Ahead of Blisspop Disco Fest starting August 31st at the 9:30 Club and U Street Music Hall, Blisspop contributors Aeron Premo and William Creason talk about some of their favorite Italo Disco & Boogie records. Kano – “I’m Ready” (1980) The claps and burbling bassline that open “I’m Ready” will more than likely instantly register a DC connection in most listeners: the bass riff is the basis for Tag Team’s 1993 Jock
While he is best known for being a long-time member of Australian indie dance icons Cut Copy, bassist (and former DC resident) Ben Browning also creates his own brand of sun-kissed, dancefloor friendly electronic music. After releasing his well-received debut solo album “Turns” back in 2015, he is preparing to deliver the follow-up “Even Though,” with its first single being released on May 11, the magnificent summer-filled disco tune “Sunshine Baby”.
The Italian-born, Los Angeles based DJ and producer Marcello De Angellis, better known under his stage name Birdee, has slowly been gaining traction over the past couple of years in the nu-disco world for his soul and boogie-infused tracks. His newest release, “Why Don’t You,” is being released as part of the second volume of LAMP/PUZL Records’ “SPECTRUMS” compilation series, which is advertised in the label’s words as a series
Formed in 2014 at Georgetown University by vocalist Mary Ellen Funke and pianist Lyell Evans Roeder and now based in Los Angeles, Tigers Are Bad For Horses create a sound that is informed by multiple genres ranging from electronic and indie pop to jazz and film scores. This unique melding of influences has resulted in many stand out songs. Their release, “Still Here” continues that track record. The duo’s newest track
Since their debut release in 2013, the duo of Australian singer/musician Matt Van Schie (Van She) and London-based producer/DJ Matthew Haymes (Mighty Mouse) have been creating and releasing sparkling, emotional disco singles under the moniker Du Tonc. On October 20th, they released their new track “High” into the world and it does not disappoint. The arpeggiated opening of the track rises in tension, then launches into the atmospheric synth pads that