“My creativity is constantly ebbing and flowing. I go through months of experimentation, learning new tools, banging my head up against the wall with endless versions of tunes I’m just not happy with. And then, if I’m lucky, I hit a patch of several tunes coming together quickly.

This EP was exactly that: three tunes that came together completely unexpectedly in a relatively short period of time. All of the new techniques finally melded with my mindset after a long stint of frustration and unproductiveness. No v27c, no overthinking it, just pure vibes and pieces falling into place. I had so much fun making these and I wish I knew the secret sauce for hitting that sweet spot in the studio regularly. I guess you just gotta power through the muck until the inspiration ambushes you and enjoy it while it lasts.” —PRŮVAN

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Cet article Průvan – Zlobivá [YUKU] est apparu en premier sur Bolting Bits.

With strong nods to his previous release on La bonne, the title track kicks things off with moody junglist vocals echoing out over clean drums and a moody, distorted Reese. ‘Right Now’ then switches things up with a garage groove, wobbly bass and more iconic sampling wizardry before ‘I Do’ plunges you right back into the depths of dark and nostalgic breakbeat. ‘Call 4 Me’ closes out the release with pitched-up vocals supplying the EP with some of Sempra’s signature happy hardcore flavour. ‘Red Eye’ is a carefully crafted love letter to UK rave culture showcasing the artist’s beyond impressive versatility and skill.

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Cet article Sempra – Red Eye [La bonne musique] est apparu en premier sur Bolting Bits.

One of the promoters and DJs behind South London party Big Dyke Energy, Elliott is part of a new wave bringing contemporary queer energy and attitude to clubland. Following an EP on Kouncil Cuts as one half of Faff, working alongside Ornography, ‘Transcendence’ marks their debut solo EP.

If you’ve ever wanted to hear more acid in garage, the epic bubbling 303 breakdown of two-step opener ‘Tender’ answers your prayers, its ghostly lead out-emoting even Four Tet. ‘Loose Tooth’ then lands in clubbier territory, dubby rave synths again deployed with a canny melodic ear.

On the flip, ‘Metamorphic’ is noir electro, UV bleeps and infrared bass cutting through its heavy, murky atmosphere. Working her trademark magic on the remix, Naive boss Violet bumps up the tempo, turning in a cut of booming, bottom-heavy machine-funk, a dub siren and half-time section nodding to the influence of UK rave culture.

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Cet article Elliott – Loose Tooth [Ritual Poison] est apparu en premier sur Bolting Bits.

BB maintains the Montreal-Melbourne connection with this new one from Ennio Styles’ Heard and Felt label. Also based in Melbourne, Jonny Faith has been more known for hip hop and broken beat in recent times, featuring in Gilles Peterson’s Best of 2020 with music from his ‘Night Lights’ EP. Now Jonny takes one of the tunes from that EP and reframes US MC Lady K’s slinky soulful rap and hooks with a funky junglist groove. This new version is from ‘On Lock’, surprisingly Jonny’s first full jungle/D&B EP, despite having roots in the music going back to 1990s Edinburgh, and putting out a variety of beats since the early 2000s. He even shared labels with Peshay, Om Unit, Reso and Kid Drama along the way.

Elsewhere on the EP ‘Open My Eyes’ sounds like Amerie’s ‘1 Thing’ gone jungle, ‘Create’ is atmospheric drumfunk for the headz and ‘Nuthin’ But a Jungle Thang’ is a vinyl-only flip of a G-funk era classic. The scene has emraced Jonny Faith’s take on jungle/D&B, with love from Hospital Records, Rupture (Rinse FM) and René LaVice (BBC), as well as his previous supporters like Andrew Jervis (Bandcamp Weekly) and Rob Luis (Tru Thoughts).

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Cet article Jonny Faith—Stay In Your Lane Feat. Lady K (Jonny Faith Step Off Mix) [Heard & Felt] est apparu en premier sur Bolting Bits.

Sheffield breakbeat champions & ​Club Glow​ collective members ​Denham Audio​ make an appearance on ​Lobster Theremin​ with ​Transcendence​.

Club Culture​ is a heady tribute to UK rave culture, combining classic breaks with a monologue from generations past. Denham Audio speed things up on ​Retort​, fusing their love of breakbeats with a sound palette ubiquitous with acid house.

