Through the dizzying, nightly swirl of clubland life, Julio Bashmore’s clear-as-day rise to dance music’s top table has been extraordinary.
Bashmore, the fiercely creative pseudonym of Bristol DJ-producer Matthew Walker, arrived in 2009 with an eponymous debut EP splicing deep house and jungle to the kind of innovative effect that had had Dirtybird’s Claude VanStroke scrambling to sign him. Just half-a-decade later and he’s set to release first album Knockin’ Boots on his own cult imprint Broadwalk. Early reactions to said long-player appear to reflect his rampant evolution as artist and performer over the past few years – here now in 2015, he’s truly big time.
Julio Bashmore’s triumphant production debut on Dirtybird halted a move away to university and secured his career in beats. As the DJ appearances increased, so powerful new releases and remixes appeared on labels such as Soul Motive (‘Batak Groove’), PMR (‘Everyone Needs A Theme Tune’), Fat City (Bashmore’s remix of Mosca’s ‘Tilt Shift’), Night Slugs (his remix of Mosca’s ‘Square One’) and Futureboogie (‘Riff Wrath’, and the majestic ‘Father Father’) – all reflecting Bristol’s lower-down influences as much as Bashmore’s idiosyncratic vision.
Broadwalk launched in 2012 and with it the latest, exhilarating phase of Bashmore’s career. His own releases on the label, including ‘Au Seve’, ‘Husk’, ‘Mirror Song’ (vs Kowton), ‘Peppermint’ (featuring regular collaborator Jessie Ware), ‘Simple Love’ and, more recently, ‘Rhythm Of Auld’ move between deep Warehouse and garage shuffle via strident disco and sinewy tech-pop; and in doing so, highlight a broadening and maturing repertoire at the forefront of 21st century house. Berlin Chicago, London and Berlin stand today as equally important axes. However, it’s impossible to pigeonhole the man. As the volatile Twitter reaction to ferociously percussive cut ‘Duccy’ (2013) reminds, Bashmore is totally his own creator – and therein lays his captivating uniqueness.
Unsurprisingly, the buzz ahead of Knockin’ Boots’ release is already deafening. Major DJ dates this summer across mainland Europe, America, the UK and Ibiza (including both Glitterbox and Defected In The House) are only adding to the frenzy. What better time to catch up with Bashmore than now?
Knockin’ Boots has been some time in the making – are you ready for its release?
It’s all good. I’m doing a lot of promo work which is something I’ve never done before, but the early vibes are positive. Plus I’m managing to squeeze all my gigs in so things are going well.
On promos – your reputation for giving few interviews precedes you. What has changed?
When I started up I really didn’t think that I had much to say. I was only 20 and didn’t know what shit I was doing. But now, five years on, I’ve been through lots of ups and downs, and have a lot of experiences to talk about. I’ve grown up and my musical ideas have developed – I have plenty of shit to discuss! I don’t mind interviews at all, and the current promo has been fine.
So, Knockin’ Boots....
The big challenge was to avoid the pitfalls of the conventional dance album. It’s so easy to fall into the trap of releasing a collection of singles. I was also driven by past experiences to create something fully-rounded. There was a lot of pre-imagined opinion around the release of my track ‘Duccy’, for example; a lot of negative reaction. The album is an opportunity to provide a fuller picture of who I am. It took three-and-a-half years to make. There were points at which I could have released it before but I wanted to release it in the right climate. It’s a diverse project; it shows the diversity of house music and avoids pigeon holes. There’s a better climate for this sort of record today.
You’ve involved a fantastic line-up of guests and collaborators....
Yes, building relationships is really important I think. The new single ‘Holding On’ features vocalist Sam Dew [a deliciously summery sophisti-slice of looped disco]. The album also features the likes of Bixby, Seven Davis Jr, J’Danna and Julie Mendoza. I’ve learned a lot recording it.
How exactly would you say your house sound has evolved?
I have always moved around with the house music I make. Now, my sound is in the place I always wanted it to be in. There are hints of early Roulé as well as of early Chicago - but not just Larry Heard; I mean the sorts of Chicago artists that inspired a lot of that early French house music...artists like Glenn Underground for example.
On to Ibiza.... You’re DJing for Defected a bit this summer – both Glitterbox and Defected In The House.
I didn’t fall in love with Ibiza immediately. I’ve grown to love it. Last year I played at Space [home to Glitterbox this year] and started to embrace things there. It’s the same with Amnesia [current home to Defected In The House, where Bashmore has already played two dates over June and July]. Having done so many gigs and festivals in places like the US where the soundsystems are so poor it’s actually a joy coming to Ibiza now. The soundsystems in clubs like Space and Amnesia are incredible; and then the crowds are really good...there’s a great spirit. Experiences like that help me become a better DJ, without doubt.
What do you like to play on?
It’s basically a pair of [Technics] 1210s, some CDJs and a mixer with shit loads of delay effects. I also need a huge monitor as I’m going a little deaf!
Seriously?
It’s actually not a big deal now. But there was one point a while back when my ears were still ringing two weeks after a gig and I was like ‘what the fuck is happening?!’ I play it safe now. Things have gotten a lot better. I use ear plugs and ensure I have the right set-up in the studio. To be honest, artists often develop hearing problems in the studio rather than the club...you’re in that environment so much. So it’s just important to be safe with everything.
What’s happening with Broadwalk?
It’s onwards and upwards. I didn’t want to set up one of those labels that just picks up tracks from Soundcloud. I don’t like that. I’m not even sure that those labels actually speak to the artists or anything. I’ve always admired labels that listen to their artists and nurture their talent. They’re the labels I love. I’ve tried to do the same thing with Broadwalk. I’m about building lasting relationships. Ideally I’d like to be releasing three or four records per year with an artist and putting out collaborations too. But I can’t complain, I’m happy with the progress the label is making.
Where does Julio Bashmore head in the long-term?
I’ve learned a few valuable things over the past few years – mainly, it’s important to keep building relationships in the future. There are a lot of challenges in our industry so being able to trust good people around you is essential to your continuation. Right now though I’m concentrating on the new album and looking forward to its release. I’m feeling good about it and what it says about my music. Albums are always great things to make. There’s a lot of focus on tracks these days but the album format allows you to fully express yourself. I grew up listening to the albums of artists I loved so I was always going to aspire to making albums myself. It makes total sense.
Julio Bashmore plays Glitterbox at Space Ibiza, 24 July and returns to Defected In The House at Together, Amnesia 18 August – full line-up and tickets
Defected presents Most Rated Ibiza 2015 is out Friday 24 July (CD & digital) on Defected Records - order from iTunes
