Following releases on Futureboogie, Don’t Be Afraid, Omena and Alfresco Disco, Berlin-based producer Kemback makes a long-awaited arrival on Bristol imprint Fate & Fiction to head up their latest VA compilation.

This compilation also features tracks from label boss Thrilogy, Colombian artist Joint4Nine, and Ment. ‘Set Me Free’ pairs lush pads and breaks with a soaring vocal for a ravey, hands-in-the-air opener.

Pre-order.

Cet article Kemback – Set Me Free [Fate and Fiction Recordings] est apparu en premier sur Bolting Bits.

Istanbul based Aleksandir follows up recent outings on Church,Tessellate and others with his latest album – “Skin”. Releasing this November on Omena.

This record represents a snapshot of the past year in Aleksandir’s life. As an album it is one of his most ambitious productions, with recordings of friends, loved ones and moments of intimacy woven into the tracks to tell this personal story. As a producer he has explored various sounds in his back catalogue and this piece of work continues that trend with an exploration of some deeper musical ideas and more experimental sounds backed up with the odd recognisable sample and memorable synth line half heard through a broken, blurry window.

With this record he pushes his sound and the concept further, adding intricate dub details and vocal flourishes that give something more than the stereotypical club track whilst also offering a variety of different cuts that make full use of the format.

“Skin” is a collection of disparate influences brought together by a producer with an intimate knowledge of the club scene and what it is truly about. A distillation of sounds and feelings from a period of his life, presented in a thoroughly modern album.

“I started writing Skin as a break-up album, but found myself in a whole new chapter of my life by the time it was done. It’s about affection and touch, or lack thereof. More than anything it’s a snapshot of the past year of my life, full of recordings of my friends and loved ones, moments of Intimacy, drunken conversations and laughter. Musically and conceptually it’s my most ambitious work to date, and maybe the first project that feels like a true piece of myself.”

Pre-order.

text has been provided by the label.

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The release is a tribute to the class 90’s hip-hop sound with it’s big rumbling kicks, dusty horn and piano samples and rumbling bass. Crooks and Lowdown are definitely the heftier tracks on the EP, the likes of which we haven’t seen from Saine in a couple of years at least. Our premiere track Cherish is just a bit lighter with its mellower, trippy horns, jovial melodies and easy-going percussion. This friends, is vintage Saine. The final track on the EP, Finesse, is perfectly titled and would have found a good home on his beat tape last year (those strings though wow!).

Fear not wax collectors as this is not it for Saine this year, he’s got something else coming out soon. Needless to say, we all know what 2020 has been like for musicians. Please buy and support the music if you have the means to do so. The Cherish EP is out now on Bandcamp and will be available for streaming this coming Friday.

Igor

Cet article Saine – Cherish [Self-Released] est apparu en premier sur Bolting Bits.

Hey guys, been a little while since we’ve heard new music from you, we’re stoked. Can we ask why there was this fairly long gap between releases?

Hey! We try to give ourselves a bit of time between releases to let our sound develop a bit before we share any new music.

We’re also not the kind of producers who can just knock out a track in one session; it takes us weeks of going back and forth, tinkering with different ideas before we start forming something that we’re happy with.

Our processes and the time we spend on each release, helps us to keep things fresh and ensures each release has a distinctive sound.

Plus we both work fulltime, so have to fit Casino Times around a 9 – 5!

How’d you hook up with Clandestino? We love their tastes and your output so was it fairly natural that a release came to fruition?

Thanks! We also love what Clandestino have been putting out.

Joe (Clandestino) messaged us after hearing the Recoded EP on Omena and wanted us to contribute to their podcast series. After this we got chatting over email and ending up sending him some demos. We had a fair amount of exchanges over email of different tracks and variations of tracks before we settled on a consistent ‘sound’ for the release.

We think our music and the label fit really well together, but we weren’t sure if we were aligning straight away with the sound we both had in mind.