On the flip, patois bars punctuate the bleeps-and-breaks of ​Run Da Ting,​ while the vocal layered between ​Top Boy​’s whirling bass and digitally distorted drum programming may be recognisable to some. Closing track ​Transcendence​ is an ethereal jungle roller with guest vocals from 7ip7o3, that rings true to its name.

‘Transcendence’​ drops Friday 12th March, via ​Lobster Theremin​.

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Cet article Denham Audio – Run Da Ting [Lobster Theremin] est apparu en premier sur Bolting Bits.

It’s a pleasure to talk to you today Pete. On The Corner Records is more than just a label. You represent cultures and sounds from across the globe and these times of unrest and division you are a beacon of hope and compassion. Label of The Year at WWFM Awards 2018, respected by many including Gilles Peterson. That is a truly remarkable stamp to have.

INTERVIEW

Your music comes from all over the world, in far reaching places. Can you tell us where you are from? Where are you based?
I’m based in Stoke Newington; I’ve been fairly nomadic over the last 20 years. Mostly in South East London but now North. Originally, I’m from a village a few miles away from Ashby de la Zouch (its where a lot of pub snack and Adrian Mole comes from)

Have you always lived in the UK or did you spend time growing up in some of the countries you represent musically?
Mostly UK, I built myself the privilege of being able to take a year exploring street corner vibes in various part of Africa. Linking up places I’d been on shorter trips but and having a bit of a beat odyssey. I’ve had extended stays in the Moroccan end of the western Sahara and a decent run out East on the island of Zanzibar.

How did the label On the Corner Records begin?
From a night really. I was living central, doing a bit of online radio and crashing my career. I used my overdraft to put out a dark white label featuring Emanative, Rocketnumbernine, Earl zinger and Collocutor. The night was the summer of 2013 and not much was really happening, and I wanted a space to play Theo Parrish, Albert Ayler, L.I.E.S and all that jazz.

Did you start with a specific music policy in mind? What was your first release on the label?
Not really, I wanted to support music that banged, that I loved and was not being picked up. That’s not changed really, I’m loving looking for artists that push their own boundaries. The first white label style 12” release was the OVER EP featuring Emanative’s remix of Collocutor and then the dark, odd ball, cosmic electronic title track. I hand stamped and screen printed those 12s and I’ve still got a few white labels kicking around somewhere!!! OtCRLP001, Collocutor’s ‘Instead’ in October 2014 was the first full release nipping in ahead of the resurgence in UK Jazz.

Collocutor – Instead (Emanative Remix)

Would you say that the musical vision you began with is still in place? Has this changed?
I think it’s still developing, there’s lots of sound and artists I want to work with. Innovating with future bangers whilst keeping rhythmic roots upfront will always require vision, hard work and innovative campaigns to bring the artists to an audience they deserve.

How do find artists for the label? Do you travel to discover sounds?
I do travel but I don’t go out seeking to uncover bands in that way as it’s for DJing mostly (I’m almost missing Stanstead right now). Some music comes from long time connections. Often, I’ll be sent music, hear it on the shelves or it will come recommended by fellow DJs or artists.

Tell us about someone you met on your travels which lead to them appearing on the label? Bet there are many great stories!
There are plenty of stories! The Santuri release came about from dredging my Traktor around Zanzibar. David Tinning was yet to begin the East African electronic music collective Santuri and I was just there to write about and play music. We shared lots of the local spirit, Konyagi and remained in touch as we both developed our own initiatives. On another occasion I can tell you about being bounced off a flight in Uganda and being arrested for murdering a police! At the end of an interview last year I was asked at the end to clear up a rumour that I’d been kidnapped. It made me laugh but then I realise stories do turn into myths and I had ended up in a military compound in the Sahara on a couple of occasions and another time I just managed to get out of Timbuctu before it fell to the Sahelian Al Qaeda, that was definitely a situation I’d like to avoid happening again.

Santuri Safari – M.I.X.G Jinja Pearls (Sam Jones construct)

As a DJ, how would you describe your style of music when you play out?
Hang on, let me just check my bio. It’s a good times rave up. Big grooves, a few unknown weapons, unrealised unreleased fire and plenty of kick. Reacting to the room or festival is important so bringing the dancers on board and getting that backroom sweating.

