‘What’s My Derivative?’, is the new label from London/Brighton-based duo Casino Times. Much like the radio show of the same name, WMD? aims to release music that explores the unusual spaces between house & techno, showcasing emerging producers and former guests of the show. Artists are invited to interpret the sound of the label as they see fit, giving them the freedom to explore different styles without the constraints of any rules. Profits from WMD?001 will be directed towards the Trussell Trust, an incredible charity that helps those most in need in the UK [trusselltrust.org].

WMD?001 kicks off with ‘How I Came To Find Myself’ from mul.apin. The Berlin resident sets the tone for the release by opening with a dramatic, hair-raising string sample. The track is brushed with gentle synth stabs and a distant melody that dances gracefully across this heavy hitter.

Up next is High Hopes, the mysterious producer that has not made an appearance, since featuring on Casino Times’ 2014 release on Wolf Music Recordings. High Hopes is a master of programming and the hypnotic ‘Mind Art’ demonstrates just that; a captivating blend of swirling pads and rhythmic elements that weave the listener through a dream-like soundscape.

London-based Baby Rollen delivers a real moment on the release with ‘Tyst Eufori’, a peak summertime boogie that skilfully deploys a washed-out vocal – perfect for dancefloors under the sun.

Finally, Casino Times closes the release with the psychedelic ‘Bloom’, a track that’s been a feature in Casino sets for a few years now, with big drums that were made with bass bins in mind.

Pre-order.

text has been provided by the label.

Cet article Mul.apin – How I Came To Find Myself [What’s My Derivative?] est apparu en premier sur Bolting Bits.

Hey guys, been a little while since we’ve heard new music from you, we’re stoked. Can we ask why there was this fairly long gap between releases?

Hey! We try to give ourselves a bit of time between releases to let our sound develop a bit before we share any new music.

We’re also not the kind of producers who can just knock out a track in one session; it takes us weeks of going back and forth, tinkering with different ideas before we start forming something that we’re happy with.

Our processes and the time we spend on each release, helps us to keep things fresh and ensures each release has a distinctive sound.

Plus we both work fulltime, so have to fit Casino Times around a 9 – 5!

How’d you hook up with Clandestino? We love their tastes and your output so was it fairly natural that a release came to fruition?

Thanks! We also love what Clandestino have been putting out.

Joe (Clandestino) messaged us after hearing the Recoded EP on Omena and wanted us to contribute to their podcast series. After this we got chatting over email and ending up sending him some demos. We had a fair amount of exchanges over email of different tracks and variations of tracks before we settled on a consistent ‘sound’ for the release.

We think our music and the label fit really well together, but we weren’t sure if we were aligning straight away with the sound we both had in mind.

We think the guys wanted more tracks like ‘Voices’ or ‘Simulation Bamboo’, but for us that sound belonged on Decoded / Recoded on Omena as it was almost a concept double release. This meant the tracks we were sharing with Clandestino had little to no reference to what have been releasing in recent years.

Joe has a great vision for the label though and working closely with him really helped us mould our ideas into complete release. This is why we think it took some refinement / time to workout how we could craft an EP that would reflect the direction we wanted to take our music and also fit the style of the label.

Can you tell us a little bit about the direction of this EP vs some of your previously released material? Would you say there were any huge changes for you producing the Seven, Eight, Zero EP?

This one has shifted more towards experimentation with different rhythmic patterns and brings some of our electroacoustic influences to the forefront. We originally bonded over working on electroacoustic production projects at University, so it has been refreshing to revisit.

The approach we’ve had on these tracks won’t guarantee them as certified club weapons (don’t pan the club tracks kids), but certainly makes the music a more unique listening experience and fits with us wanting to take a few more risks.

Are you actively cooking up more material or taking it easy and going with the flow, balancing life, etc?

It’s a work / life balance for sure. But that’s not to say we aren’t constantly tweaking away, digging up samples, or making new recordings.

Like any productive producers we’ll always have a library of music hidden away on a hard drive (or in the cloud if you’re up-to-date like we are), that is waiting for the right moment to fit a release and continue development.

If you are passionate about something you make the time for it in your life, so we always find the time to make music.

Do Casino Times have anything else planned for 2019, perhaps another Casino Edits?

We have some more music in the pipeline for this year that we can’t fully detail yet, but keep your ears to the ground! And we’re definitely continuing the Casino Edits series this year with CASINO005 in the works. Creating the disco arrangements in that chopped up style, is something we love doing and we’re excited about getting the next instalment out this year.

We’re also currently playing at a new residency at Five Miles in London. The nights called Outervisions and it is monthly live session blending electronics and instrumentation. Nick XOA is leading a band of session musicians each month and we’re DJing alongside a few names like Wayward, High Praise and Benito & Miguel E. Come down and say Hi to us if you’re in town.

Igor

Cet article Casino Times – A Vision of Time [Clandestino] est apparu en premier sur Bolting Bits.

This week’s premiere is the latest in the line of sublime disco and funk edits curated

[soundcloud url=”https://soundcloud.com/boltingbits/malcolm-b-casino-edits”/]

Malcolm (link) is the choice for their B-side cut. Based in Berlin via UK, John Malcolm Moore made his name as a member of the Tief Music crew, formerly one half of the duo Sisterhood and now putting out solo material with Banoffee Pies. His inspiration for editing this time around was sparked by the discovery of cheeky dial tones and voices within the intro of a late 70’s NY disco jam. Here he’s flipped it to sound much more steady and hard-hitting on the dance floor, with various percussions abound. Bongos, toms and chunky Linn drum-esque claps permeate the beat while girl groups swoon over top with harmonies. A male voice from afar whispers in “be with me tonight,” and suddenly the bass drops in sweeping in all the vibes and energy of the room (or more appropriately, loft).

This collection overall comes nicely paired for any party desiring that vintage touch and cosmic flair. Casino Times has released the beast from the box, letting all record collectors know where to find good, sturdy jammers ready to shake the foundation of any neighborhood disco. The release is dropping next week! You can buy it on Phonica Records here.

[embedyt] https://youtu.be/k3PzC5h0MQ4[/embedyt]

Evan

Cet article PREMIERE : Malcolm – B [Casino Edits] est apparu en premier sur Bolting Bits.

In their first official release (discounting the sweet, whitelabel

For our premiere, we’ve chosen “Simulation Bamboo”. The B1 track has an 80s electro inspired drum kit being layered with celestial and moody synth riffs and well-arranged strings. Perhaps the track title does a bit of foreshadowing in this case, as the piece contains an interesting combination of electronic and eastern colors. The song is at once both ominous and bright in mood, and could equally be seen soundtracking a roadtrip as much as it could the early AM segment of an emotional warehouse bash.

While its companion on the B-side, “Man Machine Interface”, is a bit more dark and mechanical – as the name would suggest, the A-side – which plays host to the hypnotic “System Transistor” and the wonky “Keyboard Warrior” – is certainly lighter in vibe. The release as a whole is a decidedly successful and intriguing collaboration between one of the most unique imprints on the house scene and an artist with an individually evocative sound.

[soundcloud url=”https://soundcloud.com/boltingbits/casino-times-simulation-bamboo”/]

Martín Miguel

Cet article PREMIERE : Casino Times – Simulation Bamboo est apparu en premier sur Bolting Bits.