Laurence Guy Archives ~ Bolting Bits

MIXED BY / Nebraska

Florent — Tue, 05 Dec 2017 13:12:34 +0000

Alistair Gibbs aka Nebraska (soundcloud) has been steadily producing music for two and a half decades and his current moniker is already seventeen years old. Not nearly enough people in the world persevere and continue to work on their passions for such a long period of time, but Alistair is definitely one of the few who manage to stick with it. A string of releases on Rush Hour Records really propelled him to the forefront of the underground sample house movement and he’s stayed true to his sound ever since, catching the ears of other taste-making labels such as Delusions of Grandeur, Mister Saturday Night, Razor N Tape and of course Detroit Swindle’s Heist Recordings.

[soundcloud url= “https://soundcloud.com/boltingbits/mixed-by-nebraska” /]
Nebraska’s most recent Metaphor to the Floor EP is out now on Heist as a followup to last year’s Soften the Wireless EP. It includes a stellar remix from fellow sample guru Laurence Guy (soundcloud), a name that’s been on the tip of everyone’s tongue lately, especially since his debut LP dropped earlier this year on Church. For this new MIXED BY, we’ve caught up with Nebraska and Laurence Guy for this exclusive interview to chat about their release on Heist.

INTERVIEW WITH NEBRASKA & LAURENCE GUY

NEBRASKA (soundcloud)

Metaphor to the Floor is your second EP on Heist, how did the first come about? Did the Detroit Swindle guys approach you originally?
I met Lars and Maarten when I did my very first live show, a Boiler Room event hosted by Freerange in London. Being much more experienced performers, they kindly gave me a bit of help on the day, and contacted me about putting out a record a while later.

For slightly bigger labels, especially ones that release vinyl, EPs generally take quite a while to see the light of day. Was your followup EP planned far in advance and is that also a reason as to why you’ve recently started your own label, Friends & Relations, to get your music out faster?
I make music all of the time, and labels like Heist help me find an editorial focus for some of that. I started F&R almost for the hell of it, really, as an experiment. Having my own label doesn’t necessarily equate to ‘faster’… sometimes quite the opposite. Anyone releasing vinyl at present is likely to be used to their schedule being vague, whether they like it or not.

Naming EPs and tracks allows you to give your music an even more personal flair. Some producers don’t pay as much attention to this as others, though. Do the names of these tracks represent anything to you and what does the encompassing EP name symbolise, if anything?
If you look back at a lot of my tracks, there’s a recurring food theme. I’m really interested in cooking and restaurants, and I’ve often used that world as a metaphor in creative discussions. In fact, it’s often been made apparent to me that I speak in metaphors and analogies… that’s probably where the title comes from.

Artwork and branding has been a big part of Heist Recordings in the past. Recently, it seems as if Heist have somewhat rebranded. Being a branding and creative director yourself, did you happen to discuss the artwork for your release with the label and have any say in it?
Not sure that Heist have rebranded as such, just naturally developed their story, which is important to do. As design is my ‘day job’, sometimes I prefer to acquiesce and let artwork happen without heavy involvement from me – Heist have a strong aesthetic and they need to foreground that, so I put my faith in their team and let it happen. Happily, it’s had a great response so far.

You took a little hiatus from releasing music starting around late 2011 and ending in early 2015 but have been back at it pretty regularly since. Was there a specific reason as to why you took a break or was it a culmination of a number of things?
Looking back over what I’ve been involved in since the early 90s, there’s often a few years in between releases. I was probably making stuff even if it wasn’t being released. I’d have to look at the dates you mentioned more closely, but it doesn’t sound unreasonable. I was seriously ill and spent a significant period of time in hospital in 2012, I know that much. Who knows, I might take another sabbatical soon. I took a year off music-making around 2000, and its better when you come back to it with refreshed enthusiasm and clarity.

Producers/DJs currently inspiring you and why? Be it their sound, work ethic or perhaps technique.
Easy answer for me, in that I suggested Laurence for this remix! His tracks are great.

When not focusing on music or a day job, do you have some favourite activities to unwind?
Cooking. And eating. And using the experiences as metaphors.