We think the guys wanted more tracks like ‘Voices’ or ‘Simulation Bamboo’, but for us that sound belonged on Decoded / Recoded on Omena as it was almost a concept double release. This meant the tracks we were sharing with Clandestino had little to no reference to what have been releasing in recent years.

Joe has a great vision for the label though and working closely with him really helped us mould our ideas into complete release. This is why we think it took some refinement / time to workout how we could craft an EP that would reflect the direction we wanted to take our music and also fit the style of the label.

Can you tell us a little bit about the direction of this EP vs some of your previously released material? Would you say there were any huge changes for you producing the Seven, Eight, Zero EP?

This one has shifted more towards experimentation with different rhythmic patterns and brings some of our electroacoustic influences to the forefront. We originally bonded over working on electroacoustic production projects at University, so it has been refreshing to revisit.

The approach we’ve had on these tracks won’t guarantee them as certified club weapons (don’t pan the club tracks kids), but certainly makes the music a more unique listening experience and fits with us wanting to take a few more risks.

Are you actively cooking up more material or taking it easy and going with the flow, balancing life, etc?

It’s a work / life balance for sure. But that’s not to say we aren’t constantly tweaking away, digging up samples, or making new recordings.

Like any productive producers we’ll always have a library of music hidden away on a hard drive (or in the cloud if you’re up-to-date like we are), that is waiting for the right moment to fit a release and continue development.

If you are passionate about something you make the time for it in your life, so we always find the time to make music.

Do Casino Times have anything else planned for 2019, perhaps another Casino Edits?

We have some more music in the pipeline for this year that we can’t fully detail yet, but keep your ears to the ground! And we’re definitely continuing the Casino Edits series this year with CASINO005 in the works. Creating the disco arrangements in that chopped up style, is something we love doing and we’re excited about getting the next instalment out this year.

We’re also currently playing at a new residency at Five Miles in London. The nights called Outervisions and it is monthly live session blending electronics and instrumentation. Nick XOA is leading a band of session musicians each month and we’re DJing alongside a few names like Wayward, High Praise and Benito & Miguel E. Come down and say Hi to us if you’re in town.

Igor

Cet article Casino Times – A Vision of Time [Clandestino] est apparu en premier sur Bolting Bits.

Leo Picking and Benson Herbert, better known as Voyeur, are a UK house duo that hail from London. Having burst onto the scene back in 2012 as teens, Voyeur have earned the respect and mentorship from absolute legends like Frankie Knuckles, Masters At Work, Dennis Ferrer, and Cassy. Not bad for a bunch of youngsters, right? What’s even crazier about their backstory is the fact that Kerri Chandler took them under his wing and helped release their first single Blame It on the Youth on the prestigious Mad Tech Records while also coming out with their debut LP I on his imprint Koaz Theory in 2016.

In continuing their run of success, the lads have paired up with the likes of Tooli and Omena Records to come out with their upcoming, 4-track EP titled Awakening. As the cover art of the release indicates, Voyeur have decided to take their aptitude for creating deep house and combine that with the eccentric rhythms of the Motherland. Instead of simply coming out with edits of their favorite African classics, Voyeur have taken an authentic approach to crafting the music on this record.

Take their original “Mundunugu” for example. Although the African influences are clearly present, Voyeur have decided to channel that same energy and pair it with their own dancefloor assortment of pulsating synths and throbbing basslines. This manages to create a tune that truly builds upon the spirit of its sampled elements – making the song sound as modern as it does primal. I can already see clubgoers faces melt wherever this certified weapon is played during the upcoming months. An absolute chune with a capital C!

To get your hands on “Mundunugu” as well as the other three tracks on Awakening, make sure to pre-order your copy by following this link.

Cet article Voyeur – Mundunugu [Omena Records] est apparu en premier sur Bolting Bits.

