Nolan & Mr. V – It’s A Trap – Mobilee

The underlying tension suggested by the title, It’s A Trap is carried throughout this distinct collaboration. And if music of this calibre is what comes out of the creative lockdown then I’m all for it. As you would expect from Nolan the grooves are taught, fizzing with excitement and suggestion, while Mr. V’s captivating voice says all there is to say. Remixes occur from SIS and from Re:You both delivering invigorating interpretations that do the original version justice in these challenging times. The former expands the breath and light generated via chiming motifs and contemplative breakdowns, the later contrasting with an addictive nervous energy from edgy keys.

Release: April 17

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Nolan – Crew Love EP – Soul Clap

The second time I listened to the opening track on Nolan’s super-hot release for the likewise Soul Clap imprint was just to make sure it sounded as brilliant on repeat. It did. I love music that’s feels this special, which sounds as if it’s located in its own dimension, which doesn’t seek to sound like everything else out there. Go, which features the deliriously, smouldering vocals of Forrest does all those things as uncomplicated drums, hits of guitar and emotive, swirling pads fill out the spaces in-between. It is a song too and one which doesn’t regurgitate Disco (relief). Which leads me onto Standing On My Own Tower that for some reason reminds me of Eno’s outstanding vocals from the 1970’s and is accompanied by the sort of heart-tearing music that doesn’t come cheap. Tell Me, washes over you in a breath of harmonious voices, while Would Be completes via chiming rhythms along with yet more words of meaning from Forrest.

Release: August 31


Timo Garcia (Nolan/ T_Mo) Q&A

Your latest: Nolan feat. Forrest – C’EST LA VIE is out now on Kittball Records. Talk us through how you came up with the idea for the track, and how you teamed up with Forrest?

We’ve made about 15 songs together now but only a couple have been released so far, this one on Kittball and the first was on Mother Recordings. Quite a few labels have been interested in the others but we’re in talks with a label in the US about putting the rest out as an album later this year so will have to see how that pans out. We’ve been working in a variety of different ways together though, being as Forrest lives in Canada and so we’ve only met the once when he played for DPM here in Brighton one summer. Most of the time i upload a load of instrumentals and if he likes one he’ll record a vocal over it and send it back for me to work into the project. Other times he’s sent me a clean vocal for me to write something around or has recorded a vocal over someone’s released track he’s been vibing on and ill replace the music by writing my own piece in the same key.

You moved to Brighton from London a few years back. How is life there, how would you compare the plus/ minus points?

I LOVE Brighton and living by the sea. My studio is just one road away which means my productivity goes down in the summer months but at least I get to swim most lunch times! Having spent 10 years living in London it was time to settle down and start a family and (assuming the trains are running) London’s still only an hour away. Everyone is so friendly round here and people chat with strangers without being seen as crazy!

Please tell us about your studio set-up, in particular any favourite pieces of software/ hardware that you like to use?

I couldn’t do without my Roland Juno keyboard that’s for sure. The studio I was at in London had a grand piano and 2 uprights so I had to buy this to carry on playing keys when I moved to Brighton!
I use Logic X whose new Alchemy synth is superb! Also I love Omnisphere 2 and Trillian from Spectrasonics and couldn’t live without Geist from FXpansion for my drum programming. I also use Ozone 7 and Neutron from Izotope for mixing and mastering in the box.

As a seasoned producer with releases on the likes of Get Physical and Mobilee/Leena how would you describe the general quality of releases these days, both creatively and technically?

There’s just too much of it! But I guess with the advances in technology anyone can have a go and come up with some pretty decent sounding tracks. That coupled with how cheap and easy it is to set up a digital only label these days the market is flooded with pretty simple sounding loopy tracks which makes finding music with more substance that much harder these days!

You have recently signed up with the Flow DJ Agency. How did that come about?

I’ve not had much luck with agencies over the years so when James Trystan who used to release on my old Berwick Street Records label a few years ago as Filth & Splendour set up Flow I thought I’d give them a go.

How do you feel about the ‘Art’ of DJ’ing today? Has anything been lost in translation since the days of mixing with vinyl and residencies in Nightclubs?

Haha.. can of worms?!! As with production, technology has enabled anyone with even the vaguest interest in music to have a go at DJing! With the dreaded sync button it’s hard to screw a mix up (although some still manage to do so!). So now we see thousands of Z list celebs getting in on the club circuit taking the gigs that seasoned DJs once had! It seems now that if you have a famous face or can shift 50 tickets up front for an event you’re more likely to get a booking over a DJ who spent years learning how to beat match and how to fill and keep a dance floor full for the whole night!

You also run tutorials via your website. What is the first piece of advice that you would give to someone new to it all?

I do a lot of engineering for people and do offer one on one tuition at the studio for those who want it, (which is what I think you are referring to, since there’s no actual tutorials on my site). My main advice would be to be patient and learn as much as you can from as many sources as possible. It took me 6 years of learning how to use synths and the full hardware set up I created with Alvaro Garcia back in the day (yep.. it’s his surname I kept!) before I was ready to ever release any of my music, and even then I had to set up my own label to put it out on! Also patience is needed when you do finally sign your music because some labels take around a year to release your stuff (and some even longer.. 4 years was the longest I waited for one to come out!)

Tell us about your T_Mo alias and what you’re currently working on?

I do a lot of downtempo / chillout music being as I’m not in the mood for banging out house beats every day of the week. Some of the chillout stuff I made found its way onto Cafè del Mar, Mambo, Savannah and Hotel Es Vivé Ibiza compilation CDs as well as onto TV shows like Masterchef, The One Show, Watchdog, Sky News and even Blue Peter. So it’s a guise I use for anything that’s not House music basically.

