Shibbster Tweets About: Christopher Bolte
Shibbster Tweets about #ChristopherBolte.
Another post, yay finally! So - this is a new category on this blog called „Shibbster tweets about…“. For this first post I decided to tweet about Christopher Bolte. Some of you may already know him, some may not. In any case, here’s a brief overview of what the internet tells you:
Christopher Bolte is a German bassplayer born and raised in Bückeburg. He played for various bands such as Analogue, Ole Hauk, Natalia Mateo and many many more (…I think listing all the appearances he made would be an entire post itself).
After finishing A-Levels in Germany he studied Jazzbass at University of Osnabrück and got a scholarship to finish his degree at Berklee College of Music! Not only is he a graduated musician and played for many artists, he is also a well requested producer, mixing and mastering engineer. The timbre studios in Bückeburg were his second home for a long time.
So what’s my connection to Christopher Bolte? We first saw each other back in 2009 when I played for a glam rock band named Fucking History and we played a show together with his band Analogue some where some time… Fun fact: I remember more or less nothing from this evening apart from the fact that I was pretty angry the entire time - but I forgot the reason why so… yea. Nothing special.
We got in touch later on when young artist Ole Hauk (now the bass player of the German band The Esprits) won the United Noise e.V. Battle of the Bands in 2011. …this led him to more or less the obligation to play more shows. He was a solo artist at that point in time, but he wanted to set up a band around him - including Christopher on bass position. In 2012 there was a time where Ole’s original guitarist couldn’t make it for a gig and Ole asked me to fill in for him. I agreed and I shared the stage with Christopher for the first time. (Looking back now: What a lucky incidence.) We played a few shows together actually, before I left Ole’s combo so that he could put a permanent guitarist into the band.
In 2013 I took part in the United Noise e.V. Battle Of The Bands in Bückeburg with my then solo-project F.A.I.L. - I won the second prize which was a studio weekend at Christopher’s studio! (Fun fact: Leet, the band of Neversick and R00T from Wet Beach won that contest)
We made an appointment and I recorded the Undead Trilogy at his studio. Since this took up the entire weekend, mixing and mastering duties were taken over by the Sonic Blast Factory in Hamelin since this would’ve exceeded the time that I won at Christopher’s studio.
After that, we kind of lost touch - which is totally fine. But since Christopher is pretty good at advertising and presenting himself on the internet, it was pretty easy and interesting for me to follow his actions. When I discovered that he got a scholarship for Berklee College, I decided to text him if we could meet for a drink - so we did! It was a nice evening in Bückeburg where he told me about his future plans regarding music and his connection to Rheingold Music. …I was more than impressed by his plans.
Of course he successfully graduated from Berklee - fell in love in the US but came back to Germany anyways. From then on it was very intangible for me what was happening with him haha! According to his social media accounts he was all over Germany at once. Attending music fairs, recording and live sessions, mixing records for countless artists and so on. …he was pretty good at posting - what he often calls it - „bass noodling sessions“ on his Instagram account as well but there was little to none (at least I did not notice anything apart from „simple song“ & the double single „Oblivion/Let Me Go“) original music of him.
Since he is already well-known in the whereabouts of Bückeburg and Lower Saxony, people started wondering if there’s anything about to come. I do live in Berlin but I do have a strong relationship to my hometowns thanks to my band Wet Beach. So Christopher was a topic to talk about every now and then.
He told me some time last year, that he and his American girlfriend are going to get married and he plans on moving to the US - I got super excited about that for him. First: LOVE! Second: moving to another country? I know it myself. It’s super exciting!
Coming back to the keyword „original music“: Christopher has left for the US already. But he gave all his German followers and fans a farewell present, which also serves as kind of a „hello-present“ for his American network.
His solo-album „The Push“ was released on May 20th.
When he first started announcing his album of course I wondered how this might turn out. At the point when it was released I even got a little angry that I did not have the time to listen to it properly since I wanted to pay as much attention to it as I could. A few days later now, I finally have the time to not only listen to it, but to also capture my thoughts while listening to it. Here we go:
01: Commute - the opener.
The first few notes of it give a somewhat hypnotic vibe, especially when you listen to it on headphones. But as soon as the percussion and drums kick in it is not that spheric anymore - I found myself bopping my head in a very smooth way. This track is very straight and simple compared to what I would have expected from him actually. But I totally love that, it puts me in a calm relaxed mood. It makes me dreamy and I do see streetlights at night and feel a warm light summer wind when I listen to it with my eyes closed. And I think this is also a statement somehow: This track tells you to leave everything from your day behind and pay close attention to what’s coming next. On the other hand, I know a few underground clubs in Berlin where people would totally dance their feet to death at 4am. What a nice introduction to the record.
02: Woodshed (with Leon Raum on drums) - the sound of nature.
Although this album was declared to be an electronic one, this track feels very handmade and natural. The soundscape really puts you in a wooden environment. Or even in a wood? I don’t know. It feels as you were sitting in a forest and you’re watching everything around you move, listen to tiny animals doing their things. This track certainly is a bit more complex. For the distorted bass solo even to the extent that it’s a little too much for me. It feels natural since not everything is liked by everyone, but definitely not my favorite part in that song… But I love how it gets somewhat chaotic and then reorganizes itself again. In terms of composition and arrangement, Woodshed has a very intelligent arc of suspense.
03: Basement Meditation (with Leon Raum on drums) - any roaring 20’s fans on here who wish their music would have a modern touch?