Are you also a producer?
I’m not at the controls though my input ranges from giving the thumbs up, making tweaks or imbibing the vibe.

Do you still buy records? Are you precious about what format you play?
For sure I do, when I travel, I try to pack smarter but USBs are a welcome edition and lighten the load. Sometimes the only option is to play from the Mac but that’s only when I absolutely have to. Short run white labels and unreleased label gear are essential to keeping a deeper connection to future sounds and evolving myself. Digital can add vast amounts of agility but if that’s all I’m working from then it becomes a bit two dimensional.

Is there a secret spot in some far-flung country you go to for precious gems?

Everyone is online now; I mean unless you really want me to bang on about CD shacks selling bootleg MP3s in Bobo Dioulasso (Burkina Faso). The guy rips the hottest cuts from the streets of Abidjan while you wait. Props to Sofa records in Lyon and 33 Revoluciones in Las Palmas. There are a few places popping up in Morocco with small but interesting collections. I still rely on SoTU, Phonica and Bandcamp.

What’s your favourite On the Corner release, why is that?
Your only as good as your last game, right? Siti Muharam – Siti of Unguja is just out and it’s an incredible work that started with me being a cultural consultant for a pioneering housing development on Zanzibar. I brought the concept to the table and that spiralled into a remarkable recording which I had to release. Sam Jones was at the controls and it’s been three years of hard cross-continent team work realising what I think is a significant record for the musicians, the label and Zanzibar.

Siti Muharam

With the global pandemic, the horizon has changed for all of us. How has it changed for you? Are you concerned about the label? Are you continuing with your release plans for 2020?
The festival season has obviously gone, it made me realise I’m going to need an extra pair of hands when that is resurrected. I am concerned for the label, of course, until very recently, without DJ income, the label wouldn’t of survived so the timing for us could have been worse, luckily I’d diversified and built in a few months resilience. We’ve releases dropping now and with stores gradually opening my fingers are crossed. The Guedra Guedra debut EP was scheduled for festival season but it sold out anyway. Other releases may be impacted though. Nov 2021 is looking worrying and the coming winter could be tough but we’ll try to adapt. The state of the global economy may take choices out of our hands.

With the recent unrest in the USA after the tragic killing of George Floyd, and OTC being a label that is huge supporter of equality by nature of the music you support and nurture, what is your message?
Black Lives Matter: I feel there’s a great opportunity for us as allies to confront our own prejudice, examine our history and how the fabric of society is unequal, prejudicial and out-and-out dangerous. As a label I feel we have an artistic family across the globe. Black history, people and culture matters. Being in the cultural industries is easy to show the influence of black art and music without addressing the reality affecting the artists, their families and their people. There’s lots of voices out there that can guide you to a better understanding of the reality affecting people different to yourself. I recommend following nowhitesaviours on insta and artists like Saul Williams, BLM UK, Big Joanie. Now is the time for change and it’s our fight to take forward under the guidance of and for, black people. No one is exempt, we all need to understand privileges, history and sub-conscious bias. I’m racist until society is not and that when structural there is true inequality is addressed.

Can you tell us a little about your forthcoming release Door To The Cosmos Volume 1?
So it’s a dancefloor sampler ahead of a triple vinyl compilation due to drop on Sept 11th. The artwork from Victoria topping is a cosmic heart attack and the music comes from a raft of new label artists, some guest and the OtC old guard. It represents artist all knocking at the door to the cosmos loosely in the vein of Sun Ra’s mantra. Its the sound of undergrounds popping On the Corner across our cosmos.

It’s such a varied sampler. What is the common theme that connects the tracks for you?
That they all bang, push borders of genre and present fresh ideas. Not everyone is going to be ready but that’s where the thrill comes in.

Is there anyone in the music industry that you admire right now? Who’s hot?
There’s a pretty expansive list, dumama + kechou debut is stunning, Shabaka and the Ancestors, Moses Boyd, Emma-Jean Thackray, BCUC, Saul Williams continue to roll stronger and stronger. I can’t wait to hear more from Tom of England, DJ Sotofett, Azu Tiwaline, Bergsonist and Bakongo.

