Want to be entered to win a pair of Funktion One F101 speakers and guarantee your fans “the best audio experience for every set”? Then follow the advice of Sander Van Doorn, Madga, Loco Dice, Andrew Weatherall, and countless other DJs and upgrade your Beatport library to lossless AIFF files. We’ve lowered our prices for all lossless upgrades by 25%, and, if you upgrade in the next 21 days, for every 10 tracks that you upgrade, you’ll get another chance to win a pair of Funktion One F101s.
Sure, podcasts were everywhere this year. And sure, many folks say the dance-music world is a singles game. But to our ears, very little beats a proper DJ mix or compilation, especially when they’re curated and crafted by the world’s finest selectors, clubs, and labels. There were dozens upon dozens of mixes and comps that got our attention this year, and we’re happy to finally bring you the cream of our crop—10 must-hear compilations for 2012. Enjoy!
It wouldn’t have been right to do a series on DJs who have perfected the art of warming up if we didn’t talk to Jennifer Cardini. Having held down residencies at legendary Parisian venues Le Pulp and Rex Club, where she now oversees her Correspondant parties, and having headlined some of the world’s biggest clubs, Cardini seemed the prime candidate to tell us the story from both ends of the flier. We caught up with her to find out why she enjoys to open, and what some of her choice starting tracks are.
The ESP Institute just revels in obscure sounds. Whether it’s the super-slo-mo disco of Sea Power & Change or blippy, spacy oddities from Sombrero Galaxy, they bring weird sounds to the level of refined art. Last week, they released a new remix LP from one of their banner names, Soft Rocks, The Revenge Of Soft Rocks, and from it comes today’s Track Of The Day.
Right now, Beatport is exclusively offering DJ, producer, and remixer extraordinaire Andrew Weatherall‘s Masterpiece compilation via Ministry Of Sound, and it’s a monster of a collection. Thirty-seven tracks in all make up this mix, which features music from The Asphodells, Kalidasa, Apiento & Co, and of course plenty of Weatherall’s own creations/remixes.
Glasgow’s Soma Records have been a pillar of British techno and tech house for over 20 years now, synonymous with classic names like Slam, Funk D’Void, The Black Dog, and Alex Smoke. Perhaps that’s why Pablo has been the dark horse of the label’s discography for so long, disappearing as he has into lush cinematic scores, cut-and-paste trip-hop, funk edits, and hip-hop sampology during his decade-and-a-half association with the label.
His last Soma EP, 2010′s Turn The Page, dipped into theremin-driven downbeat on the title track, and laid down some sparkling cosmic disco on the b-side, under the name Stratus. As a continuation of their 20th anniversary celebrations of last year, Soma Records have just issued a remix EP of Turn The Page, called Pablo Remixed; it’s available exclusively on Beatport as of this week, and alongside Spanish techno don Alex Under‘s retooling of “Turn The Page,” it features a pretty special rework of “Stratus” from the Lord Sabre himself, Andrew Weatherall.
Far be it from us to play favourites, but it is with particular excitement that we bring you this week’s Weekend Weapons feature from the mighty Andrew Weatherall.
We’ll try not to get carried away with the usual “he’s a legend” gush (you should know this anyway) and instead tell you a few reasons why we’re happy to have him. It would make sense to start at the beginning, but we won’t.
Instead we’ll tell you briefly about his appearance at Beatport’s 5th anniversary party this past Wednesday.
If anything can be known about Weatherall, his art, and perspective, it’s that he’s strictly in the camp of maintaining functionality in dance music, and a post-punk D.I.Y. ethos.
In fact he’s just written an article that celebrates 50 years of acid house.
His article was about the social impacts of this music, and he explained, “What acid house did was that it made people want to make their own music electronically.
“A whole generation of kids grew up into machine music, which fueled the rise of music software that we have today.
“That makes it even more DIY than punk.”
Weatherall’s article detailed the trajectory of DIY from pre-punk to post-punk electronic music.
Some things change, and some things stay the same.
Weatherall’s interest in fashion and visual art has persisted and forms part of his quirky artistic persona today.
He says, “I like cultural input – I collect some interesting vintage clothes. That’s my release for most things.
“When I come home from the studio, I usually read to unwind.
“I am lucky enough to get to the studio from mid-day until midnight, so after that all day I don’t feel the need to walk around with an Ipod.
“I also paint, and do prints. For the last Two Lone Swordsmen album all the artwork was mine.”
Regarding downloads versus tangible music, Weatherall says his latest album called ‘Wrong Meeting’ was the antithesis about what Beatport is about.
“For some people it’s second nature to get up in the morning and go to the computer. Apart from music, I am rarely at a computer.
“And a lot of time I work with an engineer who does it all anyway.”
So how does one pioneering veteran of electronic music explain his fortuitous and hard-earned success and reputation?
Weatherall explained in Paris before his gig at the Rex club, saying, “I wasn’t asked to go in the studio to produce music because I as savvy with computers, but I was asked to go in the studio because I was savvy with music and I had good ideas.