Dirt Crew Recordings Archives ~ Bolting Bits

Petals In Sound – Lush (Pete Bandit Remix) [Dirt Crew Recordings]

Florent — Mon, 27 Mar 2023 13:05:45 +0000

This is the splendid deep follow up EP by our favorite Liverpool artist Petals In Sound. After her great label debut last summer where she already showed us her wonderful atmospheric electronic sound, she now continues on a journey through that same spaced-out house territory. “Dial Tone” and “Lush” are both laid back groovers that sooth every dancefloor and are perfect late, or better, early hours tunes to steer dancers gently towards sunrise and out of smoke filled clubs, homewards with warm musical memories of a danced and spaced out night.

“The Sea and Everything in It” is a personal fave here as it combines great percussive rhythms with her unique style, arpeggios and dark synths electronica, deep like a warm spring day. The outdoor raves will be a perfect setting for this one! Last we asked our other new label member Pete Bandit from Berlin to remix “Lush”. With his own debut “Wild Feelings” he already set the tone showcasing his expert percussive and driving house sound. Here again he turned the original into a loopy “New York House” style jam with cool funky drums that fit in perfectly with the other tracks and make this whole EP a tight and delightful package. Enjoy!

Pre-order.

https://youtu.be/U3DXOv8NcNo

Petals In Sound – Lush (Pete Bandit Remix) (https://youtu.be/U3DXOv8NcNo)

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Dan Only – It’s Inside You [Dirt Crew Recordings]

Florent — Tue, 20 Oct 2020 13:04:44 +0000

Dan Only returns for his third release on Dirt Crew Recordings with his “Deciduous Dubs EP”. This release sees the Toronto-native continuing to explore new musical territories, leaving behind the past to rebuilt his framework from scratch. Armed with Akai Samplers, 90s Romplers and some tried and true Roland classics, Dan explores sounds informed by Dubstep, Hardcore, House and Techno.

The release opens with “Gateway Shuffle”. The half-time drums and breakbeats harken back to early dubstep and reinforce the ghostly harmonies that glide throughout. Warping basses, deep subs and distant voices welcome you into this sonic world.

“Terraforming” gives you hope in the unknown. The digital pads wash in as the meandering melodies invite you to take a leap of faith out into the open. A deep sub emerges amongst familiar four-on-the-floor kick patterns, providing the foundation needed to lose yourself to the groove. By the end, you’ll be dancing across new ground in a trance-like state.

“It’s Inside You” gets to the root of it all. Stripped back and ever-evolving, the bouncing bass-line and shapeshifting landscape contort around you as this techno groover pummels forward. This one is heady and contemplative, inviting a sense of self-discovery on the dance floor.

We end our trip with “Macrodose”. Diving through twisting basses and breakbeat science, you’re taken deeper and deeper into the rabbit hole, much farther than you anticipated. There’s a stark contrast between the reality you once knew and the one you are now in. If you can push through the peak, you’ll be welcomed by a euphoric afterglow and renewed sense of clarity.

Pre-order.

https://youtu.be/27mo-7Z5cqk

Dan Only – It's Inside You (https://youtu.be/27mo-7Z5cqk)

the text has been provided by the label.

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MIXED BY/ Dan Only

Florent — Wed, 17 Jul 2019 13:01:48 +0000

Today we have the pleasure of hosting a mix and interview from Canada’s own Dan Only. Appearing on our radar back in 2017 with his debut release on New Kanada, he’s since blessed us with two further works on Berlin’s revered Dirt Crew Recordings. An eclectic artist who makes groovy house tracks one second and fierce electro-infused breaks the other, Dan Only is an artist who’s always kept us on our toes. Fresh off the back of the of his similarly multi-faceted ‘Fragments’ EP on Dirt Crew Recordings, we’ve had a chat with Danny about his musical past, future and everything in between.

[soundcloud url=”https://soundcloud.com/boltingbits/mixed-by-dan-only” /]

INTERVIEW

Hey Danny, thanks for taking the time to record this gorgeous mix for us! Anything you’d like to tell us about the mix? Any specific genre, mood or idea you had on your mind when recording?

I was looking to keep this mix as eclectic as possible. I didn’t want it to be driven strictly by four on the floor or be rooted in just one genre. You’ll hear it twist and turn, much in the same way that I like to approach my DJ sets and my production. I also wanted to showcase some tunes from some homies so there’s a couple sprinkled in throughout.

So how did you end up where you are? Care to enlighten us about your musical roots a little?

