Evan Bartholomew has been performing electronic music for nearly 20 years as Bluetech, Evan Marc and Invisible Allies (with Kilowatts).
As an internationally recognized touring music producer, Bluetech has over 27 album/EP releases and a seasoned portfolio of video game and film scoring credits. Bluetech is a master of analog and modular sound synthesis and DSP audio manipulation. He brings a passion for sound design and cutting edge audio exploration into all the work he touches. His music transcends the constructs normally associated with a calculated “electronic artist,” pursuing music with meaning and purpose with downtempo, future bass and progressive electronic music, rife with emotional intent and poly-rhythmic percussion.
Fresh on the heels of his #10 Dance/Electronic Billboard-charting album “Sci-Fi Lullabies” (#1 on Bandcamp), Bluetech returns with a deep dive into genre-defying electronic music on his new double LP “Holotrope.” Imagined as a psychonaut’s journey into inner space and back, “Holotrope” contains 4 distinct continuously mixed journeys, each designed to fill a single side of vinyl.
GET HOLOTROPE on Bandcamp
Keyframe-Entertainment caught up with Bluetech to discuss his trajectory, new album, and upcoming events.
KEYFRAME: You’ve been performing electronic music for nearly 20 years as Bluetech, Evan Marc and Invisible Allies (with Kilowatts). How has your journey evolved and where do you want it to go?
BLUETECH: I think one of the benefits of logging a lot of time in the creative process is that you begin to actually trust that process. I keep making jokes that 40 is the new 20 without crippling insecurity and lack of resources. Lol. I don’t feel like I have to “try” to make music any more. It’s something that is so essential and fundamental to who I am as a being that it just occurs. I trust that the connection between the realm of inspiration and the realm of manifestation is secure. And, I allow myself to just enjoy the flow.
As far as goals, I’m really interested in film and video game scoring. There is something super appealing about being able to help drive a narrative and emotional journey with a visual component that you just don’t get with an album. Even this 5 minute video I just edited for ‘Spectral Currents’ was hugely satisfying and has increased my desire to do this sort of work.
KEYFRAME: Tell us about the creation process for Holotrope.
BLUETECH: Holotrope was a bit of a different journey for me. It’s the first album I’ve ever written consecutively from start to finish. In other words, I usually start composing songs and don’t know the order until everything is done. Then I’m moving them around continuously until it feels right. Holotrope was always meant to be a 4-part album of continuous journeys. So the first song on the album was the first song I wrote, and the last song on the album was the final piece I worked on.
It was a really interesting methodology. In many ways it felt like I was always working on just one track, and picking up where I left off. In its own way, it was like writing a story, creating an emotional narrative that people would experience as they listened to the album.
I know it’s slightly foolish to focus on album journeys in an era of singles, but this was the concept and I had to go with it. I refuse to let market considerations drive my creative process.
KEYFRAME: What are some key elements of your own meditative practice(s) that influence your work?
BLUETECH: I usually take a broad spectrum approach and incorporate a number of different practices. Contemplative meditation on an object (breath, flame, etc.), lucid dreaming practice, etc. I use running as a meditation often, tuning into the body and focusing on and counting breath while I run to center the mind and find expansive awareness. The creative act itself can be intensely meditative, with steady and calm focus on the work being created for hours. The mind can really hone in and descend into deeper states of awareness.
KEYFRAME: You have multiple upcoming events, including Cosmic Convergence in Guatemala for NYE. Anything in particular you’re most looking forward to there or other events?
BLUETECH: I have played at Cosmic Convergence before and am super excited to play there again. Lake Atitlan is gorgeous. The people are incredible. And, it’s que romantico to be on water taxis travelling around to villages on this gorgeous Mayan lake. Will be there with friends and fellow musical inspirations like Living Light. So, it kind of feels like vacation instead of work. Not a terrible day job, right?
Cosmic Convergence Festival is a transformative cultural initiative designed to leave a positive social and local impact. The festival supports different artists, organizations and community projects, encouraging a platform between cultures, individuals and social impact projects. The festival will take place at Lake Atitlan, Guatemala, from December 29, 2019 – January 1, 2020.
KEYFRAME: What’s ahead for you 2020 and beyond?
BLUETECH: I have a ton of collaborations sitting on the table. So I plan on diving in and putting some energy into 3 or 4 of those ideally for 2020 release. I’m starting to feel the next Bluetech albums bubbling up from underneath the surface, so waiting patiently until those particular entities make their presence known.
I’m putting out the intention to work with visual artists on more motion projects. Directors, animators, cinematographers… if you’re listening, let’s collaborate!
In conclusion, following up on a highly prolific year of releases, Bluetech invites you to #jointhemoment and journey through Holotrope!
Contributor | Julian Reyes + Keyframe-Entertainment
Julian Reyes is CEO of Keyframe-Entertainment, a specialized brand strategy firm, which helps XR companies, start-ups, and venues reach their optimal market and connect with its vast network.