We’re heading to the desert this weekend, are you coming too? That’s right, Coachella is upon us and even if you weren’t able to snag a ticket to the festival there’s still plenty of magic happening outside of those polo grounds. Our favorite pick is The Saguaro Desert Weekender taking place at one of our favorite hotels in the whole wide world. Check up the lineup for the 3 day extravaganza along with a nice little mix from The Knocks to set the mood. You can RSVP at http://thesaguarodesertweekender.com/.
Norwegian hyped up outfit Loveless shoots another monster of a track our way.
“Hold Me” sees alot of influence from UK garage and mixed up with r’n'b this makes a melancholic sounding dancefloor bomb.
Our favorite imprint from the great, green state of Colorado, Night Supply, has just released a brand spankin’ new tune from local, Sylent EFX. With an off-kilter piano riff not dissimilar to Old Dirty Bastard’s “Shimmy Shimmy Ya’, stacked on top of a shuffling rhythm and choppy vocals, we’re stoked to hear more from this 18 year old producer!
Ooh wee! Such a classic and one of my absolute favorites from the Motown-Man himself! This version of the legendary tune, ‘I Want You’ by Marvin Gaye get’s a beautiful, extended treatment from Diskobeistet and is available for FREE DOWNLOAD from the good folks over at People Love Music.
Emerging L.A vocalist, producer and songwriter ZHU is responsible for the fantastic electronic medley of Outkast tracks called “Moves Like Miss Jackson” that we posted back in mid-February, new track “Paradise Awaits” is the first single off his debut EP “The Nightday” (will be released April 20th on L.A label Mind Of A Genius).
“Paradise Awaits” is futuristic sounding garage-soul that pulls together bouncy synths, propulsive beats and slinky vocal hooks.
The EP consists of six original tracks that draws from dance music genres ranging from house to disco to garage to synth-pop which are laced with his pristine vocals.
If you’re feeling this as much as we are, go on and pre-order it now on iTunes .
Chi-Town funkster, Ghosts of Venice puts a delicious modern touch on this classic tune from 80′s boogie outfit, September. Originally released on the legendary New York imprint, Salsoul, GoV’s versions is now available on Beatport via Ultra Records. Buy it HERE
Discobelle are members of the jury of EuroMusic Contest which is the first digital music competition. It’s open to 40 participating countries and is featured by Believe-Zimbalam, Sony Music, iConcerts TV (Switzerland), SwarmPlanet (Sweden), Jamendo (Luxembourg), Euronews, Le Nouvel Observateur (France), Wired Italia (Italy), Sound Vision (Greece) and Millenium Events (Denmark).
The contest is provided with an online voting system that will enable every Internet user to participate in the selection of the finalist musicians or bands. Synchronised with social network Facebook, the contest will be the world’s first both numerical and viral musical competition and will promote the emergent music scene. The big final with 10 artists will take place in Paris.
The competition is now open with voting beginning in about 42 hours.
(collage is Off World Colony by Franz Falckenhaus)
Baby, let’s shed these skin jobs and head for the stars. Pink never suited me, anyway.
There’s a signal calling us home. Thumping out from the giant bass bin secreted in Jupiter’s eye.
It sounds like:
All playing in some celestial afterlife supergroup. Even the ones that aren’t dead – their souls were always somewhere else anyway.
It sounds like:
Heavenly choirs, basically.
We’ll stop over every satellite body we pass to hold an illegal rave in its ozone. There’s no drug more sprightly than a helium-based atmosphere.
^This is how we dance.
And when we get back to the start, it’s just one long throbbing disco orgasm.
^This is what home sounds like.
You may have caught us at a time in our lives when we’ve been rewatching Interstella 555 and remembering Daft Punk at the mighty heights of their firepower. Luckily this also coincided with us discovering Thony Ritz – think Daft Punk without all the new shit bits, or if The Crescendolls were a real band and this was their difficult second album, or maybe it was all just a dream.