What do you do to relax?

I wouldn’t say playing with my 3 year old boy is really relaxing but it’s what I love doing outside of the studio time. I also do a lot of walking, sea swimming in summer, hot yoga etc. Listen to records, eat late and binge watch box sets with my other half Katie when the little boy’s gone to bed!

And finally. What are your plans for 2017?

Since a load of my T_Mo material got used on TV I’ve been focussing a lot at the studio on making music for sync/tv/films etc. It wont be coming under any of my Nolan/T_Mo or Timo Garcia guises but I’ve written a 14 track Electro Swing album for Sony/BMG’s production music arm.. and I’m half way through a Tropical House /  Pop album for them too, after which Im probably going to do a D&B album on that pop/crossover kind of tip… as i say, it’s not music i would put my name to commercially but it’s fun making it all the same and i get to work with some amazing singers too. I have a load of new Timo Garcia material coming on some very tasty labels in 2017 as well as the new Nolan fodder too. Some big collaborations to watch out for too and I’m also now ready to get back on the road and start gigging again.. so promoters.. get in touch hey 😉



Nolan feat. Forrest

Yet another sterling production from Nolan who makes it all sound so effortless but then that’s life after all. The original version slides by in a haze of shuffling funk driven by probing bass stabs accompanied by synthesised flourishes and capped off by Forrest’s deft vocal dexterity. Raumakustik deliver a cool contrast with their remix adding an edge to the groove but then explore a rousing rush of chorus mid-point. Next, P.A.C.O. transform it all via looped electronics plus deeper moods which unfurl into hypnotic piano punctuated emotions suiting the vocal right down to the ground. Kitball have released a number of gems this past year, this is one more.

Release: December 16



Gavin Herlihy
‘Endless Feeling EP’

It’s hard to top the Larse reworking of Endless Feeling from the tail end of last year’s E.P from Gavin Herily. I mean not that the original was more than good enough (it was after all excellent) but this new version adds some extra fizz to the production for 2012. The array of impressive vocal treatments remains intact as indeed do the tension building guitar/ synth licks but Larse re-tweaks it all supplying energetic, shuffling hats and a choice pounding beat. Inxec and Shaun Reeves then replay Tell Me What You Need by perking up the drums and evolving the sounds into a blissful climax, while Geddes hits home with a heavy-duty bass driven 928 version that shimmers distinctively with funky percussion and emotive electronics. 8!/CulpritLA


Lawnchair Generals
‘Don’t Stop’
Lazy Days Recordings

Not only does this reference a personal Disco favourite but also screams syncopation is King and/ or indeed Queen. Produced by Peter Christianson and Carlos Mendoza this Hi-Nrg trip down memory lane is nothing less than excitement personified, although this time with added punch, fresh synth and a faster tempo. Try the Original or the Dub which has extra chords and drums for satisfaction most definitely guaranteed. Rob Mello’s No Ears Mix reconstructs everything bar a touch of voice and neatly transforms it into deeper tech styled intrigue. 8

release: 14 February 2012


Pulp Disco & The Outcasts
Legendary Sound Research

Following on from Overnight To Dusseldorf on Ashley Beedle’s  Out Hear Audio comes this smoothly pulsating and rather fabulous exercise in Cosmic/ Disco/ House (definitely not a genre but certainly a cool clash of ideas). Sensibly paced and augmented by tasty percussion throughout this blends together sassy euro-syncopation with a timely House chord sequence and breathy voices impressively, leaving The Legendary 1979 Orchestra to rework the elements with hats to the fore and additional off-kilter keys. Second track Rimini (Estasi Dell Amore) feels even better getting sleazy with nasty synths and a climatic arrangement that oozes European appeal, and then some more… 8


Sandman & Riverside feat ft. Kymberli Wright
‘It’s Too Late’
Fast FWD Records

The Original version of It’s Too Late combines a powerful sparing of percussion played intently with Jazz in mind alongside heavy Rhodes and notable scat vocals. And as truly impressive as it that all sounds (and is), for me Ron Trent once again provides the icing to the cake. Intensity is the middle name here as an array of rhythms envelope you in a series of dance reference points that score equally high on passion and imagination. The Dub proceeds to play around with the gorgeous instrumentation paying perfect compliment. KZR then strip it all back to highlight more voice on their Late Night Dub with a neat Reprise taking care of the rest. 9

release 21 February 2012


Nurvous Records

Alter Ego Nolan’s instantly appealing production sounds like it was recorded in the hot sunshine on a sandy beach somewhere in the Med. I know it’s only February but who’s counting. Out soon on NYC’s sister label to the seminal Nurvous imprint this is based around a familiar, though not obvious, party-time piano loop with competing vocal edits and thumping beats all vying for your attention. However the HXU aka Huxley vs Timo Garcia remix is an altogether more sober affair: dropping the mood, feeling deeper, more soulful and is sublimely fine. Cocktails at dawn. 8


Jon Sweetname
‘Dulce Amor’ (Remixes)
Loco Records Supreme

Love the Touchan remix of this track from Barcelona’s Jon Sweetname precisely because it delivers the unexpected. Which in this case is a slightly sinister bassline aided by a whirring vocal loop and creative electronics all of which create an unsettling, though thoroughly enticing mood. The Martin Nowakowski follows with yet more imaginative touches and treatments on his slightly more ‘up’ feeling version. Something a bit different and therefore clearly worth your time. 8

release: 6 February 2012 on Beatport

 Inspiration: Goody Goody ‘It Looks Like Love’ (1978)