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.

On the Corner Records was awarded ‘Label of the Year’ at the Worldwide Awards 2018. OtC is a story of artists and scenes that goes way beyond being a record label. DJ, label owner Pete On the Corner has created a home for innovative, border-crossing, genre-pushing artists. The OtC vision is to bring music to the world that is knocking at the ‘Door To The Cosmos’. The label is an inimitable mixture of Miles Davis ‘call it what you want’ attitude, Sun Ra’s Afro Futurism and the ecstatic soul lifting influence of black music on electronic dance music.

On ‘Door To The Cosmos – Dancefloor Sampler’ Pete has curated a volume of cuts from present and future label family. This first in the series, is not just knocking at the door but giving it a kick! It’s club music referencing the source, be it Detroit, or UK bass culture combined with future sounds rising from cosmopolitan hotbeds of sonic heat. On this maxi EP Venezuela meets India via New York, the street sound of Dar Es Salaam, Tanzania pulses through UK Jungle. Undergrounds pushing the dance, breaking borders and genre alike. Rhythms from the ancestors channelled for future times.

New label family, The Diabolical Liberties are stalwart scenesters Alex Patchwork and Earl Zinger. ‘River of Sound’ tears through the jungle so jump in for a swim.

Pre-order.

Cet article The Diabolical Liberties – River Of Sound [On The Corner Records] est apparu en premier sur Bolting Bits.

If I had a name like Luca Thiebault I’d probably go public with it. Thinking otherwise, this Frenchman has developed the ‘Enflure‘ alias (meaning to swell/crescendo or grow in size). With a knack for splicing beats and arranging harmonised vocals, he’s what I’d call a promising recipe.

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-enflure-unsatisfied” /]

Today, we’ve been lucky enough to land the EP’s title track “Unsatisfied”. On first listen it fees as though I’m listening to the love child of Romare and Maribou State. A looped spiralling vocal cut weaves its way between ethnic drums and oriental sounding keys. The bass line is relentless, encouraging all those in attendance to soak it in! No bells and whistles here, just straight up, well-constructed electronica. Imagine being dragged into a pleasurable whirlpool, this my friends is “Unsatisfied”.

Pressed by calm house connoisseurs Ad Hoc Records, (home to the likes of Tommy Tickle, Yadava and Nymad) I feel this is the start of a long and healthy relationship between label and artist. Quit twiddling your thumbs and open your ears! Pre-order now.

Will

Cet article Enflure – Unsatisfied [Ad Hoc Records] est apparu en premier sur Bolting Bits.

Yadava makes a welcome return to his hometown imprint Ad Hoc Records with the release Velvet House On Sackville Street. His selections have garnered him widespread recognition and respect around the globe, and his original creations are certainly no different. In our interview with the man earlier this February, Yadava says the direction of this EP was heavily inspired by him “experimenting really with mixing live instrumentation and samples from records I was listening to a lot at the time, mainly bossa nova and some jazz-funk sounds.”

[soundcloud url=”https://soundcloud.com/boltingbits/premiere-yadava-camomile-samba” /]

One of the tracks from the record that is clearly influenced by these samba and jazz elements is titled “Camomile Samba.” With a teasingly relaxed intro and hazy Bossa changes, this original unfolds into pure exotic simplicity. Alluring vocals mix with carnival drums and glittering piano licks to tempt you to your feet – before it all fades away as if it were just a dream. Here is a relaxed view of the party, seen at sunset and from a distance.

To get your hands on the rest of this 4-track EP, you can pre-order Velvet House On Sackville Street by following this link right here! It comes out April 29th.

Only a few days until you can luxuriate in the effortless seduction of these choice cuts and transport yourself to a Latin paradise!

Cet article Yadava – Camomile Samba [Ad Hoc Records] est apparu en premier sur Bolting Bits.

