Slow & worldly by nature, X CLUB.’s alter ego SLOW ROTATION INC. sends the duo in a new direction, guided by the gravitational pull that turns the world upside down and back again.

SRI’s self-titled debut, a lovechild of Kruder & Dorfmeister, Deep Forest and Chaos in the CBD, radiates earthly sounds and showcases the techno duo’s unique and diverse sensibilities. The slow rotation has begun.

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Cet article Slow Rotation Inc. – A Light From Afar, The Beginning Of The World [Beats Of No Nation] est apparu en premier sur Bolting Bits.

For his sophomore album, Sable Blanc delivers an unexpected ambient album, showcasing an introspective collection of textured and warm sounds. Made of evolving meditative loops that build up to deep and contemplative tones, ‘Patience’ is all about homemade recordings and cherishing loved ones.

From his father and friend playing the guitar, field recordings of swallows from his parents’ garden, to round and thick arpeggiated synth lines : every bit you can delicately hear in ‘Patience’ was precisely crafted to feel genuine and authentic. Keen to preserve his positive and homely sound signature, Sable Blanc humbly extends his music talents to new horizons, shifting to a more hands-on and organic creative process.

Sable Blanc purposely exhibits his love for music exploration and eagerness to push his own artistic boundaries : known for his jazzy house skills, he now stands for genre-crossovers and sunny music : from ambient drone sounds to electronica, while keeping soul and deep house music as his roots. »

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Credits :
All tracks produced, arranged and mixed by Sable Blanc
Guitar on Early Swell, Lines & Curves, Aparté, Be Good, Instant Nostalgia and Family played by Adrien Philibert
Guitar on Legacy played by Sable Blanc’s dad
Kalimba on Mental Naps played by Adrien Philibert

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Cet article Sable Blanc — Patience (a series of meditative loops) [Beats Of No Nation] est apparu en premier sur Bolting Bits.

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Cet article Jad & The – Outer Planet [Haŵs] est apparu en premier sur Bolting Bits.

If Emotional House isn’t yet recognised as an electronic sub-genre, then now is the perfect time to sign the dotted line. Enter Sydney’s James Pepper and his latest cut ‘For All My Wrongs’. At just 22 years of age, this kid’s whipped together a house roller that carries both maturity and real feeling. Pep’s already swapped headphones with the likes of Gerd Jansen, Denis Sulta, COEO, Hunee and is a close companion of Berlin’s Black Loops, with whom he shares a few writing credits.

This belter also marks a new label’s release journey. Based out of the inner-western suburbs of Australia’s harbour city, is Gallery. An imprint that’s all about community collaboration and championing its artists to test sounds from all corners of the spectrum.

I’d best describe this record as hopeful. At times it feels like you’re climbing a beautiful knoll, itching to see what lies over the other side. Diving straight in with a smothered siren and crunchy drums, we’re then teased by bright keys before being knocked clean off our feet by a charging bull of a bass line. All the while a woman cries out for her lover to pay her the attention she so desperately yearns for! A clever tug of the heartstrings from J.P and yet another nod to his talent for writing gorgeous house. Stay locked. Order now.

Cet article James Pepper – For All My Wrongs (Original Mix) [Gallery 001] est apparu en premier sur Bolting Bits.

As the decade has rolled to a close, the ways in which fans discover music is more fractured and algorithmic than ever. Massive platforms use technology and playlists that many listeners have become reliant on to surface new and engaging tracks, and while there are still a handful of independent press outlets pushing releases from underserved artists, they are dwindling by the year. Yet in the face of a rapidly changing industry, there are still a number of even smaller collectives bucking the trend of computerized gatekeeping, thanks in no small part to the hard work and passion of like-minded individuals who care deeply and are driven to support and spread the music they love.

