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Cet article Aldonna – Your Touch [Semi Delicious] est apparu en premier sur Bolting Bits.

Futureboogie Recordings is calling time after ten years with a 20-track compilation that sums up the sound of the lovingly curated Bristol label. From throbbing arps and noirish guitar twangs to errant analogue blips and ceaseless, rolling grooves, it’s a different sound to what you might have heard five years back on the Summer Riot IV compilation, and certainly a long way from the early days. Consider Futureboogie 10² an ode to evolution as much as a toast to all the great tracks and the family of artists that have passed through the wide-reaching Futureboogie sphere since before the label was even a sparkle in the disco ball.

Originally founded by Dave Harvey and Steve Nickolls, the roots of Futureboogie lie in an intimate Bristol party called Seen. Started in 2002, this open-hearted session invited the likes of Metro Area, Attica Blues, Carl Craig, Maurice Fulton, Moodymann and Gilles Peterson – based on that heavyweight list, you can see the foundations were laid for what was to come. Futureboogie evolved off the back of these parties as a many-limbed operation – an artist management and booking agency as much as a club night, with Harvey and Nickolls consolidating the sound as DJs around Bristol and beyond. The progression to a record label was a logical one.

When Futureboogie Recordings launched in 2011 with Julio Bashmore and Javeon McCarthy’s ‘Father Father’, it represented an extended circle of friends close to the label from Bristol’s deep pool of talent and beyond – amongst them Eats Everything, Waifs & Strays, PBR Streetgang, Behling & Simpson and Crazy P. The reach of the label grew in tandem with its reputation, not to mention the endeavours of the team in other areas of the music game. The Boogiefuturo label became a vital entity on its own terms, carrying a lauded DJ Nature remix of Typesun which encapsulates two distinct generations of Bristolian house music at its best. DJ Nature, who cut his teeth as DJ Milo in the Wild Bunch days, has gone on to become a regular feature on Futureboogie, helping define its soulful, adventurous spirit.

It’s also hard to separate Futureboogie from Team Love – events specialists who share some of the same management. From their flagship Love International festival in Croatia (having steered The Garden before that) to the Love Saves The Day weekend in Bristol, the Silver Hayes dance area of Glastonbury to the Waterworks festival with Percolate in London, you can see the unmistakable Futureboogie stamp across an international spread of events now. Futureboogie also hosted scores of stages at festivals across the UK on their own terms and played globally at iconic spots from Fabric in London to Salon Wilden Renate in Berlin and D Edge in Sao Paulo.

Sonically, Futureboogie shifted its direction at the halfway point with Fernando’s Mid Decade EP. Artists like Mark E, Felix Dickinson, Kiwi, Lauer, Ponty Mython, Ruf Dug and Toby Tobias are of course still intuitively connected with the foundations of disco and funk, but their sound teases at the edges to shape out a more inquisitive strain of house. The remixers passing through the label at this time speak volumes as well – the late, great Andrew Weatherall, Roman Flügel, I:Cube and Ivan Smagghe amongst them, every one an iconoclast within the strictures of club music.

So we come to Futureboogie 2020, which lands in the wake of a sterling run of 12”s from breakthrough names like Theus Mago, Zakmina, Chez de Milo and Warehouse Preservation Society. Across 20 tracks, this expansive collection celebrates the same omnivorous love of grooves which Futureboogie embodied before it even had a name. There’s a moodier, freakier strain to the sound across the compilation, but the tradition of warm, snagging party starters holds true. It’s a triumphant note to end on. But one has to ask, why, and what comes next?

Harvey, alongside close colleague Bristol DJ Ellie Stokes, felt the need to draw a line under 10 years of Futureboogie and look ahead to something new. As such, they’ll be launching a new label called Small Victories in the near future. For now though, the time is right to toast a true totem of Bristol’s house music culture and immerse yourself in an extensive overview of the sound it arrived at, signing off on a resolute high.

