After signing artists such as Rick Wade, COEO, Rhode & Brown, Tilman, Marc Brauner and Art of Tones, receiving plays by Moodymann, Jamie XX, Disclosure, Jamie Jones, Mousse T, Michael Gray, Melvo Baptiste and reaching the sales charts of every major music outlet regularly, theBasement Discos is a label you can hardly have missed if you’re into House and Disco.

The guys behind the prolific label from Valencia, Spain, have been working non-stop since the label’s relaunch in February 2019 and now present their 100th release with the apt name “ONE HUNDRED” and catalog number TBX100.

For this special release, the label with the walking house mascot has invited 10 label regulars to provide a track. Among others Larry Houl, Bernardo Mota, Jazzman Wax, Jesusdapnk and Infrasoul have contributed strong tracks between Deep House, energetic Nu Disco and Jackin’ House which will definitely get you in the groove!

Stay tuned for what’s to come, as theBasement Discos have no plan to stop anytime soon!

Pre-order.

text has been provided.

Cet article Jesusdapnk – Until The End [theBasement Discos] est apparu en premier sur Bolting Bits.

Order here.

https://youtu.be/QA8_6s3bzso

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INTERVIEW

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Hi Ludo! How are you and what have you been up to the past few months?

Hi Fred ! I’m good, I’ve been mainly working on remixes lately, still a lot of remix requests coming in my mailbox these days. I’ve also been composing a few original tracks.

Have you noticed a spike in productivity or a lack of motivation (or both)?

A lack of motivation, definitely! But I’m not freaking out, I know I usually go through creative cycles. I can produce music 10 hours a day for 8 months then feel a bit uninspired – that’s usually the right time for recharging the batteries, stop a for a little while, reading, doing something else… Right now, I know it’s impacting my long term projects more than my daily composing routine.

What does dance music mean to you now that there are no dance floors

Well, that’s the thing : what’s the point in making dance music if you know people can’t dance to your music ? I’ve got a few Art Of Tones tracks ready but I don’t feel like releasing them right now. When you spend so much time on a track, putting so much effort in the composing, editing, mixing, you don’t want the track to be forgotten after a couple of weeks.

You are located in the south of France in Perpignan. An area not particularly known for clubbing. Did you feel isolated without the travels and being able to connect in person with fellow producers?

Travelling usually brings some fresh air in my life. There’s no proper club or bar, or electronic scene where I live, and I usually gets my inspiration when travelling abroad… when you travel and dj in a busy club in Italy, UK, or Asia, and you play your own tracks, you can feel that what you’re doing on your own, in your studio, is worth it. I’m a lonely person, I like to spend time on my own, making music in my studio, and travelling breaks this deadly routine.

In the past few years, we’ve gotten used to a more disco side of your production. This showcases a more electronic side to your production. Can you tell us more about your new EP Thunder/Secousse. What was the inspiration behind each tracks who bare a similar theme?

Thunder was composed a couple of years ago, but at the time I wasn’t happy with the mix and the whole sound. I played the bass with my Model D and mixed it again some months ago, and I thought it’s a good track because it’s different from the stuff I usually release. There’s still this disco element with the beat, but the rest is very electronic. When I composed it, I thought of the music I:Cube was making 10 years ago, but I also thought of the early Innervisions sound for the electronic and melodic side of the track.

What equipment was key to the sound of the ep?

The bass was done with a layer of Behringer Model D and a layer of Diva plug-ins. I think some of the chords were done with a Juno 106 one of my friend lent me one for a few months. The rest is done with software and plug ins. I’m more a software guy than a synth freak. The track was mixed again with the Neve 8816 summing desk I bought last year.

You’ve done a few EP and remixes for us already, what does Lazy Days mean to you and do you feel you can express yourself creatively differently?

First, to me Lazy Days is YOUR label, so it means it’s my friend’s label! I usually keep the most electronic tracks for Lazy Days because, well, I guess this is how I see Lazy Days : an electronic, elegant deep house label. The good thing is that it enables me to compose or release different music – I’m trying not to focus on the “disco” elements with my lazy days releases, and rather focus on the “electronic” element. After all, that’s what this Art Of Tones project was supposed to be in the first place with my early projects on 20:20 Vision! And I’m proud of the different stuff I’m releasing on Lazy Days – recently some friends told me they heard “Elephants”, they didn’t know the tune and they loved it – they seemed positively surprised. I guess it’s a way to showcase another side of my music.