Music has been in my life in some way or another for a very long time, but I think my obsession with it all began when I started playing guitar when I was about 10. I was taking piano lessons prior to that but always hated classical training so I really pushed that off to the side. I was also fortunate enough to go to an arts school from a young age and that allowed me to play into my musical inclinations. I decided to stop lessons all together by the time I got to high school and then just remained self-taught. My biggest regret, hands-down, is not having taken piano more seriously and seeing it all the way through as a kid. That being said, my rudimentary knowledge has really lent itself well to my musical output – and as you can probably tell by most of my productions, I tend to lean towards melodic content rather than purely textural or percussive elements.

Electronics also entered my life quite early on too. I got my hands on a microKorg when I was 13 or 14 and that was my introduction to synthesizers. It could produce such a broader range of sounds than my guitar or bass, so I was instantly hooked. Around the end of grade 11 I became fascinated with the idea of production and started to mess around with Reason and Ableton. I blame Burial’s Untrue as the record that really made me want to produce. That record really captivated me and showed me the vastness that just one person can create. And now here I am – years later, many studio setups later, and still as naive and eager to experiment as I was, only with more technical knowledge.

I know that you’re very much into hardware, do you intend on putting that to use with a live show?

The idea of a live show has crossed my mind a couple of times, but it would mean I stop creating new music and focus on reinterpreting my existing material into a live context (this could be a good thing though as the vaults are getting too deep). The prep involved also seems to be a little too removed from the way that I generally tend to write my music so I’ve been neglecting it. I’m also destined to figure out a way of doing it without a computer so that less is in the way in terms of potential technological failures. The last thing I want is a computer glitching out on stage.

Another fear of mine is also touring with vintage hardware. I think I’d like to get my hands on gear that’s dedicated just for live use instead, but this is also just me justifying more gear purchases.

Despite my skepticism, if I were to do a live PA set in the near future it would consist of an Octatrack, an MPC2000XL, a mono synth of some sort (like an SH101 or 303 Clone) and something that could cover poly duties.

I feel like I’ve heard you mention other band projects. Could you tell us a little about those?

No real band projects of my own, but I’ve been lucky enough to share the stage with River Tiber in the past, as well as play with A l l i e for a couple of her live shows. Some of my recent studio output has also been more organic leaning and has relied a lot less on drum machines and synths and more so towards live production, and this is probably the closest I’ve gotten to a band project.

My studio partner, Gray Rowan, and I have also been working on stuff well outside the realm of dance music since we’ve started sharing a studio space, and we’ve managed to find an interesting middle ground. The first of these collaborative productions to see the light of day is A l l i e’s most recent single “Hi-Lite”. I’m hoping some more of our productions will be released before the year is out.

The studio has also been a revolving door of local talent over the last year so it’s been incredibly inspiring getting in the same room as different producers, vocalists and musicians. It’s really taught me a lot in terms of the countless ways you can approach music making and you’re constantly learning from every experience.

… but still – no band lol.

Your last release came out less than a month ago. It shows loads of variation, with blissed-out house cuts spanning one side while electro-infused breaks are on the other. What’s next? Do you think you’ll find and settle for any particular sound in the future?

Firstly, a huge shoutout to Dirt Crew for believing in those tracks. I was super excited when I sent over the demos and they showed interest in the full variety of sounds. I’m extremely grateful that they gave me an opportunity to showcase all of that on one release.

My sound has always been informed by a mix of House, Techno, UKG, Breaks & Electro and I think it’ll continue to be a mix of all those. My more recent productions are definitely getting darker, deeper & heavier though. But once again, different day, different mood, different output.

I don’t think I like the idea of settling into one sound. My taste for music is eclectic, and so is my hunger for production. I do think there is something that inherently glues all my work together, and whatever that is, I won’t be able to shake that, but I always like to approach my production with different intent or with a different production process in mind. Constantly switching up how you start an idea, or simply forcing yourself to use a certain piece of kit can help change up the sound and keep it diverse. I think I’m gonna keep hopping around for now until someone tells me to stop. I’m also just trying to keep the music making process fun and exciting.

Is deejaying something you enjoy? How does it fit in with your vision as a producer?

I do love DJing, but it’s something that I truly enjoy most when I’m getting instant feedback from a group of moving bodies. There’s something extremely special about sharing that energy and seeing people react that really does it for me. Even if it’s just one body on the dance floor, whoever is in on that journey with me, that’s the reward that I’m looking for.

DJing is also an opportunity for me to test out my productions on a sound system, so I do truly love it for that. I started producing after learning how to DJ with the intent of getting to play out my own music so why not leverage that – to me it’s a great way to welcome a group of people into my world, my influences, and my productions. It’s also a craft I’m still constantly working to improve despite the years of practice.