Yadava is a Manchester-based producer and DJ known for his releases on local staple Ad Hoc Records and for his debut album, “It Rains Here”, that was released last year by London outfit Church. Catching our ears from day one, we’ve happily premiered a couple of his tunes in the past (and future) and now we’ve also invited the rising star to record a mix and answer some questions for us. We ask him about his influences, the city of Manchester, his album as well as his forthcoming EP, among other things. Find out more about Yadava and read the full interview while listening to this perfectly curated Monday morning soundtrack.

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

INTERVIEW

How would you characterize the sound of Yadava?

Hard question! Think I’m still figuring that out myself and I’d hope it would keep evolving as I develop anyway. A lot of the time it’s heavily influenced by what I’m currently listening to which can change pretty often. I guess jazz-influenced sounds are a common theme, whether it’s the samples I’m using or the sounds I’m creating myself. I like to incorporate percussive elements into the mix too, I’m always aiming to bring some richness to the rhythms. I think I also tend to gravitate towards slightly more laid-back sounds, even if I set out to up the tempo.

Your debut album on Church, “It Rains Here”, has been rinsed by us at BB HQ quite a bit since its release. Can you tell us a little about the background of the double LP? What were some of the inspirations behind it and is the name a tribute to your home base of Manchester?

Yeah the name is a reference to Manchester for sure, but it also has a double meaning. I wrote a lot of the LP whilst I was going through a bit of a difficult time so it’s a reflection of that too, even though that probably wasn’t a wholly conscious and explicit process. For me, there’s melancholy tones throughout but also some warm and soothing sounds in there. I can definitely recall the process of creating the music feeling like it was serving a therapeutic purpose, and when I listen back to it now it’s like a document of my emotions at that time packaged up for me to go back to and make sense of. I don’t think I’ve ever actually played the record out in a bar or club. At the same time, it’s cool that other people are going to engage with the music in a completely different way to how I do. In terms of the sound palette I was definitely inspired by the sounds of labels like 22a records and 2000 Black, as well as Manchester-based friends exploring similar musical territory like Contours.

Tell us about your forthcoming EP for Ad Hoc Records – any particular inspirations behind it?

Yeah the tracks on that EP are some of the first ones that I’d recorded and decided to send out to labels. I’d just picked up most of the gear I made the Church LP with so was getting my head round using the MPC and recording live bass/keys so it’s a bit fuzzy round the edges. But yeah it was just experimenting really with mixing live instrumentation and samples from records I was listening to a lot at the time, mainly bossa nova and some jazz-funk sounds. One track actually had a digital release last year but it’s going to be nice for that to be pressed up to vinyl with some other sounds I’d made at the same time!

How is the scene in Manchester right now? There certainly seems to be a sound that’s hot there right now with producers and DJs such as Contours, Cervo and the like championing it. Would you say Manchester is carving out a bit of a niche for itself?

I’ve been in Manchester for about 10 years now and what I’ve always noticed is the breadth of music coming from the city – I don’t think it would be fair to put Manchester in a particular box musically because there’s so much music to engage with, and too much to try and make reference to here. I think there’s a lot of really nice jazz and soul infused hip-hop coming from the city at the moment, obviously championed by artists like Children of Zeus who’ve had a big impact and been doing their thing for a while; as well as younger artists like KSR and Blind Mic. I think because there’s such an eclectic music scene in Manchester, that gets reflected in sounds that straddle lots of different styles. For example, the Kawuku sound project that Tom (Contours) and Chris (Cervo) worked on, or what Tom (Werkha) is doing at the moment, occupying that space in between more electronic sounds and live jazz.

We know Manchester is full of talent. Is there anybody there that’s currently flying under the radar that we need to check out? Any special shout outs?

Taurtollo who released a really nice EP on Ad Hoc records last year is someone to keep an eye on for sure. Also Garth BE, who’s probably not so under the radar but if you aren’t familiar with his stuff then I’d go check that… and keep an eye out for more sounds in the near future. There’s loads more, too much to list here but a good starting point would be to check out the archived shows from local DJs on NTS Manchester, Reform Radio, MCR live etc.