Thanks for the kind words indeed! Now, tell us something we don’t know about me

You’re secretly in love with me and wanted me to move to Canada.

You know me all too well. Now tell us something we don’t know about you.

Something about us maybe : we call each others funny names on the phone or in the messages :-) Patate, Patatos, cocovin… it’s usually food-related nicknames, go figure! Currently it’s “cocovid”.

I’m sure people will find these anecdotes super interesting…or not! We share a love for wine, how many bottles of wine have you drank during confinement?

Hahahah a lot! You know we both are natural wine lover, and you know I drank a lot of natural wine during lockdown, especially when my girlfriend was at my place  as we couldn’t do “apero” with friends, we were doing “apero” together.

Apero is my wife’s favorite word, so I can dig it! Any Séries, books, movies, albums that kept you busy and, any recommendations?

Movies : “Uncut Gems”, “Cet obscur objet du desir”, “Katie says goodbye”, “Teddy Pendergrass : If You Don’t Know Me”, “Les Miserables”, “Portrait de la jeune fille en feu”, “Ne croyez surtout pas que je hurle”

Series :”I know this much is true”, definitely one of the best series I’ve watched. I’ve also watched “The Deuce”

Albums : Resavoir “Resavoir”, Cleo Sol “Rose In The Dark”, Ludivine Issambourg “Outlaws”, Altin Gun “Gece”, the “Africa Airways 6” compilation

Books : Didier Eribon “Retour a reims”, Echenoz “la vie de gerard fulmar” , Fabcaro “Open Bar2”, Marc Endeweld “Macron, Le grand manipulateur”, Emmanuel Todd “La Lutte des classes au 21eme siecle”, Pastoureau “Le petit livre des couleurs”

Interview by Fred Everything

Cet article Art of Tones – Secousse (Fred Everything Remix) [Lazy Days Recordings] est apparu en premier sur Bolting Bits.

Cet article Goddard – Almasti [De La Groove] est apparu en premier sur Bolting Bits.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-llorca-wonder-why-fred-everything-extended-space-edit” /]

Cet article Llorca – Wonder Why (Fred Everything Extended Space Edit) [Lazy Days] est apparu en premier sur Bolting Bits.

The fourth EP in Whiskey Disco spinoff Lovedancing‘s catalogue comes courtesy of Israeli duo Rabo & Snob (soundcloud) (themselves regular contributors to WD). R&S, which consists of DJ/Producers Obas Nenor and Eyal Rob, is best known for their sneaky re-edits of the global disco variety, often leaning heavily on Middle Eastern sample material. The Yawumna EP shifts the sonic focus to West Africa, building on a trip taken to Ghana and seamlessly integrating collaborations from local musicians.

The title track, which sits on the first groove of the record (and was the target of many an ID request during Obas Nenor’s Boiler Room set last year) is a haunting mid-tempo groover featuring Soma. “Yawumna” mixes together a pulsating dark bassline with exquisite string (kora, to be exact) and vocal work.

[soundcloud url=”https://soundcloud.com/boltingbits/rabo-snob-yawumna-art-of-tones-remix”/]

For our premiere today, we have French producer Art of Tones remix of the track. An increase in tempo and added afrobeat flair repurpose the cut for slightly brighter and funkier moods. It’s a slightly looser take, integrating an analog bassline, tasty rhythm guitar (wah-wah included) and playful, sustained organ riffs for added fun.

On the B-side “Ifa” (featuring the vocalist Azizaa) is a slice of mean, afro-house badness, with Jacques Renault contributing a slicked out dub version. All of this makes for a nice package of two great originals and two purposeful flips from established vets in the house game. The Yawumna EP hits record stores on May 12th for those needing to scratch their afro house itch.

Martín Miguel

Cet article PREMIERE : Rabo & Snob – Yawumna ft. Soma (Art of Tones Remix) [Lovedancing] est apparu en premier sur Bolting Bits.