What’s next for Nebraska?
I’ve contributed a remix of a Fouk track to Heist’s ‘Round-up’ EP, and have an EP of remixes of my Friends & Relations material by other producers coming up sometime in the spring.

LAURENCE GUY (soundcloud)

You’re known for your sampling work in your original productions but we haven’t seen you remix very much in the past. How different do you find it remixing another artist? Is this something you’re hoping to do more of or would you prefer to spend more time on your own music?
Recently I’ve done two or three remixes and have enjoyed working on all of them. They can be great at taking you out of the personal bubble and renewing creativity. On the other hand, remixes are (to me) less personal/expressive than solo productions so I think a good balance is necessary. I will be doing more, but solo material will always be my focus.

When starting a remix, do you approach it the same way as you would when making an original, sample-based composition? What’s your process like when doing one or the other?
I approach remixes exactly the same way as I use samples in my own music. I’ll chop up what I feel are the most interesting parts to work with, turn them into various instruments in Logic and then play around until I can come up with some melody or a hook and work from there.You recently released your first full length album to great acclaim. It seems that the Laurence Guy and Church connection is a good one. Can we expect to see another EP on Church anytime soon or if its not too early for this question, would you be open to the idea of another album?
It was amazing to work with Church on my album, and also just to write an album in general! I’m not sure at this stage about another EP, but will keep the connection strong for sure. In terms of another album, I am definitely open to it and have already put some thought into what I would like to do. In 2018 I’m focusing on EPs for the year, at least three, maybe four. Second album will wait until 2019…

Producers/DJs currently inspiring you and why? Be it their sound, work ethic or perhaps technique.

Lately I’ve re-ignited my love for Caribou/Daphne. I find his balance between weird, psychedelic sounds and straight dancefloor/pop sensibilities really inspiring. Also the sheer amount of good material he has released is pretty staggering. In terms of DJs, the last set that blew me away was Avalon Emerson at Printworks in London, was hooked from start to finish.

When not focusing on music or a day job, do you have some favourite activities to unwind?

At the moment, I work half the time on music/gigs and the other half in a rock climbing centre. When I’m not working, I’ll mainly be in a club or climbing somewhere!

What’s next for Laurence Guy?
Next for me is an EP for Mule Musiq that I’m super excited to get out and some more remixes coming very soon.

Interview by Igor

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

REVIEW : Laurence Guy – Saw You For The First Time [Church]

igor bezuglov — Wed, 16 Aug 2017 17:25:53 +0000

Summer releases are routinely focused on the peak time, and with parties and festivals going on as far as one can scroll, it usually makes perfect sense. But part of the season is about embracing slow moments, finding solace in the Soleil. This is what makes Laurence Guy’s debut LP on Church, “Saw You For The First Time” such a refreshing listen. It’s a fully realized album that manages to make a lasting impression in a sea of singles.

From the onset, the beat-less introduction makes it clear that you are being asked to take a step outside the party. This won’t be the last soft moment on the album and, as energy levels cycle up and down, it’s worth noting we rarely move through more than a couple of tracks without some kind of drum-free interlude or break. Whether in the form of the hypnotic ‘Claudi’ or the soft anticipation at the beginning of ‘Stray.’, the tracks are carefully selected to maintain a consistently hazy mood. That’s not to say things don’t pick up pace. Standouts such as the dreamy ‘Wichita Falls‘ and the sensual title track, are strong choices for a moody opening set, or impromptu after party and although everything here makes for a satisfying home listen, there’s plenty of low-end in the more upbeat cuts that would do well on a bona fide system.

The album offers a push and pull that present day releases frequently shy away from. It takes confidence to put out music that beckons to be experienced and reflected on — as opposed to enjoyed solely during a night out. This ebb and flow makes for engaging repeat listens that, depending on the listener’s mood, often bring about new favourites. The effortless, smooth quality found in Guy’s productions serves as the glue for whatever ideas are being played with. These same ideas are regularly brought to their capacity, often through sheer repetition, but interest is always maintained while upholding the soothing simplicity that ties the album together.