Can you talk a little about So Flute, the event series you help with? What’s your role? Tell us how it started, the ethos behind it and if you see it expanding into something else in the future?

I started So Flute with my pals Dan and Billy when we were still students over 6 years ago now. Our friends Luke and Tom came on board pretty early on too and we used to do monthly parties at the Roadhouse (RIP) before it closed down. Music-wise I think we were influenced a lot by DJs and parties we had been going to with an eclectic music policy like Mr Scruff’s Keep It Unreal nights and Hoya:Hoya. We also wanted to put on nights that felt like a house party, where there was a laid-back feel and more of a connection between the people in the crowd. I think over the years So Flute definitely developed in that way. You’d see the same people coming each month and it feels like there’s a strong core community of people who we’d consider part of the So Flute family. I think doing parties in that way also meant that although we were booking some bigger artists like Floating Points or Sadar Bahar we could also put on a residents party and the vibe would be the same. At the moment we’re still doing parties every few months in Manchester, as well as one off parties in other cities. There’s been talk of a label in the pipeline for ages given the amount of people we’re connected with that are making great music so watch this space on that one…

You’re clearly a big fan of jazz. Was it always that way? Could you give us some musical influences you listened to growing up and a few that are currently inspiring you?

My dad is a jazz musician so although I can’t say I was actively engaging with the music, I was definitely exposed to a lot of those sounds when I was younger. I remember borrowing some Joe Henderson and John Coltrane LPs to use for an art project in college. Being drawn to them visually I naturally ended up engaging with the music too; although I think I did some blasphemous damage to the sleeves in the process. I also used to listen to a lot of pretty questionable hip-hop in my teenage years but then became interested in the source material so that was another route into those sounds. At the moment I’m digesting a lot more ambient and DIY synth stuff which isn’t something I’ve dug very deep into before. There’s so much great music being reissued by labels like Music From Memory and We Release Whatever The Fuck We Want (great label name) so I’m really enjoying that right now. Also the constant stream of really great contemporary jazz stuff from labels like Gondwana, Brownswood and Black Focus. The Mansur Brown LP has been on heavy rotation.

What instruments do you play? How much do you tend to sample and how much do you usually play yourself? 

I wouldn’t claim to be technically proficient but I can fumble around a bit on bass, guitar and keys so I tend to incorporate live recordings into my music. Although saying that, the balance of samples and live recordings can really vary from track to track. So tracks like Rebecca’s Jam and Weightless off the Church LP are all live recordings I played, apart from the drum samples that were programmed with the MPC; but then “Hiromasa’s Interlude’ is pretty much all sample-based except some chords and percussion really low in the mix. If I can get the sound I want by recording something in then I’ll definitely go for that because you have so much more control in manipulating the sound, but I also really enjoy working with samples. I see sampling as just as valid a method of making music as creating original sounds, but I do think it’s important to try and make sure you’re adding something new if you’re using sampling as a creative process in which you’re taking some credit as the artist. Whether that’s pulling samples from a range of different sources, layering samples with your own sounds or whatever your approach might be. Otherwise from my perspective what are you adding to the source material?! There’s blurred lines I guess, but yeah in terms of my own process I’m happy moving up and down that scale of sampling vs. playing in live recordings.

Are you an avid record collector? Do you remember the first record you bought? How about the last one?

I do tend to buy a lot of records, but I buy and play loads of digital stuff too. I definitely like having things in physical format and generally feel a stronger connection with the music if it’s something I can hold in my hand and engage with the artwork and inner notes etc. One of the first records I bought that I’d really wanted for a while was a copy of this amazing gospel record, Spirit of Love – The Power of Your Love. It’s been reissued now but at the time there was no other way for me to engage with the music other than listening to a pretty low-quality video on YouTube so it was really exciting to have a physical copy with all this extra information about the recording and artists.
I remember buying a CD single of Eddie Grant – Electric Avenue on a school trip when I was about 11 but I think the first record I bought was a copy of the Velvet Underground – Loaded in a tourist trap record shop in New York. The last one I bought was a reissue of the Mkwaju LP by Mkwaju Ensemble.

