Besides London, Bristol might be the most musically innovative city in Britain. Known for expansive grayscales and unrepentant low end, the Bristol sound isn’t singular by any means, but it’s far more close-knit and interconnected than anything London (or even Glasgow or Manchester) has to offer. Recently, Julio Bashmore and Kowton (who come from opposite sides of the Bristol spectrum) got together in the studio and came up with the razor sharp “Mirror Song”, a track that splits the difference between Kowton’s refreshingly grating riddims and Bashmore’s increasingly pop-oriented house anthems. Debuted by (everyone’s favorite) Jackmaster on his BBC 1 show, “Mirror Song” will see a release on Bashmore’s Broadwalk Records in the near future.
After returning with the Prince-like “Speedway” last month, Julio Bashmore and Hytal look primed to establish 2013 as the year of Velour. Not only will the duo release “Speedway” (along with b-side “Dial”) in the near future, but they’ve also remixed BenZel’s “Fallin’ Love” to full bedspring squeaking effect. Borrowing a good deal of influence from mid-aughts Ed Banger material, Bashmore and Hyetal utilize stomp boxes, cheesy vintage synths and a “Hyph Mngo”-esque intro for an absolutely massive crossover banger that fits perfectly atop the current trends in UK electronic music. Stream Velour’ “Fallin’ Love” remix below and hit the jump to stream “Dial”.
Maybe it’s just my choppy internet, but the Julio Bashmore Boiler Room LA stream came in particularly choppy, giving the whole affair a GIF-like atmosphere in my computer machine. Dancers grooved then repeated. Julio’s headnods took on an alien quality and the set gained a whole new dimension of unintentional comedy. I hope you all saw the 60 minute set in the glamorous form I did, but even if you downloaded and listened in your car, Julio’s foray across acid, funk and classic Chicago was probably equally enjoyable. The majority of the set induced visions of Bashmore’s Prince-channeling Velour side-project, including the purple one’s own “Erotic City”, but also hit darker, tech-ier points like Kowton’s “And What” and opener Funkineven’s “Dracula”. Of course he played “Au Seve”, but he also uncomfortably sang the melody at one point! That part was terrible actually. Anyways, for a more in depth take on the Bashmore live experience, check out dildo’s recap of a night at A Club Called Rhonda. Stream/download below and hit the jump if you want to enjoy the pixelated GIF-y madness in Youtube form.
On December 14, 2012, I met a Club Called Rhonda and she took me to dance music heaven.
Samo Sound Boy was there (Body High in that mothafucka), Total Freedom was there (Fade to Mind in that mothafucka), and all the way from Bristol, UK, the one and only Julio Bashmore lent us his surly face and impeccable house music (Broadwalk Records in that mothafucka).
There were beautiful women, there were beautiful men, beautiful men dressed as women, beautiful women dressed as men, and beautiful people that escape such silly classifications. I was sweating (woo!), and so was the ceiling. I think Rhonda, Samo, and Julio changed my life, so hit the jump and let me tell you about it.
I would be lying if I said I didn’t love the populist direction Julio Bashmore has taken his sound over the past 12 months. Not every release has to further the critical conversation and Bashmore has pretty clearly opted for straight-up fun times over any sort of challenging project. For his latest trick, the Bristolian has linked up with Hyetal to once again form Velour, the neonic duo that debuted on Night Slugs back in 2010. The Prince is strong in “Speedway” and while not as initially intruiging as say “Booty Slammer”, the song is certainly a grower and has a way of weaseling its way into your ear canal. Fuck NASCAR tho. Stream below.
Over the past several years, Julio Bashmore has risen from underground hero to the figurehead of a new brand of crossover UK house built on infectious hooks and radio ready vocals. Beyond Bashmore, the style has been championed by his PMR Records compatriots Disclosure and Jessie Ware, as well as 90’s leaning acts like Bicep and Ejeca. As Bashmore’s profile has risen, a familiar divide has opened up between “old” Bashmore fans and “new” Bashmore fans. It’s a familiar debate, largely staged on Youtube videos and message boards, revolving around integrity and selling out. The truth is that Bashmore’s music has become more linear, more monochromatic and more pop-friendly. “Au Seve” is also one of 2012’s unforgettable tracks and one that brings the house down every time it is played, regardless of setting. I can personally attest to witnessing drastically different crowds in Germany and Morocco wyle out to the anthemic number, exhibiting a genuine enthusiasm that transcends silly internet debates. On Friday, Bashmore uploaded “Pelican”, out today as the third release on his own Broadwalk label. “Pelican” isn’t as boastful as Julio’s past few tunes, offering a deeper, swerve-y bassline and understated synth stabs. The track is the B-Side to “Husk” and is available now via Broadwalk.
So Broadwalk Records is Julio Bashmore’s record label and the outlet for song of the year candidate “Au Seve”. In the five months since the Bristol native launched Broadwalk, the label has only released three singles, but when those singles are from Bashmore himself and Zed Bias alter ego Maddslinky, I can’t really be mad. Quality over quantity right? So you might be asking yourself why should I listen to listen to an 8 minute house song now? Haven’t those been irrelevant for like two decades? Regardless of the whole garage house resurgence talk, few listeners have the patience to listen to an eight minute song. To be honest with you, I usually don’t have the patience to listen to an 8 minute song. Unless it’s by Kendrick Lamar. “Husk” just has that hip swangin’ quality that Mr. Bashmore has all but mastered at this point and 8 minutes never sounded so good. And it’s Friday so fuck it. Stream below.
Bristol house maven Julio Bashmore has been of the UK’s most respected producers for around three years now. He has his own Radio One show, released tunes on DirtyBird, Night Slugs and Fabric, and toured the globe endlessly. As he notes below though, he did not have a label to call his own… until today.
Fast cars, money, but no record label to truly call my own? This ends today…
Hi, I’m Julio Bashmore.
Somehow I have found time between jet-setting around the globe, becoming a voice for the people via my Radio One show and generally living the high life to bring you a brand new label, Broadwalk Records.
Today heralds a new era in the Julio Bashmore chronicles, with a sound that shall echo through the ages…
No more details have surfaced regarding the label, but “Au Seve” a funky, bass-indebted riddim is its first release, set to drop on July 2. From Bashmore’s work with Jessie Ware to his countless original productions and remixes, the Englishman has seen a meteoric rise to prominence over the past few years. Broadwalk Records is the natural next step in Bashmore’s progression and hopefully his curatorial ear is as good as his production acumen. Stream “Au Seve” below.