Other standouts include ‘Gone (feat. The Contours)‘ with its catchy, high resonance lead and ‘Orchard Road‘, the strongest ambient piece on the album. Our singular gripe with the album (if you can really call it that, as the track is still exceptional) is ‘W.L.Y.B.‘. It feels more like a bonus track than a finale and, in our humble opinion, ‘Orchard Road‘ functions as the true closing piece. Perhaps this is because ‘W.L.Y.B.‘ was previously released as part of Laurence’s Kojak EP in 2015 or maybe it just doesn’t match the the rest of the record. Trivial critiques aside, “Saw You for the First Time” is essential listening and as proper debuts go, they don’t come much better than this.

[soundcloud url=”https://soundcloud.com/laurenceguymusic/sets/saw-you-for-the-first-time” /]

Adam Johan

Cet article REVIEW : Laurence Guy – Saw You For The First Time [Church] est apparu en premier sur Bolting Bits.

MIXED BY/ FOUK

Florent — Wed, 18 May 2016 02:49:29 +0000

The music of Dutch duo Fouk is the result of a lasting friendship and a deep commitment to funk music of the past and present. The talents of Junktion and Daniel Leseman harmonize perfectly in the project, exemplified from their first Outplay release to their most recent Gruff EP. We were lucky to exchange a few words with the pair, and are thrilled to showcase a fresh mix from them, exemplifying their infectious style.

[soundcloud url=”https://soundcloud.com/boltingbits/mixedby-fouk” /]

INTERVIEW

You guys each have an impressive discography in your solo work so far, and every release under Fouk has been amazing! Kill Frenzy and The Great Unknown were easily top house records last year for me. What led you two to meet and what draws you to working together?

Thanks! Yeah, we’re quite happy with how it’s going so far! We met each other in high school. So we’ve been friends for quite some time. We started making music since we were 15/16 years old. Doesn’t mean our first productions were any good though, hehe! Since we know each other for so long, working together feels natural. We share the same vision that we’d like to express in our music.

How often do you two like to play shows?
As often as possible next to our studio time ;) At the moment we do a lot of DJ shows, but we’re planning on doing live sets in the near future.

The Gruff EP picks up right where last year left off in quality. What else are you getting up to this year?
We just got back the masters for our new EP, all we can say it’s coming in July :) Expect a nice summery vibe! Next to that there are a couple of remixes we’re working on and a track for a very special V.A. with loads of great artists is also coming up.

How do you balance researching music and creating it? Do they go hand in hand in your process?
Yeah, it’s all part of the process, both for production and dj-ing. We get inspired by contemporary artists and music from 70s and 80s. Most of our time we spend in the studio. While we’re making new stuff and looking for inspiration for instance, we come across a lot of music we can play out as well.

What is your studio set up like, and how would a typical jam session go down?
We live in different cities and both have our own home studio. The basic setup is similar. We work with Logic Pro X, the same monitor speakers and a couple of the same plugins. We have different hardware synths, so together we have built up a nice collection (Juno 106, JP8000, Moog Slim Phatty and Sub Phatty, Arp Odyssey, and we recently bought a Prophet 6). Usually we alternate where we work on stuff, one day at Hans’ and the other at Daniel’s studio.

But we do have one special place we go to every few months; Hans’ parents have a summer home at the Dutch coast. Then we haul everything we have over there and make a pop up studio :) The region has the most sun hours of the Netherlands, so often we have a very sunny studio and it inspires us a lot. We can get quite creative over there.

Our typical jam sessions start with a nice groove/beat or sample. One of us will start jamming on the Moog for instance and then the other counters that with something else. It’s a bit like question and answer, going back and forth, bouncing ideas off of each other. Sometimes one of us will press record during a jam without the other knowing it. That especially can capture the best spontaneous moments while jamming; like the lucky mistakes that happen during the process. With playing through midi, Logic has this great “capture recording” feature. It records all midi data while jamming without pressing record. So there’s less danger of losing good ideas.

I think we can all agree that Fouk basslines are a cut above. Do you have any favourite bassists, and where do you find melodic inspiration?
Thanks for that :) Well, we don’t have a specific favourite. But we do listen to a lot of funk/jazz/disco/soul etc. Sometimes we sample bits of bassline and then we play a bassline on top of it or around it.