Après avoir passé une grande partie de son adolescence à s’initier à la production, c’est en 2012 que Harry Wolfman a réellement commencé à intégré la communauté house et techno.
Les premières sorties notables commencent à voir le jour alors qu’Harry impose rapidement son style et pause sa signature sur plusieurs EP produits par des grands noms tels que Ben Pearce via notamment un remix de “What I Might Do” ou “Inside my Love” de Magic Eye sur le prestigieux label new-yorkais Strictly Rhythm. Constant quant à la qualité de ses productions et s’appuyant sur son large spectre musical, Harry nourri chacun de ses EP et remix d’une saveur toute particulière : Hip Hop, Jazz, Funk, Soul ou encore Disco tout style musical est pour lui une source d’inspiration.
Rapidement ses EP sont remixés par des pointures tels que Ben Pearce avec “Booty Call” chez Lost My Dog, ou encore Kickflip Mike et The Revenge sur “Skinny Love” chez House Of Disco Records. En mai dernier, il signe de nouveau chez les londoniens de House of Disco Records avec “Hod Stash 2” mais cette fois-ci aux côtés de Art Of Tones (à écouter : MIXED BY/) pour un EP aux saveurs disco et deep house. On peut également le retrouver sur la compilation du label Dirt Crew Recording avec une coproduction aux côtés de Laurence Guy (à écouter MIXED BY/).

Dans ce nouveau volet MIXED BY/, Harry Wolfman vous fait découvrir les multiples facettes musicales de sa personnalité, du hip hop à la techno, laissez vous porter par ce fin mélomane pour une douce escapade auditive.

[soundcloud url=”https://soundcloud.com/boltingbits/harrywolfman” /]

 INTERVIEW

Could you introduce yourself to our readers who might not know of you yet?
I’m Harry. I live in London and I try and make music that I like. My surname really is Wolfman!

 How did you get into DJing and Producing?
Well I was always into music as a kid, I started dicking around with computers in my early teens, making weird hip hop edits and electroey stuff… really shitly with Garageband and later Logic. Then I started going out a lot and got really into drum and bass, we got some decks and so started playing and trying to make that… pretty shitly. Then there was a good bout of shitty breakbeat, then electro house, progressive house, techy stuff, bit of dubstep…. all pretty shitly…. by the time I turned like 19 I started trying slower deeper house and some techno, influenced by my more deep-seated influences in funk, soul, r and b, hip hop etc. and since then just been enjoying exploring that and playing this sort of music out at parties. I’ve always been more of a neeky producer than DJ, as much as I LOVE DJing and records, I’m no expert digger like many of my friends.

Who/What are your main influences?
I have an itch for funk, and I love a lot of jazz funk fusion stuff too… soul, disco, newer contemporary soul, hip hop and sometimes ambient stuff. This is often my go to leisure time music, or what I listen to on the move. I also love books and movies, bit of a science fiction geek… I like cosmic themes and sometimes try and feed this into what I make and play.

What was your first mixing set up?
Erm… I think we did ok actually, me and my brother had a couple of CDJ1000s and a little Pioneer mixer. I got into vinyl later and added a turntable to the equation.

What’s your state of mind when you start producing/recording?
I always try and make music with as little thought as possible. I find a sound or a sample or a break or whatever that I like and I let my instincts dictate what to try. I find this the funnest approach… is especially fun when jamming with friends.

As a huge fan of Ben Pearce’s What I Might Do record (including your brilliant remix of course) I have to ask you what was your vision when doing your remix?
Thanks! Erm, I didn’t really have a particular vision with that one. At the time Ben asked me to do it I was messing around with that sort of deep but quite up tempo thumping sound, I had a jam with the vocals and must have finished the remix in an evening I think. Maybe a few tweaks after.

3 months ago, we had the pleasure of interviewing Laurence Guy. The two of you are known to collaborate with your latest coming out 2 months ago, can you tell us how you guys met and how you decided to work together?
Yeh me and Laurence met at music college in Guildford. We did the same production course and were into the same kind of music, going to the same sort of parties in London. We had a sorta similar background in tastes too, he was really into drum and bass like me and we seemed to discover 4 4 stuff around the same time. We went out, got battered a few times and shouted at each other that we should make some tunes and have been doing that since basically, we lived together for a while and now he’s just up the road living with Joel John.

