here, what’s next up for Dual Monitor?
Both: Thanks so much for having us!!

Gig wise we’ve got festival season and we’ll be at Venue MOT next month and making our debut on NTS which is super exciting. We’ve got two tours coming up but more on that later hehe!

Release wise everything under wraps but there’s something very very cool coming later in Summer.

Interview by Dan.B.

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MIXED BY/ Olympe4000

Florent — Tue, 04 Jun 2024 13:00:39 +0000

Olympe4000 is a French powerhouse who entered into the electronic music scene in recent years like a whirlwind via high octane thumpers on the production side and wildly fun and dynamic DJ sets to accompany them. Now returning to her aptly titled Adrenaline Quality label she joins forces with the much beloved DJ Physical for the collaborative ‘Hack Me I’m Famous’ EP.

Alongside this release Olympe4000 shares with us a phenomenal 48 minute excursion through her DJ style for our MIXED BY series which meanders through heavy subs, crisp saturated breaks, floaty techno cuts, twitchy electro and much more. Not to be missed for lovers of raw, formidable energy.

INTERVIEW

Can you tell us about the mix you’ve put together for us, some of the features artists, when and where it was recorded?
It was recorded in my living room while some friends came to share a moment on Sunday evening

You’re a resident of Paris, a city widely known and adored for it’s vibrant club scene and overall global cultural input. Could you tell us a little about your life there, the elements of the music scene that inspire you and some other things in your daily life as a Parisian that brings joy to your world?
Living in Paris, especially as someone deeply connected to its music and cultural scene, is a truly enriching experience. The city’s vibrant club scene is a significant part of my life, offering endless inspiration and joy. Paris is a melting pot of musical genres, from electronic beats pulsating in underground clubs to jazz flowing through intimate venues. Some of my favorite spots include Station Gare des mines. The diversity of the music scene here is incredible. Beyond the nightlife, daily life in Paris brings joy through its unique blend of history, art, and everyday unexpected moments and people.

Your fledgling Adrenaline Quality label is now marking its sixth release with this collaborative EP between yourself and DJ Physical, entitled ‘Hack Me I’m Famous’. Could you tell us about the label, it’s sonic aesthetic and what your plans are for its future?
Adrenaline Quality is a new home for local emerging artists and utopian producers. The label is for clubs outsiders, people on the margins, but also people who work and take transport every day scrolling through their screens, who just need to have sound in their ears and party intensely on the weekend to forget about their daily routine. This label was founded with Beatz by Girlz, an association that aims to promote women and gender minorities in the music industry, through training in music technologies. For the future, we want to develop the mix and MAO classes for FLINTAQ people, this project will take place at la Machine du Moulin Rouge, another historical club in the center of Paris. I believe to change the

Also, an EP from Beatrice M and Jan-Loup -two incredibly talented producers from France- will be out at the end of the year.

For those yet to hear it could you describe the upcoming ‘Hack Me I’m Famous’ EP you made with DJ Physical?
This EP is an invitation to question our relationship with technology and our fundamental desire to exist in a constantly evolving world. The enchanting rhythms and haunting melodies captivate us by skillfully blending elements of breakbeat and synthwave. Each track is an avant-garde exploration of the various aspects of our digital contradictions. It’s a blend of eras and styles, where the past and present converge to create an innovative and captivating sound.

What’s next on the horizon for Olympe4000 after this EP, any other special releases or shows coming up you can share with us?
I will play at Fusion Festival in Germany this year, im super excited about it

Lastly, can you share with us an old gem you still love and listen to from your early years of discovering electronic music?
Steve Lawler – Rise In (Nalin & Kane Vocal Mix)

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MIXED BY/ Camion Bazar

Florent — Thu, 04 Apr 2024 13:05:04 +0000

French duo Camion Bazar come in hot off the back of a run of singles on their new ENEMY DANCE label.

Delivering an hour and a half of high octane House and Techno in their signature dynamic and energetic style.

INTERVIEW

Hello Camion Bazar, thanks for taking the time to talk with us here at Bolting Bits alongside your new MIXED BY? We’ve been enjoying the singles you’ve been regularly delivering on your new label ENEMY DANCE. For those yet to hear the label could you please tell them about the concept behind it and how you would best describe the sound it embodies?
The concept is to release one single every 1 or 2 months and remixes of these singles. Enemy Dance is because the released music on it, is so good, that even our enemies will dance. It’s a lil’ joke. But also the word “Enemy” stands for the fury that we have inside us.
It embodies a raw sound born from jam sessions, close to techno, sometimes with a touch of electro and sometimes with a spark of rave house.