Or we play our own bass melody. Funny thing is a lot of the times we end up using the first take of our bass jam sessions (next to fixing some minor timing errors).

What is your relationship with sampling, and how would you go about choosing samples, say, for an edit?
We do sample a lot, but it always has been a bit of a grey area. The divide between edit and something more “original” can be a bit vague sometimes. What we mostly aim for in our originals is making sure to have a totally different context or feel in our own production when using samples. Or combining samples in a creative way that will make a totally different sound.

If we make an edit we would try to do much more than just simply adding a beat to 16 bars of a disco track. It feels way too easy for us to do just that.

It’s actually quite difficult to explain the “rules” of sampling, now that we’re talking about it, it so much comes down to feeling and personal preference and perception. For us, it essentially comes down to this: sampling when done right is blending in the samples in such a way with the rest that they make the track/groove feel as a whole new thing. That said, we don’t mean it’s bad that a sample is recognisable from the original.

What have you listened to today? Any favourite artists at the moment?
Blair – Nightlife, a 70s jazz funk disco-ish track. Nice and sleazy, just the way we like it ;) Well, artists we have mentioned multiple times before are Nu Guinea and Harvey Sutherland, but Laurence Guy has been steadily putting out quality productions as well lately. We’ve been lucky to have his track Strings Attached on our fourth Outplay release.

Thanks a lot for your time and the mix! Any comments on the selection?
It’s what we’ve been playing lately and it features a track of Junktion’s new Outplay EP. Should be in the shops when this interview is published :)

TRACKLIST

1. Harry Wolfman – Casillero (Saine Remix)
2. Laszlo Dancehall – Channel
3. Thatmanmonkz – Boogie Down ft. Erik Rico (Laurence Guy Remix)
4. Simba – Susan Sorandom
5. Skylevel – All Night Rumble (Nebraska Edit)
6. Crue – Crue A
7. Times are ruff – Bottles
8. Junktion – What We Are
9. Nebraska – Done My Best
10. D-Ribeiro – Donut Breakin’
11. Dego & The 2000 Black Family – Find A Way
12. O’Flynn – Spyglass

Interview by Oliver.

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

STRING ATTACHED – OUTPLAY

Florent — Fri, 05 Feb 2016 00:47:05 +0000

Strings Attached-Outplay

Outplay Records, le jeune label hollandais fondé par Junktion et Daniël Leseman en 2013, a sorti un nouvel EP, « Strings Attached », aux couleurs chaudes et apaisantes – un peu le contraire du temps qu’il fait actuellement dans leur pays d’origine. Les deux fondateurs du label ont chacun de leur côté composé un morceau pour l’EP. « Breakfast At Midnight » et « On My Mind » déroulent sans trop faire de bulles une deep house conçue pour l’ambiance feutrée d’un salon de thé. Le calme et la plongée de l’esprit dans l’univers paisible des premières mesures contrastent avec la seconde moitié du morceau lorsque Junktion ajoute une nappe accélérant le rythme cardiaque pour nous faire frétiller. Malheureusement, elle dure trop peu de temps pour transporter l’auditeur encore plus loin – ce qui suscite d’ailleurs une légère frustration. Mais il l’a lui-même écrit, ce morceau est conçu pour les gens qui prennent leur petit-déjeuner à minuit ! C’est l’image exacte. La track de Daniël Leseman (que nous avions interviewé il y a quelques mois / interview), est à peu près du même acabit : elle est agréable mais semble apprécier le vol en basse altitude, loin des turbulences et des bourrasques. C’est une escapade tranquille au milieu d’un paysage aux formes relativement douces. Le remix de « Breakfast At Midnight » livré par Brame & Hamo est nettement plus incisif. Il crée des ruptures avec le rythme en introduisant des éléments puissants et quelques notes de synthés bien senties. Eux aussi ont bien senti le décalage du morceau original et, plutôt que d’accepter l’idée de prendre son premier repas à l’heure où les clubs ouvrent leurs portes, ils ont donné une vision musicale d’une ambiance qui se rapproche plus de celle dont on aimerait être plongé au début de la nuit. C’est Laurence Guy qui a le mot du début de l’EP, avec un morceau éponyme, « Strings Attached ». Une introduction toute légère ressemblant au « Deep Burnt » de Pépé Bradock suivie d’une pluie de synthétiques rebelles, d’une grosse basse et de tout un tas d’autres scintillements quasiment imperceptibles, le tout fortement influencé par une techno de Detroit. Entre une face A solide par ses légers éclats et ses incursions inattendues, et une face B plus paisible et destinée à une certaine plongée d’esprit, on reconnait une fois de plus les multiples facettes et la patte de ce tout jeune label !

