Medlar has come along way from his humble beginnings in the small town of Radstock, England. Since bursting onto the scene in 2011, Medlar has gone onto establish himself as one of the UK’s most promising producers after playing a pivotal role in the rise of legendary label Wolf Music.

Now residing in South East London, Medlar can be found spending his time jamming out while also searching for hidden gems at record stores like Rye Wax. We were fortunate enough to get him to compile a tape for our MIXED BY series in which he shares some of the sounds and melodies that inspired his upcoming release titled NRG on Delusions of Grandeur. Make sure to read our conversation with him below – where the artist talks about his childhood, his favorite shop that sells jerk chicken paninis, and more!

INTERVIEW

Looking into your past, it seems that you are a man of many tastes. From UK garage, to hip-hop and disco, it appears that you listen to anything that tickles your fancy. What would you say were your biggest influences in making your upcoming record for Delusions of Grandeur?
Italo disco and dub are 2 sounds which came through, I coincidentally discovered a place near my friend Johny’s studio that sells jerk chicken paninis around the same time, so I like to think it was a subconscious nod to that. (Thanks So Fresh cafe on Old Kent Road).

Although disco has always been at the forefront of the underground house scene, it seems that the genre has grown in prominence the past few years. As someone who made his name producing “deep house,” how do you explain the shift many producers like yourself are making towards more disco-centric melodies?
I think like many of these revivals it came from people gaining access to music that predated them, which was previously tricky to get hold of e.g. people like myself born in the 80s discovering disco since the emergence of youtube and filesharing etc. Now we have really young DJs who have an amazing knowledge of past music which I think is brilliant. House of course came from disco, and though it’s unrecognisable in some forms it’s not much of a stretch to include elements or samples from that era.

A major part of your current day success stems from the friendships you have been able to make during your times living in Brighton. I believe this is where you first teamed up with the label heads at Wolf Music Matt and Stu. Since I have never been to Brighton, could you describe what makes the house scene there so special? And what’s some of your favorite music coming from the city at the moment?
I haven’t lived in Brighton for many years so I don’t have a great idea of what’s going on there now, though where I’m currently based in South London I’m discovering new stuff consistently, and from being lucky enough to help out at my local record shop/venue Rye Wax I’m witnessing first hand a lot of the new independent artists and labels in many genres. A quick look at the schedule for radio station Balamii.com for any given day is a pretty accurate representation of what’s going on musically in my surroundings right now!

Given all the time you have spent with Matt and Stu, do you ever see yourself getting into the same line of work as them? Would you ever want to run a label of your own?
I tried it a while ago and I think if I were to again I’d probably try a reissue label or something, licensing music which has become generally unavailable. If I ever hear friends have made tunes that I’d potentially sign I generally think a more established label would do a better job of all the necessary promotion etc. It’s quite a responsibility! My pals at Rye Wax have luckily started West Friends which is a nice outlet for any sweet fruits that result from jam sessions with friends. 

Before moving to Brighton, I heard you grew up in a little village between Bath and Bristol called Radstock. I also grew up in a small-town in America, and although I hated it as a kid, I tend to look back at it foundly in creating the person and professional I am today. What about growing up in Radstock made you the person and artist you are today?
I guess lack of distractions led to friends and I playing about with music from an early age, so am grateful for that for sure, as well as having access to nature which I took for granted at the time but really value a lot now. I would visit my dad in Essex near East London fairly regularly too which let me go to places like Boogie Times records (founders of jungle label Suburban Base Records) which was the most exciting thing ever at the time.

In a previous interview, you said you have tracks on your hard drive that are “pastiches” of previous eras. As an artists that dabbles in emulating dance music’s past, what do you make of the current lo-fi movement? What do you like and dislike about it?
I don’t know a huge amount of it if honest, part of it seemed to me to be a desire to create a new name for something, which of course happens every few years when journalists get bored. I’m a big fan of Ross From Friends though he’s outgrown any genre by now surely!

You appear to be quite the ‘crate digger’, finding a lot of your new music on discogs. What would you say are favorite records at the moment? Any newcomers you feel our readers should look out for in 2018?
Some of these aren’t so much newcomers but; Jay (Intergraded/Siren), Toma Kami, Elles, Weird Weather, Tom Blip, Living, Gigi FM, Ed from Balham, DJ Missed Delivery Slip & Gravy Boat Records

Although we’re a music magazine, we occasionally dabble in other subjects. When did you become a fan of West Ham United and why are they some of the most passionate in the EPL?
As a kid I’d go and see them or Bristol City as those were closest teams, my dad had grown up going to West Ham with his dad who was from Peckham where I live now so was a Millwall fan originally. Like all football fans they can be idiots and unfortunately West Ham have some absolute wronguns, though they’re nothing on their pantomime villain owners. Judging the current table of the NHL Atlantic Division league they’re the Canadiens of the *football world. * Yep