What do you make of the scene in Toronto?

The talent pool is fantastic and it’s a great city to create and collaborate in. The dance community is also quite small and tightly knit, but unfortunately, the city’s infrastructure really doesn’t have much tolerance or support for it. Sure there are a couple of clubs that put on dance music events on a more commercial scale, but all the real bookings and parties for the real heads have been taking place in DIY/illegal venues for the most part. As soon as we think we found a home for the community here, the city either catches wind of it, or manages to crack down on its viability.

So once again, great place to create and collaborate, but it’s not a place to be making a living out of dance/electronic music sadly – the economy simply doesn’t support it.

Favourite local venue?

To be honest, it’s the DIY spaces that bring the community together that I’m all about. They come and go but it’s where this music and community thrives most. Many of them no longer exist, and I would also hate to be the one that destroys their existence.

Favourite local acts?

Too many to list but here we go…

Electronic/Dance Acts: Nautiluss, Joel Eel, Ciel, Hemingway, Korea Town Acid, Raf Reza, Emissive, Sergio SP, Roberto, Smoke and Shadows, Block Univers, Immigrant Muscle.

Non-Dance Acts: River Tiber, Matthew Progress, A l l i e, AHKI, Young Clancy, Jaunt, Jonah Yano.

Favourite local food joint?

Zakkushi! I fucking love Kushiyaki. Nothing like Sake & Skewers for ya boi.

Got to write those down for when I’m about! To wrap things up, what are your top non-house/techno/electro music recommendations?

At the moment Thom Yorke’s Anima has been on repeat, not sure if that’s too close but I’m gonna list it anyways.

Otherwise, here are some forever classics in my opinion:

Bjork – Vespertine

Fela Kuti – Afrodisiac

The Mars Volta – De-Loused in the Comatorium

Marvin Gaye – I Want You

Portishead – Dummy

Stereolab – Dots & Loops

Buy Dan Only’s new EP here: https://tinyurl.com/DIRT119-Shop

Photography by Alex Mazanik (@a_mzng)

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S3A – Greed [Dirt Crew Recordings]

Florent — Fri, 03 May 2019 13:00:59 +0000

It’s time for some Dirt Crew action. This time the Berlin label showcase French artist S3A who is no stranger to Bolting Bits or to the world of electronic music production. With experience comes expertise, S3A has been producing for over 15 years and has released on the likes of Quartet Series, Lazare Hoche records, Concrete Music and Local Talk. He cut his teeth with a residence at Rex Club, Paris’s oldest and longest running club, before jumping ship to a regular slot at the three tier riverside club Concrete.

Today we have the pleasure of premiering the third track from the release titled Greed. The eleven track special is due out very soon in all good record stores. Greed is a smooth soulful number, coloured with vibey keys, loose but snappy drum breaks, shuffling hi-hats and to top it off some funk bass. It is very easy to get lost when making sample based music. You can choose a sample from any piece of audio that has ever been recorded and printed to wax or made available online. Samples can be taken from any era and from whichever corner of the plant you desire. The key aspect of sample based music is maintaining a unique sound. This is a key driver in S3As music and you can hear individuality all of this record.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-s3a-greed” /]

On the rest of the EP you can find tracks like “Fever”, “Friends, “Joint No. 5” and with similar all funk fuelled jams composed by Max, re-played and recorded again in several live jams with fellow musicians Nicolas Taite, Raphael Vallade and Pierre Vadon and edited in the studio by S3A afterwards, they breath this special Soul and Funk love Max got into by listening to “Masters at Work” and old Disco jams. The latter “Greed” has a special story, it is a cover of an early “Laurent Garnier” track that got reworked by “Avril” in the early 00’s, here Max wanted to present his own Jazz and Funk perspective on that same track.

The club stompers “First Day With Lucien”, “Lockwood”, “Clarence J. Boddicker” and “Leaving 19th” are the true party business on this album and range from Deep House to more classic edit style Disco tracks with live improvisations played on top of them. This is what made us love the S3A sound from the start and it has that unique cut up sample work Max is best at.

“Interlude for Marc”, “Obsession” and “Eaux Troubles” introduce a third vision of S3A’s musical universe. Cinematic, emotional and with an much more old school “Trip Hop” approach to them, in some parts even referring to 80s “Italo / Cosmic” and early French funk. These are some of our personal favourites on the album, especially “Eaux Troubles” is a 6 minutes dramatic string filled trip that is just the perfect ending to a beautiful album journey.

