Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

CD: Julio Bashmore - Knockin' Boots

Bristolian house don's debut has its tasty moments

share this article

Julio Bashmore keeps the visuals stylistically opaque

“Julio Bashmore” is actually the nom-de-dancefloor of Bristolian DJ-producer Matt Walker who’s been slowly building a rep over the last five years. Outside clubland, music-lovers may have heard of him via his production on Jessie Ware’s early singles. In the nightworld, he’s better known as the purveyor of classy, propulsive house sprinkled with a smidgeon of grit. His debut album combines both these aptitudes to increasingly enjoyable effect as it progresses.

It opens with the title track, which samples early Eighties easy listening R&B-disco queens The Jones Girls and, for a few songs, as filter disco pounder follows filters disco pounder – including the Britney-borrowing cut-up, “She Ain’t – it seems we’re in for a 2015 retread of chart-bothering millennial sample-heads such as Phats & Small and the Shapeshifters. At this point, anyone referring to the press release may see that, according to DJ Magazine, “Knockin’ Boots revives many of the hopes dashed by the last Daft Punk album. Maybe it should have been a bit more like this.” To which the only possible response is, “Thank God DJ Magazine are not Daft Punk’s A&R people.”

However, by the time the album’s ended, while DJ Mag’s load of cobblers remains irrelevant, Bashmore has wandered into areas that do, indeed, make Knockin’ Boots a worthwhile outing. The middle section is best, a stylistic house music adventure that takes in synth-disco with a flavour of Hercules & Love Affair (“Rhythm of Auld”), driving acid house explorations (“Bark”), Afro-delic house (“Umuntu”), classy electro-house (“For Your Love”) and more. Throughout, well-chosen guest vocalists add human drama to the proceedings: Californian nu-funker Seven Davis Jnr, South African rapper Okmalumkoolkat, and soulful London singers Bixby and J’Danna. The latter concludes things with the spacey, likeable, William Orbit-esque groove of “You & Me”. By the time the listener reaches it, the opening cuts are forgiven. Tracks five to 12, then, are the juice on this one.

Overleaf: Listen to "Kong", featuring Bixby

The middle section is best, a stylistic house music adventure

rating

3

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

Two decades on from Patti Smith and the original pink sheep, the anniversary edition proved again that Latitude's real headliners are rarely at the top of the bill
From Korean bluegrass to gigantic Ugandan xylophones, the global diversity of musical life is here
A championing, but also perhaps a dilution, of South African innovation
The return of a punk-era landmark of British art rock
With a danceable rock feel she displays her burgeoning creativity
The garage rockers don't do themselves justice on new album
Andy Dragazis’ musical alter-ego offers nods to legendary arranger and producer Charles Stepney
The welcome return of a foundational album of electronic minimalism