Session Victim’s The Disconnect is a reminder of why the duo remain one of the most quietly essential forces in contemporary house music. Coming hot on the heels of their sprawling three‑part opus Sidequests, this five‑track EP feels like a focused counterpunch — tighter, moodier, and steeped in the collaborative spirit that has long defined their catalogue. With Kenneth Scott, Rossano Snel and Quarion joining the fold, the record becomes a conversation between artists who understand groove not as a formula, but as a living organism.

“Hey, Activate!” sets the tone with a slinky, funk‑driven opener built on ambient pads, a rubbery bassline and those unmistakable Session Victim synth noodles. It’s confident, playful, and quietly intricate — the kind of track that rewards both the dancefloor and the deep listener. “Dream Theory” drifts into more cinematic territory, its distant sax phrases and tremolo motifs weaving around a gorgeous piano‑and‑bass interplay. It’s dreamy without being soft, textured without being cluttered. “Flotsam” is a standout, channelling the incidental sampling and dusty breaks of Herbert while nodding to the filtered warmth of early Cassius. It’s a clever fusion: nostalgic yet unmistakably modern. “Open Minds” leans into soul‑leaning instrumentation — bongos, muted guitars, Rhodes — creating a mellow, lived‑in groove. “Loom,” with its Bonobo‑esque shimmer, closes the EP in reflective fashion, tying together the organic and electronic threads that run throughout.

What makes The Disconnect special is its emotional clarity. Even at their most precise, Session Victim never lose the human pulse at the centre of their music. Forty EPs in, they’re still refining, still exploring, still delivering house music with heart. In a crowded landscape, this record stands tall — warm, meticulous, and unmistakably theirs.

Pre-order.

Cet article Session Victim & Kenneth Scott – Hey Activate! (Modem Mix) [Rhythm Section] est apparu en premier sur Bolting Bits.

Wallace is a name becoming more and more synonymous with that dancefloor moment. If you’ve seen any high calibre diggers lately such as Hunee, Moxie, Axel Boman or Gilles Peterson then you’ve most likely heard a Wallace ear worm. Through his productions on Rhythm Section, Studio Barnhus and his own elusive white label series Tartan, he’s become a hit machine responsible for elevating dancefloors everywhere.

Headed by Palms Trax, Wallace adds CWPT to his prestigious discography list, cooking up a four track EP of leftfield disco, progressive house and wonky drum rhythms with a seasoning of psychedelia. We had a chat with the UK-based musician to dig a little deeper into the man and the music.

---

INTERVIEW

---

Picture by Seb Gardner

Thanks so much for chatting to us! Congratulations on a fantastic year, how has it been? Any stand-out moments?
Cheers for having me! Yea surreal at times having been tucked away for so long honing my music to then start sharing it & feel the love & support from people.

Putting out my Rhythm Section release was certainly a highlight, they’re a lovely bunch & have really embraced me as part of the family. Also moving the studio above ground this year looking out onto nature has helped inspire a lot of new music.

For our readers who don’t know you, can you tell us about yourself and how you started out?
My introduction to electronic music came through a friend who brought a French touch CD into school one day. He pressed play & ever since then I’ve been hooked.

During my time at Edinburgh University I ran parties & started to develop my djing. When my degree ended & it was time to pursue a “real job”, I decided to move back to my hometown of Shrewsbury to start making music. 10 years on & here we are.

Your latest release Willow is superb. What was the thinking and significance behind making the record?
The release is inspired & named after two hugely influential characters in my life. One of my best friends who sadly passed away & my favourite dog. The music is a tribute to the pair of them, partly poignant, partly joyous, drawing upon what they showed me & how they shaped my world.

What does a typical day in the studio look like for Wallace?
If I’m creating new material then l like to be well prepared beforehand. For me this is such a vital part of the process, having your working environment organised, building a unique sound library, learning your gear, training your ears such that if creativity hits you are best placed to capture it without any barriers to your flow.