 What’s the main idea behind your’s and Joel John’s Olerton project ?
This is a fairly new venture from myself and Joel John, formerly Jouhl. We’ve been working together for years also and started to get really into harder, rougher techno a couple years ago. The Olerton project is just an outlet exploring some of those ideas. We get together and record a lot from the gear they have at Joel’s place… it’s a chance to just kinda rip loose a little bit and indulge.

 What is moving you these last months? Any recent crush to share with us?I’ve been enjoying listening to a lot more hip hop that I hadn’t for a while as well as the usual jazz and funk… loads of Lonnie Liston Smith right now. DJing wise I’ve been enjoying playing a lot of disco, this classic Larry Levan edit’s been working great for me….

[embedyt] http://www.youtube.com/watch?v=kLhhr3TFKA4[/embedyt]

 What are you working on right now?
First up I’ve got a remix of the Fouk lads due out digitally with House of Disco in January. I’m just wrapping up an EP with Loz Goddard for Dirt Crew Records, that’ll come out early next year with a Brame and Hamo remix. I’ve also got an EP with Purple Velvet’s Secret Reels due out soon after with Laurence Guy on remix duties. Aside from that, several other EPs in the works, various collaborations, lots more Olerton and a fair few gigs :)

Interview par : Mathieu Mérard

Cet article MIXED BY/ Harry Wolfman est apparu en premier sur Bolting Bits.

Mad Mats & Tooli are two of the top representatives of Stockholm House scene where they started as Djs and club promoters.

In 2011, they founded Local Talk based on their love for House music. Through years, Local Talk grew up and eventually became one of the leading house label at the moment. By releasing acclaimed EPs from artists such as Art of Tones, Fouk!, Henry Rodrick, S3A and many more, their upcomming releases are now eagerly awaited.

Always hyperactives, Mad Mats & Tooli also created two sub label of Local Talk named 1nce Again and OneOffs. The first one is born with the idea of bringing back « 1nce Again » old gems and house classics. The second one consist of Various Artists compilations of Local Talk’s artists. Recently Tooli also start Omena Records with a new vision, exploring different formats of music…

This friday we will have the pleasure to receive the two friends at Le Bleury Bar for an amazing house night. With this occasion, we asked them a few questions they gladly accept to answer to, in order to warm you up for friday

How did you guys meet? What gave you the impulse to create Local Talk together ?
Tooli : Stockholm is not that big and both of us have been doing club nights, playing records and have some friends in common so you tend to meet the people ”in the scene” eventually.

Late fall 2010 we had a few meetings talking about working together. Mats had already been working with Raw Fusion for many years and wanted to do something new, I wanted to set up a label myself so the timing was good. Early 2011 we had our first Local Talk office and started working on the first releases.

@Tooli : A couple of months ago we made a review of the stunning Henry Rodrick’s Daybreak EP released on your young label Omena. What was your main idea when you created Omena ?
Release music with artists that have a strong identity within their music, not compromise, explore different formats. I think it’s been very exciting so far, also I really enjoy working with Ivo who creates the label art, It is a very important part of the label.

@Mad Mats : I read on your bio that your were a break dancer before you Dj’s debut. How did you get from break dancing to being a DJ ?
Well, I more or less started DJing at the same time I begun my b-boy journey. It was synched with the whole hip hop movement in the early/mid 80s.

You’re in the game for quite a long time now. What do you think about the movement’s evolution ?
Mats – Back in the day the clubbers were not so many and not that eductaed in what club culture is all about. Nowdays everybody is aware of the club culture boom and travels to Berlin and other party cities to experience 24hr dancing which is kind of cool. The bad thing is that the actual music very often gets lost along the way. There is way too much club music around that simply lack the music or an honest/personal approach to the art ( !) of DJing.. Anyone can play big bangers (and get away with it) while a very selected few DJs plays what they actually like and dares to go through with it.

Tooli – I think it’s great that there’s new labels out there, people producing and it’s pretty easy to stay in touch with what’s happening around the world, getting inspired but as Mats wrote – the actual music do get’s lost sometimes. And all this 12″ Vinyl Limited Edition Hand Stamped only pressed in 7 copies discogs mega expensive house edit bla, bla, bla…I don’t get it.