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text has been provided by the label.

Cet article Toby Tobias – Trippy Steve (Fantastic Man Dub) [Futureboogie Recordings] est apparu en premier sur Bolting Bits.

“As we continue our ever long winded hiatus from the dancefloor, we are happy to welcome a new group of producers to the label in the form of 00:AM’s fourth various artist’s compilation. Certainly not the only way we expected to come together this year, but we’re grateful to be able to cultivate another 12” to share with the world. Across the A Side, we are joined by three artists who we’ve had the pleasure of hosting and playing with in Montreal over the past couple years. Alfredo92 of the Axces crew in Copenhagen presents ‘Tente Hjul’ which gets the remix treatment from Mr. ACTION SHADOW himself, Fett Burger. The result is something distinctly mechanical but not without a human pulse and a tear jerking conclusion. Fantastic Man then puts his own psychedelic twist on the hardcore continuum, taking the beautiful palette of his recent LP on Mule Musiq to the brink of insanity with ‘On The Run’.

On the B side we find two new friends to 00:AM. We have a mandatory “minimum of 1 ESB tune gets played a night” policy round these parts, and so its truly a pleasure to release his ‘Sequential Dub’. Nothing less than a future classic, it’s dubby and understated, but a little quicker than you think. And finally, it’s a pleasure to introduce 2wo2imes, who delivers ‘Immune’ a deep and driving excursion into the wormhole.

It’s a weird world, we miss you all, but we’ll keep doing what we know best, releasing and enjoying the music that moves us – no matter the time or place.”

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text has been provided by the label.

Cet article 2wo2imes – immune [00:AM] est apparu en premier sur Bolting Bits.

Meet Griffin James aka Francis Inferno Orchestra. Doesn’t eat fruit and samples crow noises.

Hi Griffin – so, tell us – What have you been up to recently. The ol’ touring and producing routine?
Pretty much.. I just returned from Australia about a month ago which was partly to do shows but more-so to sort out my visa situation to remain in Europe which was fortunately successful, but since then yes touring, producing bla bla bla

I had a look at your bio (don’t ask me why). It says ”Francis Inferno Orchestra is the conductor of a new type of ensemble – made up of rich samples from disco’s back catalogue and an array of raw drum machine rhythms.”

What’s the most unusual sample you’ve ever used in a song & where did it end up ?
I recorded some crow noises whilst in a Australia a while back and used them in a remix, I won’t say which one because that ruins the surprise.

Talking about songs and remixes, so far you’ve released your material on quite a few different labels. Is that something you’ve planned or has it just happened. I’m asking since from a label perspective you sometimes try to work the artist on more than one release, planning a bit ahead or at least try to.
It just kinda happened, but it doesn’t happen anymore and hasn’t happened for quite a while. I think early on I was quite ignorant and just said ‘yes’ to anything that would come my way. Now I am mostly just doing stuff for my own label, besides remixes of course.

Let’s talk about Superconscious Records. You’ve started this label with Mic (Newman) aka Fantastic Man. What’s the best thing about having you own label and what’s the worst (if any) ?
I think the freedom of creativity and just being able to do whatever we want is the best part. working with mic is a real pleasure, we both have our strengths and we bounce off each other quite well with all of our ideas. We are also super lucky to have really talented friends contribute to label musically and artistically. So far nothing bad (touch wood)

Will the label focus on 12”s or do you have any plans to release albums also?
We have plans, but nothing that i can mention just yet :)

Here’s a question I’ve always wanted to ask you – If Ben Klock was a fruit, what kind of fruit would he be..and most importantly, would you eat it?
I wouldn’t know, i don’t eat fruit.

Moving on. Besides producing you also travel & DJ around the globe. Do you write/produce while you travel or do you keep the two apart?
I tend to keep the two apart, I think when I travel i’m too interested in where I am to sit in a hotel room and “make trax” and when I’m on a plane i’m either sleeping or playing my nintendo ds. I do take my sketch book around with me usually incase I feel like I want to do something productive.