What are some of the must do’s/eats/sees in Manchester?

If you’re looking for dancing into the early hours then I’d be heading to venues like The White Hotel and Partisan where there’s some really interesting programming and nice crowds by virtue of being that little bit further out of the city centre. There’s plenty of wicked record shops to check out too; Piccadilly Records, Eastern Bloc, Vinyl Exchange and King Bee in Chorlton is definitely worth a dig. There’s a really good Ethiopian restaurant called Habesha, hidden above a takeaway in the Village just off Canal street. Also I could eat pizza all day every day so Rudy’s Pizza in Ancoats is another one of my favourite spots for food.

How much can you divulge about what’s coming up in Yadava’s near future, music-wise.

After the Ad Hoc release I’ve got another record coming out on a Swedish label and I’m also working on finishing another EP for a new Canadian label too. There’s a few more bits in the pipeline including some edits and a collaborative live project I recorded with another Manchester producer, but I’m having to focus my energy on other responsibilities for the next few months so I’m taking a bit of a break from any major new recording projects at the moment. There’s also the monthly ‘Expansions’ show I host with Contours on NTS Manchester where you might hear some forthcoming/unreleased sounds from ourselves and close pals!

Between running an event night, gigging, producing a whole bunch of music and trying to finish a PhD, how are you managing to balance your time?

This is something that has been really hard for me, it all kind of fell apart at one point and I had to take a bit of time out from everything last year. Trying to find a balance between so many different competing interests is really difficult and something I’m still working on. It’s even harder when there’s something you want to focus more of your energy on; for me that was music, but I had other responsibilities and so I’ve had to learn to put things on hold to make life manageable. Finding that right balance of things isn’t something I’ve been able to do on my own and I’ve really benefitted from the support of people around me, that’s probably been the most useful resource in terms of coping with things. By virtue of studying a psychology-based course I think I had access to people who were well placed to provide support as well as having some close friends who really helped me out in my hour of need! Also being self-aware and taking care of your basic needs you know, getting enough sleep, eating well, all those things contribute massively to your ability to manage pressure and they have to come first.

Interview by Igor

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

The home of the beaming banana, Banoffee Pies Records are setting the table for dessert once more. Welcome to the seventh instalment of their compilation series – Limited. Championing their social network, label owners Ell and Sandy have once again rallied a troop of producers they’d gladly sit down for a schooner with, whipping up six refined slices. Featured on the release are cuts from Yadava, Ed Eldridge, Gallegos and Sameed. Titles you may well not have heard but tunes you’ll love. Spreading their arms far and wide the Banoffee blokes have previously pressed minimal tech via their Black Series and hip-hop works via the Beat Tapes Series.

Hailing from Bristol, this is Gallegos first pass on the big stage. This one’s a pulsating record with saxophone and bass getting along as best as they ever have! In this case, Wang Dang refers to one’s derriere, as Gallegos encourages us all to quit marinating and get up and get our butts moving! Gallegos has one mission in mind, setting the mood. If you’re looking for track to kickstart a day set, best give ‘Wang Dang’ a look in and pre-order now.

Will.

Cet article Gallegos – Wang Dang [Banoffee Pies] est apparu en premier sur Bolting Bits.

The South London staple, Church, should be known to every one of our followers. Headed by its equally distinguished boss, Seb Wildblood, the label has managed to carve itself into its own unique niche within the underground. Developing a sound all their own, Church has become the premier destination for sultry, hazy, jazz-infused house music. As of late, the music has been getting even more sophisticated, and, at times takes a step away from house altogether. With releases from producers such as the young up-and-comer, Ben Hauke, a mini LP from Nicholas, and of course the critically acclaimed, first full length album for the label from Laurence Guy, we’re always eagerly awaiting the next thing Church throws at us.