One such faction is the unrelenting and ever-evolving Bolting Bits, co-founded as a French language publication in 2014 by Florent Tarroux (who produces and DJs as Numea Daze) and his partner Sarah-Marie. Bringing Igor Bezuglov onboard in early 2016, together they helped Bolting Bits reach a more universal audience by transitioning their writing to the English language. Alongside a small team of rotating contributors, they’ve worked tirelessly to not only upload music from artists they admire, but also raise the profile of talented newcomers who are eager to share their efforts—many of whom have gone on to release on labels such as Shall Not Fade, Lobster Theremin, Feel My Bicep, and a myriad of high-profile outlets. With over 650 premieres under their belt, as well as over 100 original mixes and over 6 million plays on Soundcloud, Bolting Bits remains a beacon for the outer rims of traditional dance music, covering everything from jazz to acid to broken beat and beyond. They have thrown dozens upon dozens of parties in their local Montreal and have reached audiences across the globe (except Greenland…hurry up Greenland).

Now, Bolting Bits are extremely excited to announce their first official compilation, in partnership with renowned producers and artists who’ve been supporting and supported by the crew since the very beginning. With tracks from the likes of Jad & The, Aleksandir, Homage label owner Ryan Clover, and many others, this compilation stands as a testament to the amazing work and ethos of Bolting Bits. It will be available on both Bandcamp and the main Bolting Bits website, and will cost a minimum of 8 USD (though fans can pay-what-they-want to help further support the site)—the ultimate goal is to continue sharing amazing tunes from incredible artists to the people who care.

Part 2 will be revealed next week but you can already download the all compilation on our website and bandcamp. Download part 1 & 2 on BB website or on Bandcamp.

Cet article 6 Years of Bolting Bits ~ a sampler compilation est apparu en premier sur Bolting Bits.

One of Australia’s finest, Jad & The is a truly prolific and inspiring producer. You may know him from the sampled disco goodness on Toy Tonics, jazzy-house on SlothBoogie, or electro-tinged outings on Haws. Either way, with more than 15 releases to his name, it’s clear that Jad is an artist who knows how to stay ahead of the game and sound fresh every time. More importantly, to do all this while maintaining an unmistakable signature sound. While he’s not working on new lush EPs, Jad runs his label Beats of No Nation with friends Luen and Dom Bird, home to many stellar releases from himself and others. Today, he’s bestowed us with almost an hour and a half of recent favourites, as well as having a chat to us about music, Berlin, the art of djing, and the not-so complicated secret to his perfect hair..

INTERVIEW

Hey Jad, lovely to have you on the mixed by series. How’s everything going these days?

Mate very well Euro summer is finally here. It took awhile to kick in but it’s hit with a vengeance. Reminding me of home, been plenty of evening storms just like where I’m from (in Australia).

Not too long ago, you were a member of Australian indie-disco band Mitzi (definitely worth a listen for those who haven’t), how did you end up making electronic / house music? What was the transition like, or were they simultaneous projects from the start?

To be honest it was very natural. Mitzi tried to do live house music in a way. Especially live. We looked to band’s like Chk Chk Chk for inspiration and even though what was recorded and released as songs had more of the traditional song structure (verse, chorus, verse, chorus etc..), when we did things live we focused more about jamming extended grooves. We attempted to be some kind of electronic dance band and had some good moments. Sad it had to come to an end. But I guess that gave me more time to develop my own sound and productions. But who knows I’m still very close to the rest of the Mitzi guys (Dom is my partner in the label I run). We could do a reunion tour John Farnham style (if you aren’t Australian you’ll need to google him).

How does the solo producer life compare to the band life? How was going from being in an indie electronic band in Australia to being a producer/dj in Berlin?

Its black and white I suppose. I don’t miss the hard times – carrying around 2 giant synthesizers around airports, gear breaking mid set… touring life as an emerging band is very tough. But the feeling of playing to a large and receptive crowd with a bunch of your best mates is hard to beat. I’ve had some special moments DJing (Vida Festival in Barcelona comes to mind) but in reality most people can DJ, it’s not that hard. I try to play as much vinyl as I can these days just so it’s not so easy and more challenging (and it feels way better).  Berlin is also hugely different to my old lifestyle. I’d literally surf everyday and then try and write music and then DJ on the weekends. Life was good, but almost too good. I needed to challenge myself. Hence the move to Berlin. I still miss the surf and beach. That’s definitely the hardest thing. I’m probably one of the few people in Berlin who has more than one surfboard in their room. Luckily Portugal is pretty accessible so I still manage to get my saltwater fix. But Berlin is so inspiring and there’s a gig to inspire you every night of the week. If only we could have both!