Victor Taranne

Cet article STRING ATTACHED – OUTPLAY est apparu en premier sur Bolting Bits.

MIXED BY/ Harry Wolfman

Florent — Wed, 25 Nov 2015 13:23:45 +0000

Après avoir passé une grande partie de son adolescence à s’initier à la production, c’est en 2012 que Harry Wolfman a réellement commencé à intégré la communauté house et techno.
Les premières sorties notables commencent à voir le jour alors qu’Harry impose rapidement son style et pause sa signature sur plusieurs EP produits par des grands noms tels que Ben Pearce via notamment un remix de “What I Might Do” ou “Inside my Love” de Magic Eye sur le prestigieux label new-yorkais Strictly Rhythm. Constant quant à la qualité de ses productions et s’appuyant sur son large spectre musical, Harry nourri chacun de ses EP et remix d’une saveur toute particulière : Hip Hop, Jazz, Funk, Soul ou encore Disco tout style musical est pour lui une source d’inspiration.
Rapidement ses EP sont remixés par des pointures tels que Ben Pearce avec “Booty Call” chez Lost My Dog, ou encore Kickflip Mike et The Revenge sur “Skinny Love” chez House Of Disco Records. En mai dernier, il signe de nouveau chez les londoniens de House of Disco Records avec “Hod Stash 2” mais cette fois-ci aux côtés de Art Of Tones (à écouter : MIXED BY/) pour un EP aux saveurs disco et deep house. On peut également le retrouver sur la compilation du label Dirt Crew Recording avec une coproduction aux côtés de Laurence Guy (à écouter MIXED BY/).

Dans ce nouveau volet MIXED BY/, Harry Wolfman vous fait découvrir les multiples facettes musicales de sa personnalité, du hip hop à la techno, laissez vous porter par ce fin mélomane pour une douce escapade auditive.

[soundcloud url=”https://soundcloud.com/boltingbits/harrywolfman” /]

INTERVIEW

Could you introduce yourself to our readers who might not know of you yet?
I’m Harry. I live in London and I try and make music that I like. My surname really is Wolfman!

How did you get into DJing and Producing?
Well I was always into music as a kid, I started dicking around with computers in my early teens, making weird hip hop edits and electroey stuff… really shitly with Garageband and later Logic. Then I started going out a lot and got really into drum and bass, we got some decks and so started playing and trying to make that… pretty shitly. Then there was a good bout of shitty breakbeat, then electro house, progressive house, techy stuff, bit of dubstep…. all pretty shitly…. by the time I turned like 19 I started trying slower deeper house and some techno, influenced by my more deep-seated influences in funk, soul, r and b, hip hop etc. and since then just been enjoying exploring that and playing this sort of music out at parties. I’ve always been more of a neeky producer than DJ, as much as I LOVE DJing and records, I’m no expert digger like many of my friends.

Who/What are your main influences?
I have an itch for funk, and I love a lot of jazz funk fusion stuff too… soul, disco, newer contemporary soul, hip hop and sometimes ambient stuff. This is often my go to leisure time music, or what I listen to on the move. I also love books and movies, bit of a science fiction geek… I like cosmic themes and sometimes try and feed this into what I make and play.

What was your first mixing set up?
Erm… I think we did ok actually, me and my brother had a couple of CDJ1000s and a little Pioneer mixer. I got into vinyl later and added a turntable to the equation.

What’s your state of mind when you start producing/recording?
I always try and make music with as little thought as possible. I find a sound or a sample or a break or whatever that I like and I let my instincts dictate what to try. I find this the funnest approach… is especially fun when jamming with friends.