Often the main idea for a song comes within the first 15 mins so I’ll usually spend a couple of hours trying out 15 min ideas before listening back & seeing if anything catches my ear. I find this technique really focuses my work & I waste less time on ideas which aren’t going anywhere.

Once I feel I’ve got something with legs I’ll start recording live takes on hardware or software synths. The mistakes, surprises and human touch from this method can really breathe the music to life. From there it usually takes me a couple of weeks to finish and mix the song down.

What can we look forward to in 2024? Or do you plan to sneak any last bits in before the end of the year?
I’m actually sneaking an album out next week on Mule Musiq called “Red, Yellow, Black”. The release is heavily influenced by nature, and more mellow than my previous work. Having written so much club-focused music this year I really wanted to show a different side to my sound, partly away from the dancefloor & something for the changing of the seasons.

As for 2024, I’ve got a new release with Rhythm Section in the pipeline & then an EP coming on Moxie’s “On Loop” label.

Tartan has developed a cult following amongst collectors. What was the thought behind the launch of the label?
It was actually born from a failed Optimo record deal. The sample was an issue so I just decided to start a white label series. I’d had the idea of having a man in a kilt on a record with the spindle going through his knob then had always liked the Soundstream records where every release was a different colour. Grace (Lethal Biddle) knocked out a killer tartan man & then I was put in touch with Prime Distribution who now do the legwork so I can just focus on the music. The idea has always been to offer something not too chinstroky, which translates well onto the dancefloor, the tartan flasher being the ideal front man! I had a full circle moment last year when I gave a copy of TARTAN001 to Optimo at the Berkeley Suite & watched them play it; it was also the first time I’d heard my music played in a club.

Are you a record collector yourself?
Yes I started collecting 7” at school before I was into electronic stuff & have carried on ever since. One of my big obsessions is 80’s/90’s Bollywood soundtracks, aside from those I get most joy unearthing an older record from the 90’s/00’s which no one else is playing. My brother is also an avid collector so we’re often talking about or sharing records.

Any upcoming dates and plans you’d like to mention?
I’ve got my Berlin debut next week at Panorama Bar. Then I’m off to Japan for a couple of shows in December to promote the Mule album. Japan inspired a few tracks from the release so it will be a nice moment to be able to play out there & get lost in translation!

Interview by Rees.

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

Rhythm Section International curates the third instalment of SHOUTS, spanning a massive 29 tracks, it traverses a vast range of genres from contemporary R&B through to club focused cuts. Encompassing the core of Rhythm Section’s wide sonic imprint, the compilation continues to focus on up and coming producers & artists alongside more established names to shine a light on the exceptional musical talent stirring in 2022.

Bradley Zero remarks, “ SHOUTS was only ever intended to be a one-off project to celebrate 5 years of the label, but the process of hitting up artists we respect and admire to contribute a track to a compilation ended up being a game changer for us as a label. It turns out we have so much to shout about!

In this world of over subscribed pressing plants, 6 month lead times and increasing production costs, it makes more and more sense to transition this project into the digital realm…”

SHOUTS 2022 sees the label once again travelling across the world to find the most exciting sounds, integrating itself in the emerging soul and jazz scenes of Berlin with RS debuts from Yoofee of the Moses Yoofee trio, neo soul singer Noah Slee and hip hop downtempo jazz producer S.Fidelity. The compilation also welcomes several artists from across the Atlantic including but not limited James Bangura, the DC based producer part of the Black Rave Culture Collective whose dynamic percussion driven productions have taken him on tours across the world on tours through Japan and Europe. The UK offering see’s Cosmic Slop resident billy2chips step up to the plate alongside London based DJ and producer Manami who is fresh off her tour supporting the iconic Bicep alongside talented artist Toby Cato whose work and music may be coming through very soon..

“ Whilst a few tracks on this comp are the product of longer standing relationships ( Yak, Rejoicer, Natty Wylah, Athlete Whippet, Ian DPM, Sally C) big proportion of the tracks are the fruits of Rhythm Section’’s relatively new Label Team – consisting of Emily Hill as Label Manager and Label assistant Ayiesha Smith – who graduated from intern to full on employee this year.