How much do you feel that a producer’s djing and selection has to represent their musical output? I can definitely tell this is a Jad & The mix. But do you ever play curveball sets, or would you like to?

I’ve never really planned a DJ set in my life. So I usually just play off a feeling. I’m also into a wide array of music. My attention span is usually too short I think 2 hours of house or techno or disco is too much. I like to jump between genres. There’s no rules you can play electro into disco into house into techno…. Sometimes it can sound a little disjointed or erratic but if it works it can be amazing. If its a challenge to mix it’s usually more fun too. In saying this this mix I tried not to jump around too much I had a ‘rough’ kind of plan. Put a bunch of my favourite Canadian artists in there too….

Care to share a special moment from your djing or general nightlife experiences with us? Something that’s been stuck with you since or maybe even changed the way you approach or feel about what you do.

I saw Theo Parrish and Marcellus Pittman play a couple of years ago in Berlin. They were playing amazing music, but what really stood out was how much they were playing this music for themselves. There was one moment where Theo was like having this outer body experience and he was closed eyed blissing out to this song. He was enjoying the music more than any of the dancers and he wasn’t going to play a track because the crowd loved it, but because he loved it. Not enough DJs play like that in my opinion and the guys that do are in the underground. Anyone can play banger into banger into banger and get a crowd dancing.

There’s definitely a shifting perception regarding the legitimacy of different musical formats. Streaming and digital formats have become a much more ‘acceptable’ way to release music, while vinyl, though still booming, doesn’t quite feel as mandatory as it once was. How do you feel about that, and how has it affected the way you run Beats of No Nation?

I’d release on vinyl every release if I could. But we have to be mindful of cost. I’m also much more aware of the environment and let’s face it vinyl is quite detrimental. Hopefully soon we can develop a more environmentally friendly vinyl alternative. We’ve done a number of digital only releases through Beats Of No Nation and it still feels as good, the whole point is to share music we love. The turn around releasing vinyl can be frustrating as well.

How about a couple lighter questions. Do you Shazam at the club? And what’s your take on a djs responsibility to ID or not ID tracks he plays?

I’m not too fussed on that. I’ve shazam’d plenty of times but not in the club (but mainly because I never think about it) and if I’m djing and someone asks me “what’s this track?” I will tell them. We should be sharing great music. There’s already enough shit music on the top 40 charts not to share the good stuff.

How about guilty pleasures, what have you been secretly listening to recently? And while we’re at it, what have you been listening to generally recently?

Always a lot of jazz. TBH very into the Canadian scene right now so much good shit coming from there as heard in my mix. Guilty pleasures…. Hmmmm I keep trying to listen to modern hip hop but it always fails me. Bring back those early Pete Rock or Marley Marl cuts I’m a sucker for that shit. Some pretty great 80’s music from Australia which feels a little guilty to listen to.

Any hair care tips for those of us who are jealous of your hair game?

Lol, keep growing and think big, think thick.

And to wrap things up, what’s next for Jad? Short-term or long-term, what’s on your mind?

Been a little lazy studio wise. So need to get refocused on that and get my next releases together. I have a little track coming soonish on Banoffee Pies VA, something a little different… Looking forward to that. Plenty of European summer gigs and planning on returning to Australia to do another tour their over Euro winter. Hopefully plenty more music is coming…..but it’s something that’s better when it’s not rushed or forced in my experience.

Cet article MIXED BY/ Jad & The est apparu en premier sur Bolting Bits.

