The sweet smell of an excellent show that you got into because of an excellent hook-up. And guess what: Blisspop is the ultimate hook-up. How would you like to check out the dance rock-alternative sounds of Franz Ferdinand and Sparks on October 5 at the Lincoln Theatre? “Take Me Out”? Is that what we hear? Alright, then. Let’s do this thing.
We are giving away two tickets to see Franz Ferdinand and Sparks for their upcoming show in D.C. and you could be the lucky guy or gal! It’s pretty simple. All you have to do is the following:
- Like our page on ‘Facebook’ and give us a follow on ‘Twitter.’
- Shoot us an e-mail at BLISSPOP@GMAIL.COM with the subject header ‘FFSLincoln.’ In the e-mail, tell us what you think the members of Franz Ferdinand do in their time off. Are they crime fighters? Basket weavers? Members of the U.N.? WE WANNA KNOW YOUR THEORIES!
- Last but not least, be on your toes: we will be selecting the winner tomorrow night, Fri. October 2, at 7 PM.
Best of luck. Have a picture of a kitten inside a sock.
Whitney Houston’s voice, like Loleatta Holloway or Robin S, is going to become a house music standard over the course of the next few years or so. It’s inevitable. And nobody knows the standards and respects them more in D.C.’s underground scene than our own Phillip Hafner – otherwise known to mere mortals as Philco.
His latest remix, which recently debuted on London’s Lipstick Disco as an exclusive, is transfixed on Houston’s legacy as a soulful crooner by layering her vocals over classic four-on-the-floor rhythms and a rolling bassline with a dynamic spring like a young rabbit in an English garden. Overall, the piece feels like a contemporary classic that belongs in the same field as Masters at Work or Derrick Carter as it carries a tech groove to its most rhapsodic extreme; it’s a blend of tech and deep house that is expertly balanced and presented with a sweet, mellow touch not unlike the tenderness and vulnerability which made Whitney Houston’s voice so wonderful. This is a mood setter and head bopper from start to finish.
Listen to Philco’s remix of Whitney Houston’s “Fine” below.
DC native Nick Garcia put his spin on “Sugar,” Will Eastman’s new acid house track (read about “Sugar” here). Garcia’s remix takes the listener through many different stages, starting off with a four-on-the-floor beat pattern that changes into break beat before eventually going back to four-on-the-floor. The soundscape Garcia creates is nothing short of production perfection. Here’s what Garcia had to say about the track:
“Almost seven minutes of layered breaks and 15 step sequences that continuously offset themselves, creating endless permutations of resonance cranked madness. Easily my most wild remix to date.”
Listen to and download Garcia’s remix of “Sugar” for free here:
“Acid.” Will Eastman‘s rave-ready stomper “Sugar,” out today on Nurvous, digs into early 90′s warehouse culture when acid house was king. The track, which plays out like a Dirtybird single after taking shots of Jäger to the face, is the kind of floor filler that’s constructed to get bodies in a mood from the waist down and, in many ways, feels like an extension of Eastman’s work as Pentamon or his remix of “Imitation Air” from last year.
Combined with a low end heavy enough to sink ships or dancing shoes into concrete, “Sugar” intertwines anthemic qualities, such as crescendos you’d expect from a big room track, with a respect for the acid house formula allowing the track to breathe and flow in a manner that makes it sound epic, but not overly digital. The only way this track could sound any more legitimate is if it was pressed on a 12″ so you could hear the cracks and warmth associated with 90′s warehouse vinyl sets (and knowing Will, we’re sure the thought had crossed his mind).
“Sugar” is large, in charge, and crazy. Stream it below and you can pick it up on Beatport via Nurvous Records today.
Chris Burns is one of Washington, D.C.’s bright spots in the underground dance community. Having been a presence in the scene since the early 2000′s, Burns has established a relationship with partygoers which has been driven by experimental detours, deep cuts, and a focus on enriching the community. He’s worked with D.C. labels like Future Times and Silence in Metropolis, he’s been an avid supporter of Deep Sugar and Paradox in Baltimore, and he’s constantly on the move – digging for sounds and feels which are rich, fresh, and vibrant.
In his latest mix, compiled for the D.C. collective Extended Family founded by Zem Su Yung, Burns ventures into time-travel lifting tracks and soundscapes from dance music’s roots. Going from spaced out oddities to Italo disco to synth driven shifts that feel like a summery night on the freeway in an ’86 Porsche, he manages to stretch his mix into a diverse foray of ideas and daydreams that are wholly pleasant, satisfying, and distinctly unique for both casual listeners and die-hard crate diggers.
You can listen to Chris Burns’ mix below which is currently available as a free download.