This new blood is reflected in the increasingly diverse mix of selections for this year’s SHOUTS, ranging from the “Ori” influenced soul of newcomer Akin Soul to JuJu Rogers’ new wave of Jazzy Hip Hop emanating from Emily’s adopted City of Berlin. Long story short, this is a snapshot of where we are collectively at, where we are headed and what we want to shout about.

Pre-order.

Promotext provided.

Cet article Ian DPM – Overheard By The Birds [Rhythm Section International] est apparu en premier sur Bolting Bits.

SAUL enlist the help of talented friends for their new EP – a feel good, summer-ready soundtrack, bursting with uplifting synths and groove-heavy broken beatsSAUL, is a joint project from the minds of Jack Stephenson-Oliver (keys player of fellow Rhythm Section INTL signee, Vels Trio) and producer Barney Whittaker, aka Footshooter.

With the success of their individual projects – Vels are soon to embark on a tour across the UK and Europe and Footshooter is growing from strength to strength following releases on Astral Black and Dance Regular – it’s exciting to hear what the duo will think up next.
When the two of them get together their jam sessions result in a fusion of jazz and broken beat. Atmospheric keys and synths interweave with programmed drums, laying the perfect ground for the all star cast of featured artists assembled for this record.

Collaboration is a key element to the creative output of SAUL, shining a light over individual and collective talents. Their second release, Mutualism, promises a stellar line-up of musical interaction. In the words of Barney, “the feature performances are all very different, the way they worked on the tracks really brought each one to life in a big way”.
The project starts with the sounds of sunrise. Opening with The Light, is Allysha Joy, a member of another group on Rhythm Section’s roster, 30/70. She crafts uplifting melodies that move gracefully through bouncy Rhodes chords. This track shines with sun-focused energy and up beat grooves that provide the perfect soundtrack for long summer festival days.

On Coalesce, featuring South London MC Natty Wylah, lofty, cloud-like atmospheres are built above classic Moog synths. The hypnotic bass and lead notes are equal parts hopeful, eerie and curious, matching the optimistic promise offered by Wylah’s hook: ‘don’t you want to find somewhere better?’. Subjects flow from party-focused lyrics to poetic streams of consciousness as Natty adopts a dreamy sung delivery by the end of the track.

The Ep comes to a serene close with a feature from ‘aden’ – recipient of the 2021 Fred Perry x Nicholas Daley Music Grant. The early image of sunlight may have faded, but the energetic focus of the project never dies. Swirling synths circle around sharp bass stabs, with a driving bassline taking over into the hook.

Other major features include the unmistakable tone of Lex Amour. During Flowers, her laid back, spoken style is accompanied by a slowed down G-Funk-inspired instrumental. With an illustrious list of collaborators already to her name (such as Kojey Radical, Wulu, George Riley and Ego Ella Mae) and sell out shows across the country, she makes her lyrical prowess evident. Lex effortlessly switches between rhythmical flows to hypnotic layered melodies – elevating the production to another level in the process.
The synergy between producers and vocalists is evident; the collaborations equal far more than the sum of their parts. In ‘Mutualism’ we see Saul’s vision fully come to fruition. The synergy is apparent, the possibilities – endless and the respect – mutual.

Aside from the Vocal guest appearance, Mutualism is also packed with instrumental cameos. SAUL turn to Ezra Collective’s sax player James Mollison on the track Can’t Wait. The seasoned five-piece are set to perform alongside the modern day jazz pioneer Kamasi Washington later this year. Mollison shows his range on this song as energy flows from soaring highs to long sustained lows, allowing a hint of dub influence to come to light.

SAUL’s newest release signals two musicians at the height of their artistic expression, drawing resources and influences from wherever is inspiring them most. This collaborative methodology produces a sound that is constantly evolving, illuminating new faces and sounds with each project that passes.

Pre-order.

text has been provided.

Cet article SAUL – Breaking Moon (ft. aden) [Rhythm Section INTL] est apparu en premier sur Bolting Bits.