This is ostensibly a post in promotion of a hot new release. The record in question is from Berlin-via-Australia house veteran Jad & The (formerly of the problematic moniker Jad & The Ladyboy). It comes via reliable London wax purveyor SlothBoogie, and is, from top-to-bottom, a well-crafted collection of moody deep house fit for early summer sessions on the Spree.

But the track in question here, in particular, is the release’s A2 remix, courtesy of Istanbul’s Aleksandir. And if you don’t remember that name, now would be a good time to take note.

Operating within the somewhat niche, online-oriented sector of club music that we follow, Aleksandir has been releasing music for a few years, but really hit new heights in 2018 on the strength of his track “Yamaha”. Simply put: the thing was a straightaway hit. The Youtube page accrued 4 million hits, and, like Pepe Braddock’s “Deep Burnt” before it, the video is now integrated into your “Up Next” stream pretty much any time you click on any video related to modern dance music.

[soundcloud url=”https://soundcloud.com/boltingbits/jad-the-matano-trumpet-jam-aleksandir-remix” /]

That success has landed Aleksandir plays on BBC, and accrued him an online following that includes over 60,000 monthly listeners on Spotify.

Because you are probably friends with him on Facebook and have possibly talked with him a bit, you might be inclined to seeing his success as quaint or as just the well-deserved applause that can accompany a well-timed release (a fluke, really, you might tell yourself).

True, there is certainly a measure of fortune involved with achieving status in an industry as online-oriented as this one; in an industry where algorithms and playlist supervisors can lucrative booking schedules; in an industry where trends happen in a nanosecond, whereafter they are summarily critiqued, admonished, and meme’d.

But we should make no mistake: out of all the young producers cranking away on their laptops at 3am every night, from Tbilsi to Tokyo and back, Aleksandir might in time rise above the lot of them. He might just achieve a rare and indelible status in the world of so-called underground music: that of being remembered.

Cet article Jad & The – Matano Trumpet Jam (Aleksandir Remix) [SlothBoogie] est apparu en premier sur Bolting Bits.

https://youtu.be/Ue4VCvC5B4M

Adam

Cet article Jad & The – Digital Daintree [Haŵs Party Vol.2] est apparu en premier sur Bolting Bits.

You know when you’re itching for a certain someone to release new music…you’re not sure when it will arrive but you’re confident it’ll be class. This time around, those records come from Brisbane producer Charles Murdoch. After catching the ears of the Future Classic crew many moons ago, thanks to his ever-graceful productions, he’s been on a steady incline.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-charles-murdoch-wtbl” /]

Cet article Charles Murdoch – WTBL [BEATS OF NO NATION] est apparu en premier sur Bolting Bits.

One of the most important people in my life name is Sue. She is kind, she is warm and ever relaxed. Now I’m almost certain that Australian expat Jad & The doesn’t know her personally, however he’s crafted a record that’s a reminder of all the amazing things she’s done for me.

At Bolting Bits, we’ve always been loyal fans of Jad & The’s productions. Having previously dropped EP’s on classy imprints such as Toy Tonics, FINA Records and his very own Beats Of No Nation, he has now linked up with Julius Steinhoff, owner of Down By The Lake. As release No.4 on the label Jad grabs a spot by the still waters alongside Saile, Ron Blanco and TRP.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-jad-the-two-dancing” /]
Our attention is set firmly on the A1 ‘Two Dancing’, a beautiful ride. Melding a stunning piano scale, steady kick drum, hypnotic hi-hats and a vocal snatch that sounds like my godmother’s name, we have a tune that should cast your mind back to fond memories…whatever they may be? The Aussie has an obvious knack for writing, selecting but a handful of instruments and somehow always stringing them together in harmony. I bet this would go down an absolute treat at a wedding reception for a couple’s first dance. They’d of course have to be lovers of house music but hey aren’t we all.

Hop to it as this one’s a vinyl only release with a sterling Moomin remix of the B2 ‘Archy Krules’.

Will

Cet article Jad & The – Two Dancing [Down by the Lake] est apparu en premier sur Bolting Bits.