It’s been a little while since we’ve updated you on the internal goings on with Bolting Bits. Our in house team of contributors has grown substantially in the past year, just as our platform has. Ten months ago when we posted our last Blended Bits mix, we were at around 7,500 followers on Soundcloud. That number has now almost doubled and stands at over 13k. If stats are your thing, we were celebrating a million plays on our channel. We are now nearing 3 million. Our YouTube channel has seen steady growth too, with over 4000 of you keeping up to date with our uploads.

One of our earliest supporters and occasional contributors to Bolting Bits has been Tooli of Omena/Local Talk fame. He sent us this mix and full of lush summer jams and we are ecstatic to be sharing it with you as the fourth instalment of our in-house Blended Bits series. Sit back, relax and enjoy!

Once again we want to thank you all as well as the fantastic labels and artists who choose us to share their material for the continued support and we urge you to keep a close eye on our page in the coming days as we’ll be launching a little something for our loyal followers.

[soundcloud url=”https://soundcloud.com/boltingbits/blended-bits-004″ /]

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Omena Records was set up in 2014 by Local Talk co-founder Tooli, and has been gradually crafting a unique, genre-defying sound. The first Omena record, « Always » by HNNY, established a mellower vibe than the straight house of Local Talk, while subsequent releases have meandered through a variety of realms, from warehouse-ready techno belters (Anders Hellberg – « Fiction ») to tropical instrumentals (Golden Retriever – « Capablanca »). And yet, despite the diversity, nothing seems out of place. The catalogue is held together by a common thread of lush textures and jazz-inflected harmonies. This upcoming release – their second LP of the year (following Seb Wildblood’s mini-album « :~^ ») – does not disappoint.

Finnish producer Saine (SoundCloud) has been steadily putting out music since 2007. His first three albums, on Helsinki label Cymbidium Records, paired elements of hip-hop and funk with more abstract instrumental ideas, laying the groundwork for his later, sample-driven dance tracks. More recently Saine contributed the stunning ‘Prime Chops’ to the first Quartet Series record, and has continued to perfect a warm deep-house sound with the « Mint EP » released earlier this year on FINA Records (for which we premiered ‘Technique’). His new album, « For The Dreamers », harks back to his earlier beat works, while incorporating the refined approach to dance music that we have come to expect from Saine.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-saine-fireflies” /]

Today we premiere ‘Fireflies,’ the seventh song on the 12-track album. The piece opens with four bars of punchy kick, embellished with a distant cymbal and a subtle vinyl crackle. An arpeggiated synth line begins beneath a low-pass EQ that is progressively lifted as the tension builds. Grounded in a familiar house two-and-four snare-over-kick rhythm, various percussion is added to the mix, with brief, syncopated breaks. With its 4/4 beat, ‘Fireflies’ occupies a space towards the dance side of the spectrum in the context of the whole record, however, it is certainly not out of place. Coming just after the mid-way point, it is a beautiful peak for the album. The rich texture and muddled, aquatic effect is perfectly in tune with the other tracks, while the subsequent piece, ‘Quartz,’ employs an arpeggiaic motif that reflects the previous melody. « For The Dreamers » shows Saine at his best, consolidating a decade of musical ideas into a comprehensive whole that is a fantastic addition to the Omena catalogue.  « For The Dreamers » is available for pre-order on Juno.

JJ Nozell

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Bristol-based producer Admin (soundcloud) has rapidly cultivated a discography of next-level, eccentric sample-based productions over the past few years. The sources for these productions are largely sweet, dusty rare grooves from jazz, soul and disco cuts. After some early work with Futureboogie, Admin had a bomb run in 2015 and 2016, dropping highly acclaimed EPs on Boogie Cafe, Sleazy Beats, Omena Record  and Kolour LTD in addition to contributing two different tracks to Bristol label Banoffee Pies‘ highly sought-after Limited Series. Perhaps the most unique aspect of his run is the implicit patience and quality control involved. Admin does not just crank out whatver’s clever, but rather maintains a steady but selective release pace. 2017 seeks to continue this run for the Bristol man, and he’s started things off with a soon-to be-released remix of Chezz’ “Bossa” for Boogie Cafe and has another dope remix in the pocket for a certain Secret label (I can’t say much more than that).