Jacob

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

The EP opens with “Son Of A Slave”, a deeply grooving and moving throwback to heyday͛s of funk. The multi-layered groove will call to mind the sounds of the 70’s, reimagined in a way thoroughly suited to the modern dancefloor. “1972” follows, a nod to the same era. It opens in a far murkier manner than ͚Son Of A Slave͛ and exudes a far more modern feeling than the opener. Before long, the irresistible African grooves join in and get your head and shoulders swaying and bobbing. Keys join in and plant a firm smile on your face. This is the other side of soul music.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-de-gama-star-buk-samosa-records”]

De Gama closes off the EP with ͚”Star-Buk” and some handheld percussion. Funky guitar follows in before the big synth and kick join in. Where can the groove go next? The bassline answers this question by taking it into outer space. “Funktastic” it does what it says on the tin.

Cet article De Gama – Star-Buk [Samosa Records] est apparu en premier sur Bolting Bits.

Astropical Tapes have been putting out great music since 2015. Straight out of Poland, label boss Marcin Krupa has created a great vibe around this vinyl-only outfit. Other than the high quality of music they put out, the artwork to each and every release also matches that high standard. An attractive trait of the label is the diversity of genres they are home to. ASTR001 consisted of some amazing electronic sounds, an EP we definitely recommend checking out! Then, ASTR003 saw some Hip-Hop flavour introduced to the catalog, along with deep house vibes that then followed into the next release. Which now brings us to ASTR006 with the sound that everyone loves, disco house.

[soundcloud url=”https://soundcloud.com/boltingbits/tech-support-taking-it-back-astropical” /] 

Brand new material coming out of Astropical Tapes in the form of ‘Spring Edits EP’ from disco house up-and-coming star Tech Support (soundcloud). This vinyl will be a hot release with only limited copies being made available. The EP contains 4 wonderfully produced disco edits ranging from smooth groovers to dancefloor thumpers. Today we have the pleasure in premiering the first track on the release, ‘Taking It Back’. We always enjoy listening to Tech Support’s signature percussive drums and this is where this great track starts off, before that beautiful classic disco sample starts to filter into our ears. The bells and stabs floating around give the track great warmth, width and perfectly compliment Air Power’s soft vocals as they cut through the mix. But perhaps the most satisfying thing about this piece of music is the divine cinematic strings that uplift the whole song.

Adam R.

Cet article Tech Support – Taking It Back [Astropical Tapes] est apparu en premier sur Bolting Bits.

Dimitri From Paris (soundcloud) is the French/Turkish disco don responsible for some of the biggest edits around. His recent compilation for Salsoul proves he is held in the highest regard by some of the originators of the genre. Together with DJ Rocca, their Erodiscotheque series has been running intermittently since 2011 on Gomma Records. Gomma is a German mainstay created by Munk & Telonius.

The premiere we proudly have today is from the compilation ‘Gomma Disco Jams Vol.1’ and the track is entitled Ero Disco Theme, an ode to their Erodiscotheque series mentioned earlier. A 4 track EP of varying styles, this track is the most disco orientated one of the bunch.

[soundcloud url=”https://soundcloud.com/boltingbits/dimitri-from-paris-dj-rocca-ero-disco-theme” /]

It starts with a classic drum and bongo intro, building swiftly into zaps and a funky guitar lick. It doesn’t take long for the bassline party to start, closely followed by the swelling synth chords. This is a full on disco workout, high energy, minimal breaks, vocoded whisperings and drum rolls aplenty. It also features a belting synth solo, can’t help but picture this being played in the sweatiest of sweaty discos back in the day. If you want to play something that sounds familiar but new then this is for you!

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Lee

Cet article PREMIERE : Dimitri From Paris & DJ Rocca – Ero Disco Theme [Gomma] est apparu en premier sur Bolting Bits.

Switzerland, the home of flashy one-handed backhands (cc: Roger Federer & Stan Wawrinka), snow capped mountains and more recently a new dance connoisseur in Ecar (soundcloud).  Wasting little to no time, Ecar has kickstarted his musical journey on his very own label Royalties Rates Records (R R R).  We’re constantly putting pen to paper on unique dance cuts from all across Europe but very rarely from this region and boy do these four tunes spell promise for what’s ahead!

Not much is known of Ecar at this stage but what we do know is that he is an individualistic artist, a sole trader who has always written music by himself. Some may find this a little introverted but for him it has instilled a real sense of ‘DIY’. Having the ability to apply and deliver your craft without the assistance or meddling of others can be a golden attribute in music. Ecar tells us that the reason for Royalties Rates existence is simply to become another voice in the beautiful conversation that is club music.