So far we’ve been treated to original music from yourselves, Camion Bazar, which is a duo made up of Italy’s Benedetta & Frances’ Romain. How did you meet and form the Camion Bazar guise?
We were both living in France, 15 years ago. We wera having different lives, but this we had in common : the love for party. And music. And party again :)
We met at (suspense) a party! Actually an after-party at a friend’s.
Part of the Heretik crew was there, very loud music & more. In an instant, it was a match.
We started hanging out together every weekend, exploring the nightlife together and started to dream together about better parties, as the parisian vibe at that time was a lil bit boring. Sooner we started throwing our own events and after a few years we created Camion Bazar, which at first was a van/dj booth. Turntables, sound system, loads of vinyl and scenography : we had our own floor on many events and festivals. And then everything evolved, years after years. We went from djs, to producers, musicians, label owners, curators, residents …

You’ve been on the road performing live as part of your ‘alteration’ tour and what we can see from videos online the shows are extremely dynamic, exciting and spontaneous. Can you talk us through the set up, how the live show comes together and what have been some highlights so far?
Creating a live show seemed natural, since Romain is also a drummer, a bass guitar and a guitar player, not bad with the piano & other instruments. He also had a fusion psychedelic rock band, back in the days. After a few years of production, we had enough content to create a live set. We already had some hardwares and we bought a few more (our set up is : TR8S + MS-1 + Minilogue + Bass Station + drum pad + 2 mic + many effect pedals + a clone of the TB303 + guitar + Ableton to centralize everything). It was inspired by our last EP “Alteration” house and techno stuff but with a hint of psychedelia. So the live act also have a story : it’s about a person doing acid at a festival but for once, s.he forgot about the fun and after some strong hallucinations, s.he started to look and feel the nature all around. And to actually care about it, its importance and then mixed feelings came up : happiness, but also sadness for the climatic change and then fury for all the bad political decisions against nature, corruption & so on. And s/he decided to go violent and fight the power. This is a quick sum up.
The premiere as FEB 2023, and the tour ended a few days ago, MARCH 2024. It never stopped evolving, we changed the tracklist, changed the many phases of improvisation, some devices, some lyrics, also some instruments, our acting on stage, we gained some self-confidence. Our last performances were amazingly accomplished, and finally, we are proud of it. And can’t wait to be back on stage with a new one.
Highlights : the premiere of course, at la Machine du moulin rouge, in Paris, with all our friends and family.
Doing th elive at Fusion festival in Germany, fav place on earth, it’s the reason we believe in party and music and alternative society and that all of this is not just entertainment. But art, something deep, sacred, militant and how it can pass down very important values.
Pete the monkey, strong emotions and a turning point, the live set started to get better after that time.
360 sound experience for the Sound Biennale in le Mans, under a dome with a 360 sound system. Our best acting on stage.
Station last FEB, our own Voltage residency, great guests, sold out + after. Great perf.
Last one : electronic peak, in the mountains. The most accomplished.

We’ve been given a little insight into some upcoming happenings for ENEMY DANCE, there’s soon to be some remixes on the horizon of the singles you’ve dropped so far. Are you able to share any news exclusively with us on who we can expect to hear remixes from?
We have our forthcoming single ready for April, then we’ll be dropping the remixes every month (except for summer period). Starting from May. The artistic direction behind the remixers choice was : elegance, spirituality for dancefloors and no mega hands up in the air drops :) with a touch of gloom. Stay tuned.

W’ere also told that you’re in the midst of planning a new live show, entitled ‘Out Of Control’, an aptly hedonistic title for what we can imagine to be a continuation of your already wildly energetic shows. Can you tell us a bit about this?
Yes, we’re working on a new live show, actually an album + live show.
“Out of control” is our new “phase” :) The Alteration phase is over. Now we’re entering this new one, which will take place during spring and summer, not through the live act (which will be ready for 2025). But through our summer tour and DJ sets and event curating.
It will be messy, raw, with loud sound systems and great guests and performances 🙂

Any plans for a bigger project to showcase your wider range of influences like an album project of will you continue to stick to the singles format for now?
Exactly yes, album project it’s on its way!
We’re now into the creation time. More info coming soon. We’re touring a little less starting from now, to be more in the studio. It’s so refreshing, to be able to have different periods in the same year, every week it’s different from the previous one.

Any other live show/DJ related things you’d like to share with us?

To sum-up :
spring/summer : out of control tour with djing and party curating + remixes releases.
fall : Voltage residency will be back
winter : album release + live show premiere and tour

And lastly, can you leave us with one bright and blossoming track to listen to as we enter spring time?

https://www.youtube.com/watch?v=z6OxGVN95w8

Cet article MIXED BY/ Camion Bazar est apparu en premier sur Bolting Bits.