Aside from production, Admin is also a regular figure in the Bristol scene via his party Slix Disco, which has played host to such names as Marcel Vogel, Mister Saturday Night, The Revenge, Mark Grusane and Eddie C.

Anyway, we’re forgoing the interview component this time around with this man of semi-mystery. But before we dive into the mix, a bit about it from Admin himself:

“. . . The mix was in fact for my girlfriend who had just returned from a long shift at the Children’s Hospital on NYE. [I] wanted something that had energy, but not too hectic to begin with. Something that could build excitement but also kind of be retrospective of the year and forward thinking of the new year. It was never really intended to be a guestmix or anything, but I really enjoyed the mix even if [it’s] a bit rough around the edges. [It’s] got a nice charm to it. Also, apologies if [you were] expecting a ‘house’ mix.”

Musically, the session is a lovely melange of crackling soul, disco and boogie records. A silky, fun ride that’s sure to brighten any mood. Here you have it:

[soundcloud url=”https://soundcloud.com/boltingbits/mixed-by-admin”/]

Martín Miguel

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

Unless you’ve been living under a rock, you should have heard of Jesse Futerman (soundcloud) by now. The Toronto-based (soon to be Montreal) musician has been making waves with EPs on Omena Records and more recently, Church. These releases marked a bit of a turning point for Jesse as the majority of his output prior to this was more hip-hop and jazz focused, although, that same aesthetic is not lost on his newer material. With his productions ranging primarily within the aforementioned genres, you may be a little bit surprised to find that his DJ sets are often more boogie, soul and disco inspired. Up until recently you would have been able to hear some of that selection on his radio show, Body Electric on TRP (Toronto Radio Project), but fear not as his show should be returning in the near future on n10.as radio.

Getting his start at a young age, Jesse began improvising on the piano when he was just six years old. With no formal training, he realized he had a pretty good ear for music and even started putting songs together in his head. His discovery of Madlib led to digging for a lot of sample sources and from there he ended up really enjoying the records themselves, becoming something of a jazz aficionado in the process (not your dad’s jazz, though). By the time he was sixteen, he had already caught the ear of one of the biggest radio DJs on the planet in Gilles Peterson, who ended up playing his music on BBC Radio One. That further inspired him to make music and is likely a big part of the reason why we’ve got the opportunity to get to know him a little bit better today.

Hey Jesse, thanks for agreeing to be interviewed! Hot off the press is your recent “My Favourite Merchant” EP on Church. Can you tell us a little bit about how that came about?
I forget exactly how I got connected with Church. The label manager, Seb W, ended up fancying an old track of mine called “a tribute to horace” on Soundcloud. He later ended up releasing it on the recent Volumes comp. Slowly but surely we spoke about making an EP. I ended up meeting a very magical woman in Mtl whom I fell in love with. Whenever I made music in the past it was when I was sad or frustrated. Since meeting this special lass, my times in the studio were filled with happiness and love. She works behind the counter at a sick bbq in Mtl, thus, she is “my favorite merchant”! The EP is a tribute to her, as well as our relationship. She is my gem :)

Up until recently you ran a radio show called Body Electric on TRP (Toronto Radio Project) which has unfortunately had to cease operations for the time being. What did that show mean to you and how bummed are you that the station had to close up shop?
Oy vey, it hurts. It hurts bad. I miss TRP so much. Body Electric was so important to me because I could finally play all my records that I cannot play at the club. I remember being so amped to see listeners in the chatroom, asking me for Track Id’s. Was magic. When I move to MTL, Body Electric will return on N10!

Credit : vince malik

You grew up listening to and making hip-hop and jazz records and managed to catch the ears of some important people throughout the years. Of late though, it seems you’ve been more focused on tracks that work well on the dancefloor. How did that transition come about?
I can thank Kevin Mcphee for that one, along with some negative feelings working in hip hop haha. Kevin Mcphee came to my house many years ago and schooled me on house, showed me blending and got me interested in moving to 4/4. This was right before my song life is a gamble was released on local talk.