Luckily, you don’t have to wait much longer as the first rays of sunshine come in the form of Rebecca’s Jam. Let the warm percussion and guitars give you a taste of Yadava’s versatile taste and wide array of influences. Hiromasa’s Interlude continues in a similar vein and is a nod to the late Japanese jazz savant, our only gripe here is that we wish it were longer. The lead single on the album, All The Fills, is arguably the most dance floor friendly track here and is bound to be rinsed extensively this summer due to its big horns, captivating rhodes solo and of course, all the fills. As the Portuguese title suggests, Saudade brings with it a sense of melancholy, reminding us that not so long ago we were trapped indoors, waiting for that first faint glimmer of hope.

On the last side of the album we have another interlude, Herman’s Keys, undoubtedly a similar acknowledgement to a great jazz talent, a theme that’s been apparent throughout. Following up is our premiere, All Is Well, and as the title suggests, so it is… With what can now be recognized as his signature percussion and funky bass, Yadava’s penultimate track has an undeniably dreamy character lent to it by the musing keys, cosmic effects and squelchy synth work. Capping off the LP is Morning Pt. 2, reminding you about the sensational dream you had the night prior. The end of the album is the wake-up call that you don’t want and our recommended cure is to immediately place the A1 right back on the turntable.

“It Rains Here” is a striking piece meant to be taken in as a whole and is a phenomenal debut album for Yadava. Combining sampling prowess with his own deft instrumentation, the Manchester native is able to draw from an abundance of influences, specifically within the jazz realm. The LP is a strong statement and is hopefully indicative of things to come both for Yadava and for Church. This one comes highly recommended and you can pre-order your copy direct from the label’s Bandcamp.

Igor

Cet article Yadava – All Is Well [Church] “It Rains Here” Album review est apparu en premier sur Bolting Bits.

Embodying what they coin as Manchester’s disobedient nature, Ad Hoc Records are championing the sound of their local producers. Transcending labels and genres, their aim is to showcase the best the city has to offer through the international and borderless language of music. Although the imprint has only two releases to their name so far, a various artist package and a solo EP from Taurtollo, they’ve already shown that they’re sticking true to their ethos as both records explore territories ranging from downtempo, jazzy flavours to percussion filled house grooves. Their third release is up next and it is once again highlighting the diversity of the city’s producers with a second various artists package. Welcoming new members Sid Quirk, Two Tail, and RareBIT to their roster, Ad Hoc are also bringing back Yadava (soundcloud) from their successful first release.

Yadava is the c0-founder of successful Mancunian party night So Flute which showcases forward thinking talent from across the globe and he also has a residency on NTS Radio. Likely drawing on influences from the wide variety of guests booked at their parties over the past 6 years, Yadava’s sound is one that’s hard to pin down. Quality over quantity is a popular saying and it holds true here, as what little we have heard from the producer has been quite ear-catching thus far and that definitely includes today’s premiere of his track Heart Strings. A variety of natural sounding percussion and a funky muted bass help enforce the groove but the real beauty of this tune lies within the melodic elements. Despite being a very familiar sample, the strings in the aptly titled track can still be re-imagined if used in proper, creative ways and that is the case here. With support from a lovely bent guitar and delicate keys around the strings that oh so pull at our heart, the result as a whole is a spectacular medley of sounds even Pepe Bradock would be proud of.

Yadava is certainly one to watch and it seems so is the rest of Manchester as Ad Hoc continue to dig up talent in the northwestern English city. Keep a lookout for this release and more over at the label’s Bandcamp page.

Igor

Cet article PREMIERE : Yadava – Heart Strings [Ad Hoc Records] est apparu en premier sur Bolting Bits.