All of your projects or at least the most part of it, are connected to house music. How did you fall in love with Chicago’s child?
Mats – In the early 90s I went to NYC as b-boy, went to The Sound Factory bar and came back as a house head.
Tooli – Thru listening a lot to the radio and going to record shops.

How was the early house scene in Stockholm ? How is it doing right now ?Mats – Its basically the same as now. Loads of dull techno djs spinning dull techno or even more dull tech-house…its just energy up, energy down. I guess real house music is too complicated (= soulful) for the ordinary Swedes haha. But in the last year I’ve had a feeling that the house sound is gaining ground.

Tooli – I was not around when the early house scene started so I can’t say much but today…there’s def more techno played in clubs than house but there’s hope.

What are your main influences ?
Mats : Afro american dance music (and everything that includes)
Tooli : Anything with a good bassline and Swedish Fika.

What is your favorite place to play ? Is there one you dream to play in ?
Mats : I love spinning at my friend Paul Knights Better Days party in Manchester. Small, intimate, open minded, full of dancers and 100% soulful.

Tooli : I’d love to play at a venue called Gold Hits here in Stockholm. It’s always packed, the que is ridiculous on weekends and from what I’ve heard people seem really, really into the music and sing along to every track.

What were the last releases that blowed your mind ?
Mats : 3 Winans Brothers, Clarke Sisters – Dance (Louie Vega Mixes). Play it more or less every time I can and it always blows both me and the crowd away !

Tooli : A few days ago I heard Silhouettes (I, II & III) from Floating Points upcoming album ‘Elaenia’ and it blew me away. The Highlife World Series by Auntie Flo & Esa is brilliant and worth checking out, Those Larry Heard / Mr Fingers remixes of Kai Alce that came out recently is superb. Perhaps I should mention some techno since it’s been a hot subject here ;) Matrixxman released an album called Homesick a while ago and I really enjoyed it. It’s not easy to do an album and techno can be, as mentioned earlier a bit dull but this one is really good.

We’ll have the pleasure to recieve you in Montréal this september 18th. Do you have any words or intels to warm up our readers ?
Mats : Bring a good pair of dancing sneakers !
Tooli : no requests !

Thank you guys for your time. And see you Friday !
LINK EVENT : http://on.fb.me/1EvTmsU.

Cet article Interview avec Tooli & Mad Mats est apparu en premier sur Bolting Bits.

Arpentant la scène électronique depuis plus de 20 ans, Art of Tones n’est pas un nouveau venu dans le game. Il fait ses armes à partir du milieu des 90’s sous le nom de Llorca et se crée une solide réputation dans le milieu. En 1997, il est repéré par Laurent Garnier qui l’intègre à son label de l’époque : F-Communications. Il y signera plusieurs EP et Maxi remarqués, ainsi que l’album « Newcomer » en 2001 qui le propulsera sous les feux de la rampe.
En 2007 voit débarquer “Praise” chez 20/20 Vision, puis « Insatiable » chez Absolute Sound en 2008. Des EPs qui trusteront les charts spécialisés pendant plusieurs semaines, permettant au projet Art of Tones de prendre son envole et prouvant au passage que Ludovic Llorca n’a rien perdu de sa superbe.
Depuis, les EP à succès s’enchaînent que ce soit chez Room With A View, Defected, Lazy Days ou Local Talk pour « The Rainbow Song », le petit dernier sortit le 25 mai.

Quelques semaines après avoir chroniqué « The Rainbow Song » et à l’occasion de la sortie de sa Mixed By ; Ludovic Llorca a.k.a Art of Tones nous fait l’honneur et le plaisir de répondre à quelques questions. De quoi vous occuper les yeux à lire pendant que vos oreilles profitent de sa Mixed By.