As a huge fan of Ben Pearce’s What I Might Do record (including your brilliant remix of course) I have to ask you what was your vision when doing your remix?
Thanks! Erm, I didn’t really have a particular vision with that one. At the time Ben asked me to do it I was messing around with that sort of deep but quite up tempo thumping sound, I had a jam with the vocals and must have finished the remix in an evening I think. Maybe a few tweaks after.

3 months ago, we had the pleasure of interviewing Laurence Guy. The two of you are known to collaborate with your latest coming out 2 months ago, can you tell us how you guys met and how you decided to work together?
Yeh me and Laurence met at music college in Guildford. We did the same production course and were into the same kind of music, going to the same sort of parties in London. We had a sorta similar background in tastes too, he was really into drum and bass like me and we seemed to discover 4 4 stuff around the same time. We went out, got battered a few times and shouted at each other that we should make some tunes and have been doing that since basically, we lived together for a while and now he’s just up the road living with Joel John.

What’s the main idea behind your’s and Joel John’s Olerton project ?
This is a fairly new venture from myself and Joel John, formerly Jouhl. We’ve been working together for years also and started to get really into harder, rougher techno a couple years ago. The Olerton project is just an outlet exploring some of those ideas. We get together and record a lot from the gear they have at Joel’s place… it’s a chance to just kinda rip loose a little bit and indulge.

What is moving you these last months? Any recent crush to share with us?I’ve been enjoying listening to a lot more hip hop that I hadn’t for a while as well as the usual jazz and funk… loads of Lonnie Liston Smith right now. DJing wise I’ve been enjoying playing a lot of disco, this classic Larry Levan edit’s been working great for me….

[embedyt] http://www.youtube.com/watch?v=kLhhr3TFKA4[/embedyt]

What are you working on right now?
First up I’ve got a remix of the Fouk lads due out digitally with House of Disco in January. I’m just wrapping up an EP with Loz Goddard for Dirt Crew Records, that’ll come out early next year with a Brame and Hamo remix. I’ve also got an EP with Purple Velvet’s Secret Reels due out soon after with Laurence Guy on remix duties. Aside from that, several other EPs in the works, various collaborations, lots more Olerton and a fair few gigs :)

Interview par : Mathieu Mérard

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

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!

[soundcloud url=”https://api.soundcloud.com/playlists/140082157″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”350″ iframe=”true” /]

Écrit par : Sébastien Lulin

Cet article Deep Love 15, Dirt Crew Recordings en 15 ans est apparu en premier sur Bolting Bits.

Laurence Guy – Kojak EP

Florent — Sat, 13 Jun 2015 16:30:10 +0000

Né en 1979 à Chicago, Laurence Guy, qui selon les dires, fût élevé par les stripteaseuses d’un club de lap dance et bercé par la musique de Prince. Au fil des années, des rencontres et des productions il attire l’attention et sort plusieurs EP sur des labels tels qu’ISM Records, Monologue, The House of Disco ou encore Purp & Soul (label de Manchester dirigé par Ben Pierce lui-même). Aujourd’hui, c’est chez les Londoniens de Chruch que Laurence Guy sort son Kojak EP.

Un EP tonitruant qui explose les barrières, pousse les murs et ne devrait laisser personne de marbre. Savant mélange des genres, les quatre titres de cette release distillent avec maestria les inspirations et la vision de leur créateur. Tantôt groovy et entraînant, tantôt deep et planant, les quatre tracks s’amusent des genres, les laissent se fondre, se confondre et devenir les fondations d’un EP aussi hypnotisant que percutant.

C’est définitivement dans la diversité et la mixité musicale que le talent de Laurence s’exprime. L’EP se prêtera aussi bien à l’exercice d’un warm up suave et envoûtant qu’à l’explosion rythmique et la folie d’un climax de pleine soirée. Le tout baignant dans la simplicité et l’efficacité.

EP disponible dès le 11 juin chez Juno Records en vinyle et depuis fin mai en digital.

Ecrit par : Mathieu Mérard

Cet article Laurence Guy – Kojak EP est apparu en premier sur Bolting Bits.