I’ve been fortunate enough to hear you DJ and it really struck me that your sets are always varied and you’re not afraid to throw in a curveball. I’ve also read that you do not plan your sets in advance. Have you always played like this or is it something that, with time and experience, been developed?
I guess so, I think I just get bored listening/playing the same kinda thing for too long so I like to swap it up a bit. I enjoy listening to lots of a different stuff so I trying to include a range of things in a set is always the most fun i think.

Speaking of DJ-sets, a lot of ”disc jockeys” always say they prefer to play longer sets. If you’re going to a club to listen to a DJ yourself, are you there for the whole set?
I guess it really depends if the club has the key components to keep me there (good sound, good vibe, good people). I’ve knee slapped for 7+ hours (with breaks of course) to various marathon dj sets, many-a-times when the club/promoters did their part and provided a proper setting.

The obvious follow-up question to this then is of course what is the shortest DJ set you ever played?
I think like 20 mins? I played after Steffi once in Melbourne and literally the minute she finished, everyone in the club left and the manager shut it down.

You’re playing at Le Bleury-Bar for the Bolting Bits Crew. Is this the first time in Montréal? Do you have any connections with the music scene in Montréal?
Yeh first time! I’m really excited as it’s been on my to-do list for a while and heard great things from friends.

Finish the sentence ”Tyson Ballard* needs to….”
Give me his car.
(Bonus info – Tyson Ballard runs Voyeurhythm, the label that released the album ”A New Way Of Living” by Francis Inferno Orchestra)

In closing, is there anything that future holds for FIO that we should be aware of?
A new EP which will be out before the end of the year, plus some other remixes which should be in the sphere soon. Maybe some other bits under different aliases too. I’ll be playing a bunch of dates around UK/EU over summer too so keep a look out for those. At the Superconscious camp.. Fantastic Man is delivering the next 12″ and a follow up record from Luis CL is coming too which I’m very excited about.

Interview by Tooli 

Cet article INTERVIEW WITH FRANCIS INFERNO ORCHESTRA est apparu en premier sur Bolting Bits.

      Depuis maintenant une dizaine d’années, le label Kolour LTD  issu de Détroit enchaîne les sorties et jouit d’une solide notoriété en signant notamment Eddie C, Dave Allison ou encore Fantastic man. Aujourd’hui c’est du côté de la France avec Closed Paradise que le label s’est tourné. Nourri de sables fins et du doux soleil de Palavas-les-Flots, ce jeune producteur se hisse une place grandissante dans la scène internationale et multiplie EPs et tournées. On avait déjà pu le remarquer lors de sa collaboration sur l’excellent various artist du label Long Week end Records. Un mot pourrait nous venir à l’esprit dès la première écoute : céleste !

Tel un voyage astral, l’EP ouvre avec « Planets ». Un son aérien, une rythmique projetée en orbite, une note et nous voilà parti au cœur même de « The Distance Between ». Afin de prolonger le trajet de «Planets», on salue le remix ensoleillé et soulful du duo irlandais Brame & Hamo, qui, littéralement, métamorphose cette track tout en gardant son authenticité originale. La suite de l’EP s’appuie sur le groove hypnotique de « Tunnels » avant de terminer sur «Moëlleuz» . Une co-production réalisée avec un autre français, Journey Reverse, représenté lui aussi sur le dernier EP de Long Week-end Records. Point culminant… et point de chute, cette dernière track se munie de quelques vocaux murement choisis, d’une rythmique plus punchy le tout reposant sur une trame très langoureuse qui fait indéniablement de « The Distance Between » un EP subtilement esthétique.

« The Distance Between » de Closed Paradise est disponible le 16 août prochain chez Juno Records.

Cet article CLOSED PARADISE – THE DISTANCE BETWEEN EP est apparu en premier sur Bolting Bits.