[soundcloud url=”https://soundcloud.com/boltingbits/mixedbyaot” /] 

On peut lire sur ta bio que tu as commencé à toucher la production sur un Commodore 64. Tu peux nous en dire un peu plus ?
J’avais 13 ou 14 ans, mon père était informaticien et il m’avait déjà offert les premiers ordinateurs de personal computing : Oric Atmos, Amstrad CPC… et avec une bande de copains, on a rencontré quelqu’un qui travaillait sur le C64. Tout de suite, ce qui m’a plu, c’était la qualité du chipset et les musiques faites sur cette machine. Il y avait une vraie scène, avec des compositeurs, des graphistes, des codeurs… Je m’y suis mis assez tôt. J’ai appris tous les rudiments de la musique la-dessus, sauf qu’à l’époque on composait avec des « trackers », où l’on était obligé d’entrer manuellement le nom des notes sur des lignes (C-3, D#4)

Comment t’y prends-tu pour produire ? Certains s’enferment des heures dans un studio en y allant à taton et d’autres ont quasiment une track complète dans la tête avant même de mettre les pieds dans le studio. Tu pencherais de quel côté ?
J’essaye d’être dans la deuxième catégorie et de ne faire que quand j’ai une bonne idée. Ce qui est difficile, parce que quand je ne compose pas, ou pas bien, je culpabilise, je suis de mauvaise humeur, je me sens pas très bien. Je m’accorde assez peu de répit en général même si je me suis donné un peu de leste ces derniers temps. J’essaye d’être exigent avec ma musique (et un peu moins avec moi même:-)

L’intégralité de ton oeuvre est marquée par la musique noire-américaine. Peux-tu nous dire d’où cela vient ?
Très certainement de ma maman, qui écoutait beaucoup de soul, funk et disco à la maison quand j’étais petit. La présence de « bonne » musique à la maison était importante pour elle… pas question d’écouter du Michel Sardou ! Je me suis aussi rendu compte récemment que, étant né en 1974, les musiques de fond à la télé, les génériques de dessins animés de cette époque étaient de très bonne facture : beaucoup de jazz, funk, disco… cela a dû beaucoup m’influencer !

En 1997, tu signe ton premier EP chez F-Communication. Comment s’est passé la rencontre avec Laurent Garnier ? Quels souvenirs as-tu gardé de ce passage chez F-Comm ?
Bien, Laurent est quelqu’un de gentil et sociable, même si on le voyait peu au bureau de F Comm: il était très occupé. Je voyais plus souvent Eric Morand, son associé. J’en garde d’excellents souvenirs, je crois pouvoir dire que ça fait partie des plus beaux moments de ma vie. Les 3 maxis, l’album, les tournées et concerts a répétition… J’étais sur un petit nuage !

Passer de Llorca à Art of Tones, était-ce un besoin de repartir « à zéro » ou plus un side project qui s’est finalement transformé en main project au fil du temps ?
Les deux mon capitaine ! Même si le succès de Newcomer était très plaisant, je souffrais un peu de ne pas vraiment appartenir a cette scène House qui je côtoyais et que j’écoutais beaucoup. Après Newcomer, j’ai eu envie de faire de la House, mais j’ai senti que les fans de Newcomer ne l’entendaient pas de cette oreille, et que ça allait brouiller les pistes. J’ai commencé ce projet AOT qui est finalement devenu mon projet principal.

Tu travail aussi en tant qu’illustrateur sonore, peux-tu nous dire quelles sont les principales différences et difficultés comparé à ton travail de producteur ?
C’est un métier intéressant, ou l’on te demande d’avoir une palette de sons très larges, de savoir composer aussi bien de la salsa qu’un arrangement pour cordes. J’adore ça, c’est un exercice parfois difficile mais qui me fait avancer. L’art de savoir composer avec les désirs des différents clients et intermédiaires est primordial, tout comme la faculté de savoir exprimer en très peu de temps une émotion musicale.

Même si l’on peut deviner et déduire des influences à l’écoute de ton dernier EP et laisser place à l’interprétation, peux-tu nous dire quelles fût tes sources d’inspiration principales pour The Rainbow Song ?
Clairement Motor City Drum Ensemble et les Masters At Work. Le track était sans sample, ce n’est qu’à la fin que je me suis dit qu’il manquait quelque chose… Finalement, après avoir ajouté ce sample, j’ai complètement ré-édite le morceau autour de celui-ci. Ce qui est intéressant, c’est que le track est exactement le même, mais le sample lui donne un coté plus Black et plus joyeux.