This spring saw the birth of a brand new record label from the Wah Wah 45s family. Allison Recordings launched their debut compilation, Sun After Rain, with much critical acclaim and radio support from the likes of Huey Morgan on BBC 6Music and Gilles Peterson’s Worldwide FM. The first single to be released from the album was courtesy of Berlin based rising star Lavan, and now the man is back with a quartet of sonic explorations delving into house, garage and electronica.

Dusty textures, emotive arrangements and raw sample-chopping playfully complement each other forming a remedy to heal your soul. Lavan’s homegrown concoctions stay committed to stimulating your body and mind. So loosen up, be free to change and enjoy the good times to come!

“Amidst the unpredictable times music has allowed me to maintain focus. Soundtracking those reuniting on dance floors with a new energy and appreciation.” Lavan

Pre-order.

text has been provided.

Cet article Lavan – Healing Spirits [Allison Recordings] est apparu en premier sur Bolting Bits.

Pegasvs, the moniker by which London-based DJ, Thomas Lesnier, currently operates under, returns with his first track of 2021, “Oscillations (Live Mix)”. This track marks his first since his 2020 Tropical House cut, “Closer to the Sun”, which saw the producer straying from rugged Tech-House for a much sunnier and laid-back sound. 

With “Oscillations”, Lesnier doubles down on this new sonic direction, delivering an epic slow-jam jazz cut with live saxophone and guitar (courtesy of Matt Grenz and James King, respectively). The track feels like a warm, gentle summer breeze, wafting up and immediately putting you in a serene headspace. The track opens with bubbly synths and clinking percussion sticks, which are soon met with a more typical hi-hat pattern and bass-line that subtly builds in tension, culminating in Grenz’s stunning sax solo. The track seems to add on new elements as if it were cruising down a beach-road during sunset and picking up an assortment of hitchhiking friends. There’s an almost symbiotic, utopian feeling that emerges as the track goes on–– nothing feels forced, nor out of place; everything just gels. 

Considering the year we have all had, this track arrives as a balm for our weary spirits. It offers a taste of what we need after a year of crisis and rampant anxiety. The track embodies a kind of back-and-forth, an “oscillation”, if you will, over how music can respond and provide solace to us in times of great distress.

Pre-order.

Cet article Pegasvs Feat. Matt Grenz, James King – Oscillations (Live Mix) [Burnin Music] est apparu en premier sur Bolting Bits.

Credit: Natalie Jurrens

Melbourne based artist Prequel is back to continue his love affair with renowned UK imprint Rhythm Section, this time in the form of his debut album ‘Love Or (I Heard You Like Heartbreak)’. He’s joined on this long play by several collaborators as he navigates through the contrasting themes and raw emotions of love.

Throughout this album Prequel stays true to his infectious style of production that we are familiar with, only this time his Jazz influenced, sample laden productions are supplemented by the live work of the albums collaborators. We’ve been excited to get to chat to him to explore more about the release and the man behind the music.

INTERVIEW

---

Was ‘Love’ something that you always had planned to write and release, or was it a product of having more time available to dedicate to writing because of the Covid-19 Pandemic?
I didn’t even really set out to make an album at all, it just happened that on the back of a writers blockade I started making music more consistently and the theme of Love kept coming up and the narrative slowly started to reveal itself to me, so I went with it. This album was fully completed way before covid hit so there wasn’t really any tweaking to the material. I did (when it was unfinished) turn the album in to Bradley Zero and about a month later I sent a follow up email saying I needed more time with it as I wanted to take it to the next level and add all the live elements to it.