THIS IS YOUR JAM THEN. Period. The drums alone are grooving so smoothly that even with all the complex accents this is something that gets everybody floating - not to mention when the bass comes in. This Bolte guy definitely knows how to lay down a groovy baseline over complex rhythms without fighting for presence. Although this may seem simple to some people, I think this is the most fascinating thing about this song. It evolves in complex rhythms and light melodies but the bass is your anchor - it keeps you grooving. Towards the middle of it there is a rather calm passage that is very electronic. But don’t worry, it doesn’t lose the what I’d call it „20’s gangster vibe“. …Did I say gangster? Yes. Talking about Mafiabosses. But only about the ‚cool‘ ones you see in movies with amazing soundtracks. And although I said roaring 20’s fans, the synthesizers certainly do feel a bit like the 80’s as well. Basement Meditation is actually a bit of time traveling if you ask me. …and that’s what we do when we sit around in a basement thinking about ourselves right? Past - Present - Future.
04: Let Me Go (Rework with Ella O’Brien-Coker on Vocals, Olive Yahh on keys & Gregor Lener on Trumpets) - Reworks usually do have a high risk of being shitty. This one turned out amazing.
I already knew the original version of this song, so I was quite excited about how this one turned out. As stated above, reworks usually have a high risk of being shitty as people are used to original versions. So of course, I was biased with this one. But it got me smiling from there very beginning. Putting the handmade original into a semi-electronic rework is something that’s not only very interesting to hear: the result is amazing. Compared to the original, this new version has a lot of depth and space. Don’t get me wrong: I love the original, and I love that the original has real drums in it. But the clap part in the reworked version at around 1:40 is just unstoppable. Actually this part made me want to jump up and do a pop punk cover of this song hahahaha.
05: Longing - BASS!
This song is certainly a great example of what is possible in terms of chord progressions, harmonies and melodies with basses. I do play bass myself, but since I am not that skilled on the instrument the most „spectacular“ things are ska-ish basslines… So this one is definitely fascinating and beautiful. I love how much emotion is in there. It feels to me as if it has a multi-dimensional vibe. This song is the friend you need by your side when you’re sad and at rock bottom. But at the same time it can also be your partner when you come home happily exhausted from an amazing day. This is art. I fell in love with this one instantly. (I wonder what Adam Neely would say to this composition?)
06: Tape Machine (Interlude) - …uhm?
WHAT? WHY? …why is this one only an interlude? I mean, I said commute would be a suitable track for an underground club here in Berlin. But this one? It did not only get me vibing, I wanted to dance and have a great time on the dance floor to a nice instrumental track with this one. It’s not even a minute long - biggest disappointment so far! Hahaha! I love it so much.
07: Nocturne for the Sleepless - multicultural insomnia.
This track is very different from what I’ve heard on this record so far. The choice of instruments and how they harmonize together contradicts the choice of using electronic drums instead of using „just“ percussion elements. Even when synthesizers come in later on, the contradiction goes on. Basement Meditation was time traveling. Nocturne for the Sleepless really is multicultural insomnia to me, as there so many different aspects and facets in it although the structure is so simple. And that’s fascinating. I think this is why could play this song to anybody in the world no matter where they are from and what music they are used to. They are able to sense what Christopher wants to convey with this track: „Having a restless mind, missing someone, doubting oneself, yet being dedicated to pursue one's goals in life.“ (as written on his blog about this song.)
08: Oblivion (Rework with Ella O’Brien-Coker on Vocals)
Another rework. And I already knew the original. There differences between the rework the original version are quite similar to the differences for Let Me Go. The rework has more depth. It sounds more open - which is very suitable for this song. Nonetheless, I have to admit that personally I don’t like this song. Not the original version either. I can say that the reworked version of it has more emotion and more grit, but it’s still a song that doesn’t catch me. Thus - this is all I can say about that. I appreciate the musical and technical background but it didn’t make it to my playlists…
09: Limbo - How low can you go?
…just kidding. But this track really lives off it’s warmth of the bass. It feels very nocturnal… well rather nocturnal to the extent of pulling an all-nighter and watching the sun rise again from a very high balcony in a very big city. It can be everything and nothing. This is a song that I need to listen to on various occasions again. I think the effect this track has on you really depends on the mood you’re in when you listen to it. Since I am feeling great right now, it feels like I pulled a very positive all-nighter and I’m happily watching the sun rise again.
10: Twice (with Ella O’Brien-Coker on vocals)
So apparently this song is a cover? I did not know the original song, so at first listen I thought it was an original song. A very suiting song for closing an album. It really feels like a wrap up. Like the last conversation you have every day before going to bed. Telling each other what happened during the day. What you’re still struggling with and what you managed to achieve today. A perfect fit in this tracklist. Compared to the original: Ella was the perfect choice as a vocalist for this cover. Her voice is so warm whereas the original vocalist sounds a little flatter. Actually the entire original song feels a little flatter than the cover version. To an extent that I cannot define, the original is more cinematic. I prefer Chris’ and Ella’s cover version anyhow. I like warmth. It feels more comfortable. Well done peepz!
The overall impression of The Push:
Wow. This album really serves as a multi-purpose record. I can imagine myself listening to it while doing something else. I have listened to it focused and I loved it. Most likely I will be listening to it when going through hard times and happy times. I’ve heard people saying they do need vocals to feel the emotion of music (unknown source. sue me, I dare you! Hahaa). This record is mainly an instrumental one - and in my opinion Christopher achieved what he aimed for: He wanted to express emotions through music. On his blog he stated that he discovered that electronic music was the best way for him to express himself and I think he did more than a good job on it. I love this album - and my parents like it, too. (I put it on while having lunch with them at their house) —> so its target audience cannot be defined by age. Just to get this straight hahaha.
My rating overall:
09/10
strongly recommended!
Favourite Track:
Longing
Christopher, thank you so much for sharing your music with us. All the best to you! I hope to hear from you again every now and then from America.
-Shibbster.
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