On peut entendre ça et là que nous vivrions dans un age d’or des musiques électroniques. Toi qui es dans le milieu depuis le début des 90’s, quel regard portes-tu sur ça ?
Je ne sais pas. Je n’ai pas le même age, donc le regard est différent. C’est une très bonne époque, il y a beaucoup, beaucoup de bons disques, et surtout c’est une époque qui prouve que cette musique a su résister à l’épreuve du temps. Je trouve parfois les producteurs un peu paresseux, avec beaucoup de formatage. Mais il y a aussi de vrais génies (Max Graef par exemple)

Mis à part ton dernier EP, que nous avons chroniqué et adoré, aurais-tu un conseil d’écoute à prodiguer à nos lecteurs vis-à-vis des sorties récentes ?
J’ai beaucoup aimé toutes les sorties sur Outplay. Les derniers Adesse Versions sont dingues aussi ! Et je craque a chaque fois sur les edits super classieux de The Reflex – le Chaka Khan me fait beaucoup penser a du MAW. Dans le désordre : Shamir, S3A, Dj Vas, Frits Wentink…

Petite dernière, a-t-on des chances de te voir à Montréal dans un futur proche ?
J’aimerais bien, ça fait longtemps que je n’y suis pas retourné ! Avis aux promoteurs !

Merci pour le temps que tu nous a accordé.
Merci pour l’invitation !

TRACKLIST 

1. Eli Eskobar – Seeing You
2. Henri Leblanc – Jungle Juice
3. Michael The Lion – Any Time
4. ESG _ Moody (DS rework)
5. Art Of Tones – The Rainbow Song
6. Loz Goddard – Move It On
7. Beat Conductor – Caribbean Path
8. Exist – Lookin At Blue
9. Pools – One Of These Days (Thatmanmonkz Remix)
10. Venus Dodson – Shining (DS rework)
11. Guilhem Monin – Omen (Boo Williams Remix)
12. Homecore – In And Out
13. Art Of Tones – Damped
14. Franck Roger – Vibrayshun

Interview par Mathieu Merard
Graphisme : Manola Le

Cet article MIXED BY/ Art Of Tones est apparu en premier sur Bolting Bits.

Art of Tones. Sous ce pseudonyme se cache Ludovic Llorca. Actif sur la scène française et internationale depuis le milieu des 90’s, il sort son premier EP en 1995 chez Peek-A-Boo Records et se fera remarquer par le grand Laurent Garnier. A partir de 1997, ce dernier l’accueille sur son label F-Communication où il signera plusieurs EP ainsi que « Newcomer », album acclamé par la critique et le public en 2001.

C’est en 2008 avec « Insatiable » sorti chez 20/20 Vision que le projet Art of Tones sort de l’ombre et prend sa place dans les charts spécialisés. Après avoir enchaîné les sorties réussies chez Room With A View, Defected, ou encore Lazy Days, Art Of Tones nous revient chez les hyper-actifs de chez Local Talk avec « The Rainbow Song ».

[soundcloud url=”https://soundcloud.com/localtalk/art-of-tones-the-rainbow-song-12-lt060-side-a ” /]

Un SP qui se compose donc de “The Rainbow Song” et de son remix, un titre house sans compromis qui vous ramène tout droit dans le Chicago des années 1990. Samples vocaux, rythme funky, percussions légères et toujours en place, ligne de basse appuyée mais juste, tout ici évoque la house de l’age d’or, vous active inexorablement les zygomatiques et vous entraîne vers le dancefloor, le sourire aux lèvres. Le remix, signé S3A, est de très haute volée lui aussi et respecte parfaitement le matériaux d’origine pour y ajouter sa touche personnelle mais toujours en conservant l’essence même de la track original.

[soundcloud url=”https://soundcloud.com/localtalk/art-of-tones-the-rainbow-song-s3a-broken-stl-remix-12-lt060-side-b-2015 ” /]

On se retrouve donc avec un SP d’une qualité irréprochable qui va certainement faire bouger les foules et creuser les méninges des amateurs qui l’entendraient pour la première fois en club. Assurément un titre à surveiller de près et qui risque de devenir un des hymnes house de la saison.

Art of Tones- The Rainbow Song sortie chez Local Talk. Disponible le 25 Mai 2015 chez Juno

Écrit par : Mathieu Merard

Cet article Art of tones- the rainbow song est apparu en premier sur Bolting Bits.