You’re a long time collaborator with Rhythm Section, can you give us an insight into your relationship with the label?
I owe (more than anyone can imagine) a lot to Bradley and Rhythm Section. Bradley believed in me and my music way back when in 2013 (before “Polite Strangers” was released in 2014) and he continues to believe in me. That’s not to say he says yes automatically to anything I send him, but I have his ear and he trusts me. Without him and RS I honestly don’t know where I’d be musically speaking. He’s not only cultivated a fantastic and world wide community through the shows, the radio and the label, but he’s always surrounded himself with a great team too. Back then is was Anu and Morrell working with him and Mali and now the amazing Emily and Amelia have joined him and Mali working on the label. I’m also very lucky to call Bradley a friend of mine too. We’ve travelled the world DJing together, he’s exposed me and introduced to me so much amazing music, amazing people, amazing places and amazing musical communities. We’ve had (and continue to have!) deep conversations about everything under the sun and he’s made a very large and very positive impact on me as a DJ, producer and human. I stay at his place when I’m in London and we hang when he’s down under and speak quite regularly even when it’s not about RS/Prequel music stuff. RS has been going from strength to strength ever since the label started. Through the music they have put out, artists they have exposed the world too, gigs they have put on with bands or lesser known DJ’s, stages at music festivals, radio stuff on NTS and BBC1, merch collabs, the list goes on. There is no Prequel without Bradley Zero and Rhythm Section.

How did your approach differ when writing this album as opposed to shorter length releases?
I didn’t start the music making process with writing an album in mind at all, I just needed to get back to actually sitting down and making music. When a narrative begun to reveal itself to me a few tracks in I was very much focused on making a cohesive album that reflected my “sound”, my influences, but also I really wanted to step it up a notch with all the movie references, live instrumentation, deeper messages, artwork and video assets. The actual making of 90% of the music was very much about being focused, dedicated and putting the solo time in everyday but with the understanding that whatever came out, would come out. I certainly had a feel and/or “mood” in mind for the album after the first few tracks were sketched out so apart from my normal process it became about creating a long form consistency. I hadn’t really explored this much, as my other production efforts were more short form and perhaps only loosely following a narrative, if at all.

We’d just like to touch on the music videos that accompany the album; do you feel that the visuals help you to express your themes and ideas alongside the music?
I originally had another idea for the first video but due to covid was unable to execute that idea at all. We had a label zoom meeting and I had made 12 mini promo clips to accompany each song that were scenes from different movies that tied in overall with the theme of love/heartbreak but also were specifically suited to their respective song. I can’t remember who actually said it in the meeting but it was suggested I make a video clip in the same vein but perhaps with many different movies. My head exploded when this was said as it’s VERY much up my alley. Music, movie scenes, editing/sampling etc. I’m really proud of the 3 video clips and the 12 promo clips I edited and I do feel its another angle to help express and, dare I say, deepen the meaning of each song and album overall.

With the “Love Is” clip those scene snippets (about 65 from about 63 different movies) that accompany each line of Cazeaux O.S.L.O.’s lyrics are very very well thought out and considered. I didn’t just throw any old “love story” scene from a movie in and call it a day. They are specific choices and even though some clips may only seemingly match their respective line in the song, if you know the movies they are taken from, you can start to further understand why I chose that scene and what was happening in the movie at that time which really deepens the narrative of the song and the album overall. With the other two clips, because they are made from one movie (respectively) it was a different type of challenge editing it for each song. I only had one source material I couldn’t pull out other movies to fill a gap if needed. I also waited because I knew I wanted to do two more clips but needed to have the right movies for each song. I watched A LOT of movies in lockdown last year and when I cam across those I knew with a lot of editing they would work for their respective songs.

Do you feel that collaborating with other musicians helped to add another layer of emotion to the album? The string section at the close of ‘When Love Is New’ was so raw and powerful it literally made the hairs on the back of our necks stand up!
Thank you for saying that, I’m glad it did! The live work of Tamil Rogeon, Horatio Luna, Javier Fredes, Josh Kelly and Cazeaux O.S.L.O really took the album to a bigger and more refined place and I’m so grateful I could work with them all as they are all firstly, amazing people, and secondly amazing at what they do. There was nothing particularly “wrong” or “bad” about the version of the album without them but I felt, being my debut, it really needed to be operating on the highest level I was able to achieve. Plus, I just wanted to work with those people and they fit what I was doing so perfectly. Also, having my dear friend and WILDLY talented painter Seth Searle make an original piece for me for the cover was something I had always wanted too. We were meant to do it for another release a few years back but it never happened so having her on board for my debut album, helping represent the visual side of the project, was really important to me and Bradley was down for her involvement too.

