Ashley Beedle is a don. In a time when the dance world is riddled with superstar DJs, touting supersized egos, and bitching like babies at the slightest provocation, Beedle still rocks every party like it’s his first. Having been in the game for 30+ years, his heart still syncs to a house beat — he’s as passionate flinging down the disco classics from his youth as he is roughing up kicks and creating future bass t’umpers for Toddla T’s Girls’ Music. As we said: A don.
House of Tracks is a new online platform aimed to give up and coming or established producers an alternative route to revenue and exposure by acting as a marketplace for unreleased music.
You can set yourself up as a label with them and submit your music to the site, where it can be purchased by advertisers, film and TV producers or anyone who wants to use it.
Capturing the feeling of an after party that seems to morph from its fresh morning beginnings into the next night in the blink of an eye, Art Department's “Sun Comes Up” single (out now on No. 19 Music) ironically closes a chapter in its history, marking the last track to draw from the sonic palette of its debut 2011 album, The Drawing Board, before the band went back to just that.
“I am from the Midwest, the real Midwest, like Kansas. Remember Dorothy and the Wizard? Well that’s where I am from.” Beckwith grew up so close to Detroit and Chicago, the spiritual homeland of house and techno, that he was always likely to fall victim to their lures. When he did it was the middle of winter during his first year of college: the now 34-year-old went to a party with some older kids and still remembers perfectly what happened next.
“My first gig was kinda interesting. It was in Detroit of course, south-west Detroit specifically, very close to the iconic Michigan Central Station. Rave spots often have a lot of stories associated with them, 'lore' if you will.
Luca Venezia spent most of the last ten years exploding bass bins as dubstep evangelist Drop The Lime. As head of the seminal Trouble & Bass label in New York, Venezia released countless ferocious, sub heavy beasts. Then, just as dubstep started to break the mainstream, he turned his back on it. Ever contrary, Venezia turned Drop the Lime into a rockabilly electro fusion outfit, singing and playing live.
Daddy's Groove and Congorock don't care too much for cookies. Rather, the Italian house DJs opt for a hard dose of synth with their milk.
Joining forces for a new bass-driven collaborative track, Daddy's Groove and Congorock’s distinct production talents fuse cohesively on 'Synthemilk', set for release tomorrow, March 14 on Ultra.
Belfast producer and DJ Phil Kieran's ever-shifting sonic palette took another twist recently with the release of 'Going There' (and b-side 'Getting Away') on Scuba's Hotflush imprint. Part old school electro, part new school vocal deep house, it's every inch a summer anthem-in-waiting – backed with remixes from Richy Ahmed and Ryan Elliott for good measure.
Recording and releasing 12 tracks over a year — one each month — might seem like a sure-fire way to hit that creative wall, but house DJ/producer Jesse Rose, known for massive bumpy-grooved cuts like 'You're All Over My Head' and 'Sleepless (Night One)', and labels like Front Room Recordings and Made To Play, managed to do just that. DJ Mag spoke to Jesse about the pressure of releasing to such a tight deadline and how he kept the creative juices flowing…