As a vinyl only bonus Max also added a very personal Intro and outro that consists of field recordings from his trips abroad and kids Eva and Bastien accompanied by Rhodes and strings recorded during the above mentioned live sessions.

Go check it out!

https://youtu.be/K0hz3BedNao

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OUER – Undine [Dirt Crew Recordings]

Florent — Tue, 05 Feb 2019 14:00:40 +0000

Since their 2016 debut, Ouer having been making serious waves in the realm of house music. Whether it’s through their own OUER imprint, or impressive releases on the likes of Heist or Neovinyl, Ouer have by now proved themselves as a name that’s definitely here to stay. Having released their last EP just three months ago, Ouer show no signs of slowing down as they kick off their 2019 with what might be their most inspiring EP to date: The Stingray Nebula EP on Dirt Crew Recordings.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-ouer-undine” /]
The Stingray Nebula EP features 5 tracks, ranging from the smooth percussive bliss of ‘Thales’, the emotional late night piano of “Inside”, to the etheric arpeggiations of the Stringray Nebula, this release spans a vast variety of genres and feelings. Our pick is the A side closer titled ‘Undine’. The most loop-based track on the EP, ‘Undine’ has an almost trance-like quality, growing and blossoming as it plays, it builds and builds until it erupting in a burst of energy. A party track and emotional experience both in one, ‘Undine’ is one “moving” track if we’ve ever seen one, both literally and figuratively!While staying true to their Chicago and Detroit inspired roots, Ouer have been consistently pushing their own boundaries, incorporating elements and sounds from a seemingly ever-growing arsenal of musical influences. Take a trip to the Stingray Nebula on us, we’re sure you’ll want to stick around!Pre-order the Stingray Nebula EP here.

https://youtu.be/s7mbQwK4t00

Alexander

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Deep Love 100 – Dirt Crew Recordings

Florent — Wed, 31 Aug 2016 16:00:34 +0000

Officiating since 2004, Dirt Crew Recordings has always been a fantastic resource for DJs and connaisseurs favouring a melodic, disco and funk influenced side of deep and classic house. To celebrate their illustrious and extensive history, another Deep Love Compilation will be unveiled for their landmark 100th release featuring fresh weapons from usual suspects and new contributors.

Hot on the heels of one of favourite compilations from last year, Deep Love 15, the double vinyl release Deep Love 100 delivers another batch of dancefloor burners – Detroit Swindle, who have a full length and several EPs under the label, kick things off on the A-side alongside newcomer Felix Leifur who made his first official release this year with the lovely ‘Sunday Club’ EP. Deep jazzy goodness is featured on the flip from Harry Wolfman, Huerta and Jun Kumoda, and playful arps, stuttering rhythms and cosmic analogue sound design continue the journey on the second disc with tracks from Nachtbraker, Marlon Hoffstadt, and Good Guy Mikesh. Closing the trip are ecstatic tracks from The Revenge, Ponty Mython and M.ono and Luvless – needless to say, the collection is already on pre-order from us at Bolting Bits.

Previews from Nachtbraker and Detroit Swindle are already online. Keep an eyes on soundcloud for the rest of the compilation.

With such a variety of incredible house producers from around the world, the double vinyl release, coming on September 9th, is sure to be a jewel in any house aficionado’s record bag. Continuing an already stellar year for Dirt Crew Recordings, Deep Love 100 drops on September 9th, and pre-orders are available now, don’t sleep!

Oliver

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Urulu – Greetings From Namek

Florent — Sun, 21 Feb 2016 17:34:08 +0000

Urulu – Greetings From Namek

Taylor Freels est un jeune producteur de house habitant près de Los Angeles, à La Mirada, une ville de banlieue relativement proche du centre-ville et de la plage. Son nom de scène, Urulu, n’a pas vraiment d’histoire – il l’a simplement trouvé en gribouillant sur un papier ce qui, musicalement, sonnait le mieux pour lui. Entré dans la musique électronique « par hasard », Urulu a commencé la production en 2011 en sortant un EP sur un label basé à Miami, petFood. En habitué de ce format, d’autres ont suivi, à l’instar de son EP sorti sur Dirt Crew Recordings en collaboration avec Steve Huerta, « 25 Cent Color ».