After speaking to other artists, it’s apparent that Covid has impacted their creativity in different ways. How has it impacted your creativity?
I guess it made me creative in different ways. I chose to make those clips so I had to teach myself final cut pro again during lockdown and switch my brain to ‘movie mode” instead of “music mode”. It’s been challenging though; I have a funny relationship with creativity at the best of times. I certainty wasn’t a creative powerhouse the whole of Melbourne’s lockdowns but I got some good stuff in there. It’s what it is.

In what has been a year filled with negativity, are there any positives that you have been able to draw from this period?
There has obviously been a lot of negativity yes, but certainly some positivity too. A few positive things on a more personal level which I won’t go into but also I put out the album and that’s been a really amazing and positive thing for me, it feels so good to finally have it out in the world and getting nice feedback and a bit of love from the people so that hits me in the feels. I guess the overall positive is that I can endure, to some degree, what life throws at me, and I’m a little bit more at peace with my relationship with creativity and my personal creative process.

With the world now on a footpath to reopening, what does the immediate future look like for you?
I’m lucky enough to be playing a music festival called Meadow on the 24th of April so I’m super pumped for that! Been back playing some club shows which has been a blast and hopefully more on the horizon. Might be doing a little launch party for the album here in Melbourne and hopefully just more club shows, interstate stuff and festivals once summer comes round again on this side of the world. I’ve got an EP coming out on Lumberjacks In Hell called “Don’t Let Me Be The Last To Know” so I’m excited for that to be out in the world too. A remix coming out which I’m pumped for and hopefully something else too this year, fingers crossed!

Buy/Stream “LOVE” now.

---

Interview by Myles

Cet article Times & Tunes with Prequel est apparu en premier sur Bolting Bits.

Rhythm Section and Ruf Dug Join forces again as THE COMMITTEE – this time keeping it in the family, with Bradley Zero’s sister, Olivia Lucy Phillip on vocals performing a song written by their Dad, Lenny, in the early 90s.

INTERVIEW

How did this collab come about?
Bradley called me up and said his sister had written a song and wanted someone to help record it. I love working with vocalists in general and so when ur mate calls u up and says do u wanna work with a west end / broadway / hollywood singer it’s not even a question really.

Had you met Olivia Before?
I’d met her once very briefly late night outside a warehouse party that Bradley & I had DJed at, and I also saw her perform on stage in Book Of Mormon in London.

What was it like working with her in the Studio?
A mega buzz. It was great fun to hang out but also from a music & craft perspective Olivia’s one of the finest vocalists I’ve ever worked with so it was such a joy to record her, I was encouraged to take lots of backing vocals and double tracks because she was such a pro and able to hit her notes every single time, each take was identical – and perfect. A machine!!!

What do you know about the genesis of this song?
I know it’s a Phillip family heirloom! I feel ultra privileged to have worked on it, I keep calling it ‘the family jewels’

How much was written on the day?
There were 3 ‘days’ – the first was an informal recording session at a friend’s house in the middle of 2019 which I then went away and sketched a beat around. We then reconvened at the Rhythm Section section a month or two later to properly track in the vocals and then Liv went back to the US while I did some bits and pieces. At this point the beat still had a hiphop/street soul feel to it. Finally, at the very start of this year when I went back into the studio after the Xmas break I decided I wanted to write a lovers rock-style beat around the vocals and the version you hear now came about very quickly, in a couple of sessions.

Have you ever met Bradley and Olivia’s dad?
Yes! He came to one of the Rhythm Section parties I DJed at, years ago. We all went for pizza and then kicked onto the pool hall. One of the biggest moments of my DJ career was when Bradley’s dad came over and gave me a little nod and said ‘nice tunes’. Serious approval!

