Up and comer Jamie Prado has just released a free Ep for Perfect Driver records. Lead track “Get Lost” is a tight deep house heater with a huge bass line, mellow stabs and a light sax touch. This has one of those middle of summer rooftop party vibes to it along with a healthy serving of soul. Take a listen below and grab the whole EP for free:
The good folks at U Street Music Hall have just announced the rest of the headliners and the local lineup for the Union BBQ on June 14th, and boy is is going to be a hell of a show (although we may be just a little biased with all the Blisspop residents on board :D )! Marytn, Animal Collective and a whole slew of local heavyweights and hometown heroes have been added to the lineup, which already includes Jaime XX (of the XX), Kaytranada, Viceroy, and more. The event is June 14th at DC’s Union Market, so grab your tickets and mark you calendars (and check out the awesome new website for the fest)! We’ll see you there!!
We’ve been working on getting this together for awhile and are finally ready to debut it. The Blisspop Mix Series has landed, and will be bringing you some of the freshest mixes around from our ever awesome residents and favorite up and comers. Baronhawk has manned the decks for the first installment and we couldn’t be more excited. What he delivered is close to an hour of raw, deep and funky house. Check it out below and help spread the word!
Art of Tones – The Great Sgatmi (Local Talk)
Ivel Tax – Dubbler (Kina Music)
Soulstar Syndicate – Take Me (King Street Sounds)
Kim Jay – Love Come Down II (Kingdom)
The Family – Feel The Light (UMM)
Detroit Swindle – Huh, What! (Dirt Crew)
DJ Aakmael – Just A Track (Liberate)
Suges – Suges Jam (Soulstream)
Jeffrey Jerusalem is easily one of the hardest working men in the game. DJ, drummer for YACHT, and now touring member of RAC, it is safe to say that the guy certainly has his hands full–not to mention a productive solo project that delves into the strange cross waters between techno, house and disco with wondrous results. He was nice enough to sit down and answer a few questions for us and we couldn’t be happier. Check the interview below and make sure to keep an eye peeled for his upcoming single due out on Public Release.
What does 2014 hold for you in terms of projects/songs/horroscopes/new musical expeditions?
I’m working on a shit ton of new stuff this year that I’m excited about. I’m putting out a 12″ single with the Public Release label in San Francisco, and, working on a whole diversity of weird and groovy music that I’ll be trickling out as the year goes on. I’m also doing a bunch of DJing and touring with RAC and YACHT. Just endlessly grinding and pushing forward.
What’s your musical background and how did you find yourself making dance music? How does DJig come into play for you?
I’ve been playing drums in bands since middle school. It’s kind of cliché for a DJ or producer to say “I started out playing in punk bands” but it’s true for me too. I also, played in the jazz band in my high school and played in all sorts of nerdy prog-rock and math rock bands. I’ve also always been noodling and composing with computers and started focusing more on that kind of stuff in college. For me DJing is simply an opportunity to share, in a stylistically coherent and creative manner, songs and genres that I love and would hope other people might appreciate too.
“Decay” is one of my favorite tracks of last year. Can you describe how that song come about?
Glad you dig that tune! That was born out of my love of noisy, melodic, polyrhythmic techno. I wanted to make a song that was super simple and only used, like, 3 synth sounds and maybe 5 tracks total. This was the end result.
What’s your writing process like? Do you approach the songs with any particular mindset or goal before you sit down with them?
For me, the process of composing and producing is very freeform and on the fly. If I hear a melody or stumble across a synth sound or sample or drum machine patch I really like, I try get something out–a loop or verse or chorus–as quickly as possible. I find that I can get 2/3rds of a song done in about an hour and then it takes me about 6 months to finish the other 1/3rd.
How do you balance work between your solo work and YACHT? It sounds like a lot of your sounds are generated by outboard gear, so is that ever an issue being on the road?
Touring with YACHT takes up a lot of my time but I’m lucky enough to have a good amount of downtime between tours and shows. When I’m home, I spend a lot of my time working on music in my apartment. Honestly, I use almost no outboard gear. There are some really beautiful sounding and powerful software synths out there, and if you know how to mix and manipulate them you can get some really rich sounds. I’m bored by analog fetishism. I think a Jupiter-8 could sound like a dinky iphone app if mixed poorly or used in the wrong context. Conversely, some iPhone apps sound great and I’ve recorded with a number of different ones that I love and sound great in a mix. I mean, I think outboard gear is great, but I spend all of my disposable income on eating out and almost never allocate resources to buying new gear.
Do you approach your remixes differently than your original tracks?
I almost prefer doing remixes to working on original tracks. With a remix, the initial spark of inspiration is already there, and as a remixer I love working with a finished a cappella track or chord structure for a song and rebuilding a track around that. I want to do more remixes, honestly.
Do you play live drums on any of the tracks? A lot of them seem to have a live percussion element to them similar to sort of DFA sound.
I don’t play much live drums on my tracks. I’ve always worked in a small bedroom studio and just never have the space to set up drums or anything. One time I recorded with my friend who does the band Midnight Magic at his studio. We got some good drum takes then and I’ve been using a lot of those tracks ever since. I feel like I have a knack for sequencing and programming acoustic percussion. Also a good african loop, soul break, or field recording of cuban drumming is going to sound better than anything you record at home or in a studio.
Tommy Vercetti is an immensely talented 20-year old from Leeds, and he makes some of the most addicting house music to be heard of late. Big chord stabs, killer melodies, jacking beats, and all around good times round out to earn Vercetti the Blisspop seal of approval, no questions asked. His single “Good Feeling” shares similarities with Lxury’s “J.A.W.S.,” using the sort of fast swell synth chords over a garage-tinged house beat with a simple but effective vocal clip. The track is huge and ridiculously fun, seemingly like the rest of Vercetti’s work. His remix of MK’s dub of “Summertime Sadness” is also worth noting as the young producer transforms the original track into an uplifting piano house shaker guaranteed to get the room moving. Check it out below and thank us later.