Le dernier en date vient de sortir sur Voyage Recordings, l’excellent et juvénile label d’Andy Hart, basé en Australie et fondamentalement coloré par l’utilisation de synthé dans la structuration des morceaux house qui en sortent. Un superbe EP d’Harvey Sutherland est notamment sorti sur ce label. Avec « Greetings From Namek », c’est la cinquième référence du label et la première d’Urulu sur Voyage Recordings. D’emblée, cette sortie inspire un sentiment de nostalgie pour tous ceux qui ont lu Dragon Ball Z – Namek est en effet la planète d’où viennent les Dragon Balls, objet sacré qui constitue la trame principale de l’histoire et que les héros cherchent pour invoquer le dragon Shenron, capable d’exaucer le voeu de celui qui saura le faire apparaître.

Tout l’EP développe une house définie par l’utilisation de nappes synthétiques aux relents planétaires – entre le soleil et la lune, au choix. « Orion » est un morceau à la base proéminente, et l’apparition des longues nappes synthétiques contribue à accentuer l’intensité de l’ensemble. « Night Tube », le plus dansant de l’album, est un peu plus conventionnel dans la galaxie house : une rythmique classique basée sur l’autorité droite d’un kick, une vocal bien sentie et, encore, une couche lointaine de nuées ambiantes. Comme son nom l’indique, « Lullaby » berce l’auditeur de ses petites touches de notes claires comme l’écoulement d’une eau de source en montagne. Une track parfaite lorsque les lumières d’un club confidentiel se rallument. Et « 9045XY », dont le titre correspond, pour le profane, aux coordonnées spatiales de Namek, consiste en un affrontement harmonieux de notes ascendantes qui se répondent entre-elles : c’est tout doux et légèrement contemplatif.

Le dernier EP d’Urulu est de bonne facture. On apprécie la référence à Dragon Ball Z qui, dès lors que l’auditeur en est connaisseur, permet d’appréhender l’EP d’une autre manière – celle qu’Urulu nous a évoqué, calmement.

Victor Taranne

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Deep Love 15, Dirt Crew Recordings en 15 ans

Florent — Thu, 03 Sep 2015 15:18:43 +0000

L’un des labels favoris de Bolting Bits cette année, Dirt Crew Recordings frappe fort avec une compilation massive de 16 morceaux, produits par certains des meilleurs artistes de House d’aujourd’hui, preuve de leur notoriété grandissante et de leur attrait universel. Bien évidemment, il s’agit du fruit d’un travail de longue haleine, entamé en 2004 par l’éponyme Dirt Crew (alias Hidden Spheres, à écouter!), un duo d’Allemands entreprenants. Avec une légion de producteurs brillants parmi lesquels on compte aujourd’hui Detroit Swindle, Brame & Hamo, Ben La Desh ou Mic Newman, ils ont depuis leurs débuts contribués à façonner la House des années 2010, dansante, fluide, et plus éloignée de l’électronique pure qui a reignée en maîtresse pendant la majorité des années 2000.

Une compilation pleine de beau monde donc, parmi lesquels on peut citer Kyodai, qui firent leurs armes sur Local Talk entre autres; Homework et leur excellent EP Conquered Enemies l’année dernière sur Wolf Music; ou Brame & Hamo que l’on ne présente plus, forts d’une qualité constante dans leur travail sur DCR comme ailleurs. On constate d’ailleurs avec plaisir que la part belle a été faite à des artistes déjà présents sur le label, comme Schmutz et son Peelers EP de 2015; Nachtbraker, fort d’un remix de Kito Jempere, lui-même sur DCR; ou encore les Mexicains de Soul Of Hex, dont une moitié (Sebastien Vorhaus) a contribuée à une alliance improbable avec le Lituanien Ponty Mython le mois dernier.

N’empêche, on est forcés de constater qu’un vrai travail de sélection a été effectué pour garder l’équilibre dans cette pléthore de morceaux, avec une mise en valeur judicieuse des talents de chacun. Mélodie hyperactive pour The Schrew de Laurence Guy & Harry Wolfman, atmosphère deep et rapide à la Soundstream pour The Long Way Home de Voyeur, ou lenteur progressive et grosse bassline pour Maybe One Day We Can Be Friends d’Edit Murphy. Qu’il s’agisse de pads évolutifs, de samples furieux, d’une B.O hédoniste ou d’un réveil de bonne humeur, Dirt Crew’s got you covered.

Pas besoin de plus pour savoir qu’on parle ici d’un investissement qui fera l’envie de vos collègues groovophiles en tous genres. Répartissant leurs 16 morceaux sur un disque vinyle de 5, ainsi qu’un CD de 11 (avec bien sûr une sélection vinyle à faire pâlir les meilleurs dancefloors), cette pépite est donc disponible en précommande sur le site Dirt Crew Recordings, ainsi que sur Decks et sur Juno. Sortie le 13 Septembre, agissez vite!

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Écrit par : Sébastien Lulin

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