Has your approach to production changed at all or are you still doing things in relatively the same way? What kind of gear are you working with?
It hasn’t changed that much. My sample sources are still very “hip-hop”, sampling a lot of soul and jazz for my 4/4 beats. I kind of define myself as a hip hop producer working in house music haha. I got my moog lil phatty when i was in my mid teens. I had a great deal of problems putting in my music. I made a variety of hip hop eps where I never got to use it once. After listening to a lot of boogie and funk over the years, I started to be drawn closer to my synth. I finally feel like after all these years we love and understand each other. Sometimes she (lil phatty) can be a bit too loud, but the more time I spend with her the more subtle and smooth I feel she’s becoming.

With your transition into a more house-oriented sphere it’s likely that you’ve started listening to a lot more house records as well. Who are some of your current favourite artists or labels?
I really look up to artists like Adam Feingold and the temple boys. They have been melting my face these days. On the more soul-y side, I really adore Kerri Chandler, Karizma, Lay-Far, Project Pablo, Max Graef and Byron the Aquarius. I also adore Funkineven, I think his new album is amazing. I cannot forget about Riohv, hes always impressing me with his demos.

Credit : vince malik

You’ve been a lot more active in the Toronto scene as a DJ over the past year or so, playing various clubs and events and even made your way over to Montreal. Do you enjoy watching people get down to your musical selection and how receptive would you say the crowds are of your slightly more out there boogie, soul and disco sets?
Its insane. The way people react to boogie is nuts. House crowds usually lose it because its thumping 4/4, but it has that dash of soul, gospel and sometimes light yazz! Couple weeks back I had a bunch of new faces show up to my event. They requested drake and vibes kartel. A minute after one of the dancers requested drake I dropped “feel alright” by kimiko. All the girls who asked for request lost their minds to the funky synth. Moving their arms in tandem withthe modulating synth, it was brilliant!

We know you’re a big fan of the sauna. What else do you like to do when you’re not focusing on music?
I play a lot with my nephews, I love them dearly. I try to be a good son to my parents who are super amazing. I love films and am a huge gamer for better or for worse. I play a lot of online games with friends, its good fun, but many tell me to stop haha.

Tell us a little bit about the mix you’ve recorded for us.
A mixture of things I truly love. From Pharoah to boogie to brazilian, it features all sorts of spices. Also a new track from me that will be out in the summer!!!!

Finally, can we get a little bit of insight into what you’ve got planned next? Any upcoming releases/collaborations we should keep an ear out for?
Ah yes, a follow up to my church EP :) On coastal haze! A remix for Dirt Crew’s Harry Wolfman out on wax in the coming months and another piece of wax with my good pal Dan Only!

Interview : Igor
Pictures : vince malik (http://cargocollective.com/vvncmmlk)

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

In their first official release (discounting the sweet, whitelabel

For our premiere, we’ve chosen “Simulation Bamboo”. The B1 track has an 80s electro inspired drum kit being layered with celestial and moody synth riffs and well-arranged strings. Perhaps the track title does a bit of foreshadowing in this case, as the piece contains an interesting combination of electronic and eastern colors. The song is at once both ominous and bright in mood, and could equally be seen soundtracking a roadtrip as much as it could the early AM segment of an emotional warehouse bash.

While its companion on the B-side, “Man Machine Interface”, is a bit more dark and mechanical – as the name would suggest, the A-side – which plays host to the hypnotic “System Transistor” and the wonky “Keyboard Warrior” – is certainly lighter in vibe. The release as a whole is a decidedly successful and intriguing collaboration between one of the most unique imprints on the house scene and an artist with an individually evocative sound.

[soundcloud url=”https://soundcloud.com/boltingbits/casino-times-simulation-bamboo”/]

Martín Miguel

Cet article PREMIERE : Casino Times – Simulation Bamboo est apparu en premier sur Bolting Bits.