As to be expected each month, a new round of amazing Beatport Play contests is now underway—and now’s your chance to score some major prizes and, possibly, a taste of true producer fame.
Well, if Daft Punk headlining Coachella ain’t enough to get you believing in the end of the world on Friday—wait, never mind… Okay, how about your favorite classic house and techno tracks played medley-style on a piano? Come inside and see what else we’ve got to offer in today’s news roundup.
Folks, there’s been a lot of chatter about this Friday’s Mayan predictions. Whatever those prophecies may hold, we know one thing—we might as well go out with a party, right? So, in that spirit, we asked a bunch of DJs to tell us what they’d play for their last song on earth. Here’s what they came up with.
Denver disco duo Black Amex will be joining the Beatport Live ranks this Friday, December 14th, at our home office. Gleaning their taste from tunes of old and tracks of the future, the pair split their time between dancing in the evening and producing disco and funk bombs in the day.
David Fourqaert’s and Mo Becha’s extensive career as The Glimmers began when they were just teenagers, spinning early-morning parties in the heart of Belgium’s electronic music scene. With their signature blend of eclectic house, breaks, disco, and electro, The Glimmers’ Eskimo parties were the center of Ghent’s dance scene. They’ve since gone on to lend that inimitable sound to their homegrown label, Eskimo Recordings, which, this month, celebrates 10 years in the industry with the release of Eskimonde: A Decade of Eskimo Recordings, an incredible 35-track collection that features hits from their label’s massive repertoire, including singles and remixes from the likes of Aeroplane, Low Motion Disco, Trentemoller, Tiga, Lindstrom and Prins Thomas, and Moonlight Matters, plus exclusive new mixes from The Glimmers themselves.
We chatted with Fourqaert about their decade-plus career, their early years in Ghent, and the Eskimo party legacy that birthed their new compilation.
Today, and for just today, November 26th, we’re happy to announce that we’re offering 25% off everything in the Beatport store, plus grab selected Sounds packs at a huge discount.
That means, for these 24 hours, take 25% off all purchases at Beatport.com and download a host of select Beatport Sounds sample packs for just $4.99, including Victor Calderone & Mike Frade Tech House 1, Progressive Electro Essentials, Future Sound of Swedish House, and tons more.
From RL Grime’s club-ready take on Halloween to even more supporting evidence that Nicolas Jaar’s live set is unstoppable, October proved to be a fruitful month full of treats and tricks in the world of bass-driven podcasts from around the ‘net. Check out the sets that have been bubbling on our iPods over the last 30 days.
We’re not gonna end the day by telling you young whippersnappers a “when I was your age” tale, but some of us olds on the Beatport staff (that’s pretty much anyone over 30, if you’re counting) remember with vivid detail the first time we heard Daft Punk’s now-classic “Around the World” track back in 1997—and damn, it was a joyous occasion. So suffice it to say that dudes like myself are pretty stoked (do you kids say “dudes” or “stoked” anymore?) that the tracks that first turned our ears toward electronic music have, as of today, been given a huge new push from EMI’s Mixed Repertoire label in the form of some amazing lost remixes from the vaults. First up, for me personally, is that iconic Daft Punk track remixed by none other than the equally legendary Masters At Work.
Brand-new drum & bass, decades-old soul, and heck, even a Carly Rae Jepsen bootleg make today’s On Rotation segment, which compiles our expert team of merchandisers’ and editors’ favorite picks of the week.
Having attended most major electronic music festivals in North America that have been around longer than five or six years, I was eager to get to my first Decibel, now in its ninth year, located in the wonderful city of Seattle, Washington. Founder Sean Horton has ambitiously built Decibel over the years, and it now sits as one of the can’t-miss events on the world circuit.
The size of this festival is hard to get your head around—and this has been a common gripe amongst attendees, having to choose to miss certain artists due to schedule overlapping. There are simply so many artists: 50-plus showcases, three days of conferences, and four after-parties within the official programming, on top of the off-Decibel events, which consist of four boat parties and even more after-hours affairs. That said, there were minimal hiccups to be encountered, which was impressive. Seattle, being the music town it is, served up quality venue after quality venue. The sound was impressive across most spaces, and though some of the visuals left something to be desired, for the most part the production was tight. See our full review after the jump.
