Ott was doomed to be a teenager in the cultural wasteland that was the mid-1980_s provincial England. After a brief period wandering aimlessly through the hairsprayed deserts of New Romanticism and poodle-rock he found refuge in the warm, inviting sounds of Scientist, King Tubby, LKJ, and Prince Far-I and the effortless grace of European experimentalists Neu! and Kraftwerk.
The end of the 1980_s brought with it a cultural and musical revolution and Ott headed to London to immerse himself in the new energy. Initially unimpressed by the frantic, unmusical clatterings of acid house and “rave” he discovered a new wave of artists who apparently shared his love of organic dub and pristine electronics. Artists such as The Orb, Dub Syndicate, FSOL and African Head Charge. These were people who were unafraid to combine bass-heavy rhythm, abstract soundscape and timeless melody into a huge, ever-shifting sonic universe which reflected perfectly the spirit of hope and positivity which prevailed.
It was at this point that Ott found his first work as an engineer in several studios around North London. Working obsessively, 18 hours a day, seven days a week for the next ten years, Ott developed his engineer skills working with artists such as Brian Eno, The Orb, Youth, African Head Charge, Steve Hillage, and On-U-Sound.
After mastering his studio skills, Ott celebrated the end of the 20th century and the beginning of the 21st by giving it all up and moving to a remote cottage in South West England to be alone with his cats and his studio. Here he embarked on a series of sonic experiments, drawing heavily on the classic dub sounds from Jamaica and hypnotic electronic pulse from Germany which had provided such a refuge during the 1980_s. A period of intense creativity followed, during which a great many tracks were created and then stashed away on tapes.
In the meantime, Ott hatched a plan to remix half a dozen or so classic Hallucinogen trance tracks and release them as dub mixes – slower, fatter and more chillout friendly. In 2002 the album “Hallucinogen in Dub” was released via Twisted Records to universal acclaim. Buoyed by the success of “Hallucinogen in Dub”, the following years to come would see Ott gather together and release his sonic experiments on Twisted Record as the albums “Blumenkraft” and “Skylon”, as well as a whirl of gigs around the world, remixes for Shpongle, Entheogenic, Tripswitch, and collaborative projects like Umberloid (with Chris Barker) and Gargoyles (with Simon Posford). During this time, Ott travelled the word, got married, welcomed his daughter Daisy to the world and recorded his fourth album, which he self released in 2011, entitled ‘Mir’.
In addition to hundreds and hundreds of headline club dates, Ott has performed worldwide at acclaimed festivals such as Wakarusa, Camp Bisco, Rainbow Serpent, Glade, Sonic Bloom, Symbiosis, Lightning in a Bottle, Tree of Life Festival, Big Up Festival, and many many more.
Love songs to the source is the name of the latest album from the adept and on-the-move producer/remixer Bluetech (aka Evan Bartholomew & Evan Marc). After a steady stream of releases on the Waveform, Aleph Zero, thoughtless music and Somnia labels over the last seven years, the next phase of Bluetech’s sonic trajectory plots new and intrepid coordinates via canadian imprint interchill. in this unique full length release, listeners familiar with the bluetech sound are presented with an inviting point of departure into the warm, spacious realms of his signature mid and downtempo electronica.
Employing a more dub-wise and organic sound palette than on previous albums, Bluetech brought several collaborators on board in the making of love songs to the source including; featured vocal contributions from the likes of Dr Israel, Katrina Blackstone, Mari Boine, Lady K, Tina Malia and Lynx; and musical input from Jamie Janover, Kilowatts and members of the march fourth marching band’s horn section. rounded out with a distinguished selection of instrumentals, this innovative, genre-bending chapter in the evolving bluetech chronicles is ripe with emotive vistas, reflective passages and all the evocative depth that one has come to expect of this highly talented us based producer.
In evan’s words, “love songs to the source is an audio exploration of the spark of divine light that oscillates in the heart of every being”, and with this intent, one finds music that is both uplifting and devotional as it passes seamlessly through a lush digital expanse of infinite expression. To embark upon this listening experience is to travel down an illuminated path beyond all stylistic bounds.