 

[soundcloud url=”https://soundcloud.com/boltingbits/ecar-diana” /]

 

And what a nostalgic dose of club music we receive on the A1 “Diana”. Compressed drum breaks kick hard as we’re quickly introduced to a twanged out synth scale that sounds as though it’s recorded straight from an 80’s house party. Unsuspectingly so, the sweet tones of a Diana Ross vocal from ‘It’s Your Move’ enter the fray, alongside a scuttling drum machine, propelling the tune into a swell of positivity.

The two B sides on the record speak more to the modern late night. In particular, on “Untitled Waves”, Ecar shows a deep knowledge of the acid genre, taking listeners on a beautifully eerie journey.  Tech stabs roll over ethereal synth patterns as the Suisse fellow takes us somewhere else… It’s like diving head first into a dank rave scene of cinema, you don’t recognize anyone around you yet you’re in rapture regardless.

From what we’ve heard on the inaugural release from Royalties Rates Records and its head honcho Ecar, there can only be further class audio to come. Only 300 of these gems will pressed, so don’t sleep and get your pre-orders in.

Welcome to R R R!

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Will

Cet article PREMIERE : Ecar – Diana [Royalties Rates Records] est apparu en premier sur Bolting Bits.

Brooklyn-based label Razor-N-Tape have maintained a certain prolificness over the last few years that has raised them to royalty status in the disco game. The imprint’s formula is simple: straight-up, party-rocking edits for their RnT Edits line, and more house-leaning deep grooves for their Reserve sublabel. In the latest entry in the Edits series, we have a tasty little EP from Ron Bacardi, which is the disco and house alias of London-based techno hotshot Ben Sims.

Young Ones had the privilege of premiering the roaring soul of “Back for More” – the A1 track – as well as conducting a nice little interview to accompany the track. It’s a big, uptempo disco track with quite a bit of beef and bounce to it and some glorious brass and vocal snips. Accompanying the cut on the A-Side is the twangy “Circles”, which laces some rockin’ guitar loops into sweet brass-led hooks.

On the flip comes our premiere for today, “Let The Music Play”. Again, Mr. Bacardi brings the uptempo disco feel. However, this time the styling leans more jazz funk via a seriously chunky rework.  The edit focuses in on the more mesmerizing aspects of the original; with repeating funky riffs, a big time bassline, and a soaring synthesizer looping and layering to great effect.

[soundcloud url=”https://soundcloud.com/boltingbits/ron-bacardi-music-play”/]

“Never Dance” provides the finale for the EP. Some seriously groovy percussion sets the table for supremely tasty disco soul action.  It’s a nice package of disco flips that are all highly playable and intended for dancefloor work. Then again, that’s exactly what should be expected at this point from an RnT Edits EP.  Disco jocks will surely be all over this one, and it’s a nice edition to the Brooklyn crew’s already quintessential catalogue.

The Ron Bacardi Edits EP is available now at major wax retailers. Give it a go on Juno!

Martín Miguel

Cet article PREMIERE: Ron Bacardi – Let The Music Play [Razor-N-Tape] est apparu en premier sur Bolting Bits.

New York City disco party freaks Kaviar Disco Club are planning to inject their flavor into the vinyl game. The label (which shares the same branding as the event collective) is kicking things off with a four track V/A showcasing cuts from Philly and NYC based producers, including Jacques Renault of Let’s Play House fame, as well as Matpat, Evan Michael and co-founder Higgins. The imprint – both for this release and going forward – aims to curate slick, New York style disco vibes from regional producers.

For today’s premiere, we take on Jacques’ “You’re Gonna Want Me Back”. It’s NYC disco all the way, with the neat edit of Delia Renee brandishing a silky string section and funky bass and guitar licks reminiscent of late 70’s/early 80’s disco/postdisco jams (think Solar and Prelude). Renault bumps the tempo and bolsters the drums to a house-ier fit for his flip, cleverly teasing in vocals while maintaining extended instrumental sections as the focus. It’s a tasty cut that’s sure to sit nicely as a later night groover.

[soundcloud url=”https://soundcloud.com/boltingbits/jacques-renault-youre-gonna-want-me-back”/]

The remainder of the EP is equally solid. Matpat’s soulful “Searchin'” rounds out the A-Side with a vibey and cleverly-chopped arrangement suited for warm, breezy evenings. On the flip, Evan Michael takes things to boogie territory with “Just Like That”. A mean bassline gets looped and filtered nicely before bringing the disco house arrangement into full swing, with vocal snips and saxophone being sprinkled smartly on. Label bossman Higgins handles closing duties on the record via “Goodtimes”, a groovy clav and synth-led slammer with an irresistible electroboogie bassline.

All four edits on the release are expertly orchestrated for maximum effect on the dancefloor. If you’re looking for well-curated, feel-good and beefy four to the floor jams: well, you’ve found the right record. KDC001 hits stores March 6th at an array of major vinyl retailers. Jump on it!

Martín Miguel

Cet article PREMIERE: Jacques Renault – You’re Gonna Want Me Back [Kaviar Disco Club] est apparu en premier sur Bolting Bits.