Hotflush Recordings. What to say?
It might be best to start new. Just today, Hotflush fledgling Locked Groove got featured on XLR8R‘s strong podcast series. After reading his rather ornate bio on the sidebar of his soundcloud page, I’ve decided to cut down on the fluff and give you a straight-to-the-neck rundown of what you need to know:
He’s Belgian. His name, Tim Van de Meutter, is almost unpronounceable to Americans.
He’s young. None of his personal websites say when he is born, so I’m guessing it’s probably early 2000s — similar to SCNTST (damn those 12-year-old producers).
He’s only released on Turbo Recordings and Hotflush Recordings. They may or may not be two of the biggest labels pushing that new techno flavor. I won’t say. But he’s taking baby steps, obviously.
Baby steps onto the shoulders of giants.
Founded by Paul Rose aka Scuba back in 2003, Hotflush started out by pushing true-to-form dubstep from the likes of hater-proof Distance and Boxcutter. However, its vision was always different than those of other dubstep contemporaries (as compared to Pinch‘s Tectonic or the prolific Tempa Records), and alongside Pearson Sound‘s Hessle Audio the Berlin-based label has been halfway responsible for having its listeners put the word “future” in front of traditional genre titles, redefining “bass music” and eventually becoming synonymous with that new new — 90s Chicago house and new jack techno, all deeply rooted in the UK dubstep scene.
It therefore with little surprise that XLR8R and Boiler Room, arguably two of the largest players in the world of cliche-free electronic music, have recently chosen to highlight the label, and even less surprise that the label has chosen relative newbies Locked Groove and George Fitzgerald to represent their image.
The XLR8R podcast starts off with a slow synthline to ease into some laid-back beats, and the listener is transported to the electroclash grooves of Scuba himself and Turbo popstars Azari & III. Jumping back and forth between melody and beat, we encounter a brief affair with techno from the likes of Ostgut Ton‘s Function before exiting the void with his own track and capping off the mix with some lighter fare. A real journey into Van de Meutter’s musical leanings.
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01. Locked Groove “Do it Anyway” (Hotflush)
02. Close feat. Scuba & Charlene Soraia “Beam Me Up (Scuba’s Dub of Doom)”
03. Azari & III “Indigo (Konrad Black Remix)” (Turbo)
04. Dusky “Dummy” (Aus)
05. Lauer “Mascat Ring Down” (Beats in Space)
06. BLM “Sudden Death” (Secretsundaze)
07. Headless Ghost “Basik Fire” (Clone Royal Oak)
08. Scuba “Hardbody (SCB Edit)” (Hotflush)
09. Function “Voiceprint (Reprise)” (Ostgut Ton)
10. Locked Groove “Lost” (Hotflush)
11. Noah Pred “Loss for Words” (Thoughtless)
12. The eSs Project “The Airplane Track”
13. Jay Shepheard “Two Much Love” (Retrofit)
Second we have an epic 70-minute recording from last week’s Hotflush x Boiler Room party. George Fitzgerald, a key figure in the new world of deep house and future garage, goes back to back with the big boss himself to provide a marriage of dark, techy grooves. Hearing these productions and you’ll see why Mr. Fitzgerald has been named one of BBC Radio1‘s Future Stars of 2013 — hell, he was already a future star when he first came out with Child on AUS Music last year, perhaps THE garage track of 2012.
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01. Laszlo Dancehall – Gave Up
02. Dusky – Nobody Else
03. George FitzGerald – Thinking Of You
04. Odd Parents – Fame (Catz n Dogz & Martin Dawson Friday Fever Remix)
05. House Master Boyz – House Nation
06. Scuba – Hardbody (SCB Edit)
07. Close ft Scuba – Beam Me Up (George FitzGerald remix)
08. The eSs Project – The Airplane Track
09. George FitzGerald – Nighttide Lover
10. Len Faki – BTX1
11. Laszlo Dancehall – Ain’t No Time
12. Jimmy Edgar – Sex Drive (Scuba’s Dub Of Doom)
13. Mike Dunn – God Made Me Phunky
14. Andre Winter – Blackmail
15. Trikk – Basement Traxx
16. Prince Club – Love Strong
17. Xxxy – Larry
18. Four Tet – For These Times
19. George FitzGerald – I Can Tell (By The Way You Move)
20. Recondite – DRGN2
21. Petter – Some Polyphony
22. Scuba – Vogue
And with all of these great labels coming into the spotlight, one has to wonder what makes them tick. I am probably far too simple-minded to understand just how straightforward it all is, but it seems rather paradoxical that they seem to cite their influences that are all seemingly of the same ilk of the very product they put out. Are they their own influence? Is that the secret to success? Why is it then so good, and why doesn’t this type of musical recycling end up like that #onelasttour garbage?