Did you set out to create a lovers Rock tune?
We didn’t set out to make it a lovers tune but after it had been in my head for a few months I realised it would probably sound pretty good with a lovers beat under it – I would like to stress that this was all BEFORE the big Lovers Revival Of 2020 ™

Why is Lovers having a bit of a moment again in 2020?
I think there’s a lot of space and need at the moment for beautiful warm music with meaningful loving lyrics. I think the Small Axe Lovers Rock film does a fantastic job of showing how this music in part was a means of escaping some truly awful situations and while I’m not in any way trying to compare with or co-opt the Black British experience of the 1970s, I think it’s fair to say that many of us are seeking a way out right now.

PLUS ANY OTHER INSIGHT / funny story you may have! x
Just a testament to how good a vocalist Olivia is – when u look at the waveform of the different takes she recorded and the volume levels and all that, each one is pretty much carbon copy identical… this is what comes from having a voice trained to perform the same songs every single day and twice on saturdays. I’m always blown away by masters of their craft and aside from having been part of making a great song and having had a mega laugh along the way it really was a major thrill on a professional level to work with someone who’s so good at what they do.

ORDER

text has been provided by the label.

Cet article Ruf Dug | Rhythm Section Presents The Committee est apparu en premier sur Bolting Bits.

Flumo and ANMA Records join forces once again – this time for a collaborative project between UK based Contours and Yadava. Cosmic Echoes was built over numerous jam sessions fusing live percussion, bass, drum machine, synthesizers and field recordings to create a raw EP full of soul and warmth.

‘Start First Finish Last’ opens up with smooth keys and alluring bass solo. The drum and percussion interplay keeps the up beat rhythm flowing, allowing for the bass to enhance on a Balearic and laid-back dance groove. ‘
‘Udu’ takes the vibe on a more beat-driven road, with interlocking Kit and Udu patterns, floating keys and rolling synth arpeggios cutting in and out of the groove. ‘Speaking Through Broken Shells’, gets back on the bass and drum heavy interaction, with lots of influences from UK jazz scene.

The B-side starts off with a more familiar house groove. ‘Low Slung’, is a nod to the eyes down moments on the dance floor, with raw hats and shakers swirling around synth swells and heavy synth bass for introspective bliss.
‘Cascades’ swaps over to an atmospheric soundscapes, with plenty of stereo play and rich sound quality, making it easy to get lost in a jungle of flutes, keys and rain-line percussion notes.

NIAN’s remix of Cascades, takes the atmosphere up a beat and subs the rolling bass with broken beat rhythm, while Skygaze remix, of the same track, adds liquidity and reshapes the atmospheric sound into a more dance floor orienting mix.

Pre-order.

 

text has been provided by the label.

Cet article Contours & Yadava – Start First Finish Last [ANMA Records & Flumo Recordings] est apparu en premier sur Bolting Bits.

From the backwaters of New Orleans, founder of the Mystery Zone imprint and parties Hiatt dB bursts onto the international scene with glorious technicolour debut EP ‘Palimpsest’, marking our first recruit from the US of A. Having grown up in the Gulf Coast’s San Antonio, Hiatt made the move to New Orleans in 2015 with his heart set on exporting the sound of the Gulf South to the global discourse. Here, newly exposed influences from the Mediterranean to West Africa, Brazil through to the Caribbean motivated him to begin making dance music and performing as a percussionist and DJ.

True to the drum city, Hiatt doesn’t let up on the rhythmic assault. From joyful piano stabs and dizzying percussive crescendos in ‘Sun Spell’ to the intricate snare rudiment of ‘Palimpsest’; the sizzling, hypnotic ‘Big Easy’ stylings of ‘6 O’Clock Rock’ to basking in the euphoric, sparkling breaks of ‘Everyday Break’. It’s the warm afterglow you need as the journey of the record comes to it’s triumphant conclusion. We couldn’t be happier to have Hiatt dB joining the RS family.

Pre-order – 02.07.20.

This promotext has been provided by the label.

Cet article Hiatt dB – 6 O’Clock Rock [Rhythm Section] est apparu en premier sur Bolting Bits.