Some call you the nicest man in music, is this true?
Nah mate, I’ve got a ‘shit list’. If you’re an exploiter, cock womble, creep or come with the attitude then you’re on the list and then I won’t work or associate with you. OtC is a family and I’m protective where I need to be. Having a vision and being trusted with artists work brings a the responsibility for and it means that sometimes you have to break eggs, chase invoices, give it the hard ‘no’, cut out the mediocre and let it go to pasture out of view.

What’s up next for Pete On The Corner?
Keep on with the back room raving. My Ibiza, U.S. and Boomtown debuts were cancelled due to Covid, but I’ve been hard at the label, literally round the clock for lockdown. I can’t wait to get the party going and I need to cut loose. I’m going to enjoy myself, rave and rest and then a good deal more of both, thanks for the chat and support!

Cet article Times & Tunes with On The Corner Records est apparu en premier sur Bolting Bits.

Asquith returns to his self-titled label following a couple of external EP announcements for Who’s Susan and Private Persons. ‘Rave Til Dawn’ EP sees the London-based artist follow up the massive ‘Let Me EP’ with another clutch of takes on anthemic, big-room techno.

The title track ‘Rave Til Dawn’ does everything a ‘Let Me’ follow-up should do; huge compressed kicks, reverberating piano stabs and epic call-out vocals collide on an absolute monster A-side. Second track, ‘Down’, traces a more tool-y techno line. Rolling with the percussion and popping with mechanical energy. It’s all compiled with elements of the original techno template shot through with a ton of UK bass weight.

‘Crush’ takes Asquith’s manic monotone stab template into more techy territory, opening the production up and leading us into a cocoon of pressurised space. Stripped back but still crushing. Final track ‘LCD Steppin” sees us entering back into pacier territory that regularly pops up at the end of Asquith EPs. Shifting pad samples overlay a rickety jungle break and a voice calling at us to “Step!”, before we’re hoofed into the long grass with a 4/4 kick all the way up at 155bpm. It’s not quite 160 but that’s what the pitch slider is for ;)

Pre-order now.

Cet article Asquith – Crush [Asquith] est apparu en premier sur Bolting Bits.

We at Bolting Bits keenly anticipate every release from X-Kalay, a label outputting varied strands of house, techno, breakbeat sounds, electro and more. Recurring themes of music from the London label are gritty drums and acid-or-almost-acid textures, wrapped up in energetic dance floor material suitable for 1-3am peak-time club nights. So we’re unsurprised, in the best possible way, about their latest release.

Today we’re premiering Rest Assured, the B1 track from LT’s debut EP on label. The three track record certainly has a particular sound, an original style. All three tracks flow smoothly between sections of almost only drums and bass into long stretches of uplifting and brighter pads and chords. The result is that sweet spot between change and continuity.

Rest Assured is the slowest and our favourite of the three tracks. Heavy breakbeat rhythms pop up sporadically throughout the song, sometimes intersecting with long, drawn out pads. Electricsounding percussion is another nice feature. If that’s hard to picture, that’s because it’s hard to describe. Let’s go with something like high-pitched tom drums if they spoke robot? The safest bet is to check it out for yourself.

The A1 track, Sputnik (B.S.S.), on the other hand, is faster and more energetic. There’s a similar dynamic between breakbeats and pads, but the vibe is, unmistakably, designed for a warmed-up dance floor. B2 and the title track of the EP, Staminize, sits somewhere between the other two. It’s powerful without being forceful or abrasive and could feasibly be weaved into a set in the first or latter half of a night.

Staminize drops today, January 14. So, especially you crate diggers, do yourselves a favour and get on this one early.

Cet article LT – Rest Assured [X Kalay] est apparu en premier sur Bolting Bits.

UK duo Local Group (aka Corporeal Face and LMajor) follow up their sold out ‘Laser Dome’ EP and appearance on ‘Secret Rave 4’ with a ‘Fresh Rhythms’ EP that may contain tracks up to three years old.

Traversing breakbeat styles and tempos, ‘Fresh Rhythms’ outlines the roving rave sound that has seen Local Group play alongside DJs from Eris Drew to Grooverider.

Cet article Local Group – Baby Talk [Human Concrete Block] est apparu en premier sur Bolting Bits.

Will

Cet article Stones Taro – Gold [Rodeo] est apparu en premier sur Bolting Bits.