This is ‘The Spotlight.’ Many artists pass through D.C. on a weekly basis, but this column highlights one specific artist who happens to be playing in the district during the week. That way, you may join their journey in influencing the house music landscape. There is no question that London based artist Erol Alkan has helped shape dance music as we know it today. As a DJ, he needs little

Swiss DJ/producer Specialivery’s recently uploaded Autoremix of his track ATON on Safer at Night is a trip to the gates of techno heaven and back. Although Specialivery (a.k.a. Swiss Armed Forces Militia Lieutenant Carlo Bernasconi) received classical training in a conservatory setting, he didn’t start producing until 2011. Spanning twelve minutes, the Autoremix of ATON uses automation, tuned percussion, and a driving bass line to captivate the listener’s attention. Listen to

Italian artist Karasho (a.k.a. Luca Gasperoni) is an interesting character to say the least. For starters, the man goes by “Luca the Rice Eater.” He did not choose this unusual name for his love of the grain; rather, he goes by “Luca the Rice Eater” because he spends all of his capital on studio gear and only has enough money left to purchase rice for his meals. Luca’s investment in

Berlin-based techno duo Pan-Pot (Tassilo Ippenberger and Thomas Benedix) have a reputation for their dark, heavy, and at times sinister sound. In their new release, The Other One EP, Ippenberger and Benedix create an out-of-this-world soundscape, and for that we love them here at Blisspop. If I’m ever abducted by ET and his gang, I can only hope that The Other One EP will be playing in the background:  

In March, we covered Yomimbi’s track “Ibiza Part II” that featured Ameer Dyson’s vocals. Ameer and Yomimbi have teamed up again for a track they are releasing with Jackin Records, a European artist collective/record label/collective. The track, titled “South Beach,” has all the ingredients of a proper house tune: a bouncy bass line, a catchy melody and vocal hooks, and a beautiful use of percussion and effects. There’s no doubt