On his new album, I Have What I Gave, out October 6th on 2MR, Retrogroove, and TIN, Italian musician Bottin outdoes himself. He crafts propulsive, disco-laden scores for films not yet made, and introspective, mind-expanding cuts designed to ensure that people who want to dance never get caught up in conventional experiences. Each moment with Bottin is a memorable one.One thing that sets I Have What I Gave apart from his pioneering Horror Disco and much-loved Punica Fides LPs is that this time around Bottin didn't see to it to create a concept-album structure. Everything came at once during the writing and recording process, which no doubt gives the album its intensity and sense of immediacy.But even if the album didn't come about in a series of tightly crafted experiments, it doesn’t sound messy or chaotic. It's just the opposite. Bottin has managed to take bits and pieces of sounds, some short loops and orphaned arpeggios, and a handful of vocal samples, and put them together into an album that unifies 10 songs of divergent trajectories into an outstanding body of work that absolutely kills.
John Barera & Will Martin Proceed to the Root of their sound on their second album & strongest work to date. A tough collection of Techno & House styles collide with Soulful electronics and touches of Dub and Jungle for an album of finely crafted, sculptural, storytelling, and no-nonsense club music.
The recording process for 'Proceed to the Root' started almost immediately after their first album 'Graceless' came out. That was when they wrote the track 'Golden Hour'. There was a lot of momentum after the release of the debut album and buoyed by it's reception, they knew they wanted to do another album together and started writing for the next one right away. Although they've released a couple EPs since the album, all of those records had been recorded before it came out. So 'Proceed to the Root' is really the beginning of the next chapter for them and their music.
Moscow's Kedr Livanskiy (real name Yana Kedrina) confesses "Synthesizers help me maximally feel the present moment." Livanskiy was born into a shifting and critical time for Russia. The Soviet Union had exhausted and old values were anathematized because of reconstruction. A sense of displacement drove Kedr to find herself. She's escaped reality repeatedly in her explorations into the imagery and ideas of romanticism, mythical and fairytale themes which visibly bleed throughout her work and especially on her debut full-length 'Ariadna'. The title track which was named after the Greek goddess, Adriane, debuted via THUMP who've described it "anchors its elegantly drifting shoegaze melodies with a knocking electro beat."
'Ariadna' marks a change in her recording approach: her critically acclaimed breakthrough EP 'January Sun' was written and recorded completely in Ableton, while 'Ariadna' was written using the Roland SH-101, Roland Juno 106 and Korg Minilogue synthesizers, then mixed down in Ableton. According to Kedr, "This way, one gets into a flow of live interaction, here and now, with the instrument." There is a definite leap in production values this time around, but Kedr manages to keep true to her sound despite the greater polish and depth.
'YAML' has a long history... nearly 10 years of it in fact! Bottin produced most of the instrumental almost a decade ago when he had a bedroom studio and his girlfriend at the time came up with the "You are my love" (hence the title 'YAML') hook and the first notes of the melody. It’s a song about a somewhat destructive yet playful relationship: the girl is willingly submissive and mixes reality with her dreams â€“ she portraits her lover as dominant while she's in fact leading the game. Finally Bottin enlisted his friend Lavinia Claws who helped out with the final lyrics and recorded the vocals in Berlin. Lavinia will also be starring in the forthcoming music video of the song. The flipside of the record 'Roulez Jeunesse' is Bottin's soundtrack to an imaginary amusement park. We don't know the exact origin of the French saying Roulez Jeunesse but the person in charge to set you up and start the ride would yell 'Roulez jeunesse!' when everyone was locked in. The expression is now commonly used to mean that you’re all set to go, which seems fitting given the propulsive space disco vibe of the track.
Acclaimed Italian pair Deardrums, aka Bottin and Leo di Angilla, proudly present their adventurous debut album on 2MR. The 13 track LP is a continuation of their analogue heavy and inventive synth style as showcased on their EP's to date which have received support from the likes of Laurent Garnier & Chloe and covers plenty of musical ground with great aplomb. Authentic and unique throughout, this is a brilliant LP that is hard to categorize but easy to love thanks to its constant evolution and wide sphere of sonic influences.
Mike Simonetti has decided to split from Italians Do It Better (Chromatics, Glass Candy) to focus on his new project, Pale Blue, as well as his new venture: the freshly minted label 2MR (Two Mikes Records). A collaboration between Simonetti and Captured Tracks, 2MR is an opportunity for Simonetti to start from a blank slate and release music he believes in.
The first release on 2MR will be The Past We Leave Behind, the debut album from Pale Blue.
During the writing process of Capricorn Rising, Simonetti was asked to remix tracks from the West Coast twosome Silver Hands. Immediately taken by the incredible range of lead-vocalist Elizabeth Wight, he reached out to collaborate. The result of the bi-coastal email exchange would eventually become Pale Blue.
Pale Blue, referencing the term “Pale Blue Dot” , coined by Carl Sagan to refer to a photograph of planet Earth taken by the Voyager 1 space probe in 1990, was originally conceived around the time that Hurricane Sandy hit New York and came to completion with Simonetti’s severance from Italians. Thus, many of the tracks that make up The Pastâ€¦ grapple with themes of loss and new beginnings.
The Pastâ€¦ encompasses a myriad of sonic elements, ranging from rhythmic, melodic techno to atmospheric ambient productions, while also incorporating Simonetti’s varied background in noise, drone, and even experimental dream pop. Above it all though, Wight’s vocals remain the focal point, saturating the record with a lush melodic warmth that’s so often missing in the electronic world.
Musically, Pale Blue is a response to modern dance music and its constant fluctuations. It intentionally bears no obvious singles, nor club hits. While Simonetti, Wight and Jana Hunter (vocals on “Dusk in Parts”) remain at its core, Pale Blue’s philosophy is to keep everything open to collaboration. It does not aim to pigeonhole itself into a genre or any new vistas in music, but instead to a unifying sound produced collectively and harmoniously.