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L.A based producer and general all-around great guy Eric Sharp first came on our radar back in 2013 with his Pitchfork approved original single “Time Drips” from his “Sharp Cuts” EP. Since then, he’s been busy in the studio with collaborations and championing up-and-coming producer/vocalist Whitney Fierce, who he has a new release with.

We’re proud to present Eric’s Discobelle exclusive mix today featuring some of his favorite tracks including cuts from Canblaster, Jonas Rathsman, and Felix da Housecat to name a few. Stream it in full below!


1. Apres – Chicago – Love & Other
2. Hernene – Roly Poly (Low Tide Remix) – Rock It Science Labs
3. Jonas Rathsman – Wolfsbane – Method
4. Lxury – Pick You Up – Greco Roman
5. Canblaster – Afterline – Bromance
6. Jesusdapnk – Ain’t No Game (Eric Sharp VIP) – 9G
7. Felix Da Housecat – Sinner Winner (Green Velvet Remix) – Rude Photo
8. Craig Williams ft. Kaleena Zanders – Keep On Movin – Relief
9. Tiga – Bugatti (Doorly Remix) – Mad Decent
10. Eric Sharp – We Own The Nite (Hernene Remix) – Rock It Science Labs
11. Underworld vs Heller & Farley – Baby Wants To Ride – Junior Boy’s Own
12. Twin Shadow – Old Love / New Love (Armand Van Helden Remix) – Warner
13. Para One – You Too – Marble
14. Odesza – Sun Models ft. Madelyn Grant (Worthy Remix)
15. Whitney Fierce – The Night Air (Eric Sharp Remix) – Rock It Science Labs


It’s been a bit quiet from Vilnius based producer/dj Boyfriend during the last year but during the weekend he sent over this excellent new mix of darker, more raw sounding house tunes which is perfect for a rainy monday.


Young gun Joey Massa is one of the more prolific producers/dj’s to emerge from the Swedish dance music scene, having accumulated remixes for among others Major Lazer and Style Of Eye plus several well received original productions that have seen support from the likes of Diplo, Crookers, Zedd, Sebastian Ingrosso, Felix Cartal, John Dahlback, Albin Myers, Adrian Lux, Astronomar, Swick, Savage Skulls etc.

On his exclusive mix for us here at Discobelle we get a rundown of some of the biggest and best of that big room electrohouse sound and this is destined to start up your next party in a major way.


“A long time ago, in another lifetime, i had a big nightclub in Montreal called Sona, and i djed at that night club every friday night from 3-7am… it was about a hundred times less glamorous than it sounds. yes i was an owner and a dj but i was also playing techno to a big room that mostly wanted house, and i had already had my glory years as a young rave dj, and all in all i was starting to wonder where it was all heading. Musically i was playing less and less inspiring music to less and less inspired people, myself included. Inspiration has a cycle to it, and around 99 i was at a low point. But slowly in the backround, gaining momentum..there was a new sound creeping in (as is always the case, you have to listen very carefully to hear it)… those strange records you secretly love, but for some reason feel afraid of playing. they feel too weird, or too challenging, so you put them on a tape.. or you listen in the car, building up a whole fantasy of how glorious the world would be if you could just play THOSE tracks.The tracks i was slowly building up could be loosely called electro. Not the classics really, not straight 808 or Miami bass, but a new strain with a heavy 80′s influence.. Dutch records from emerging masters like I-F, and german ones introducing Kraftwerk inspired kids like Anthony Rother: crucially a generation of techno and house kids looking for something more. they were small records, B-sides, delicate, hand picked. I felt nobody cared.. but i was in love.

Turns out it was my turn to do a mixcd, which was a big deal at the time, at least for me. Because i owned the label, and the club, i could indulge in the classic textbook indulgment move: a DOUBLE album. i wanted to hedge my bets. I also wanted to introduce myself to the world. CD1, since forgotten to history, was the sound of what i was playing at Sona at the time…good techno, early Swedish stuff, some classic bombs, solid late 90′s techno. it was “good”. i’d give it a solid 7 on 10. at best.

But the second CD… this was my baby, my labor of love, my manifesto.. i took all those special records i had been saving, and put them together. hiding in the musical shadow of the “safer” mainroom CD, i did what you should always do anyway- i just played what i truly adored.

i called the second disk “electro-funk” and the whole package was called MIXED EMOTIONS, a reflection of my state of mind at the time (at a key moment in the artwork process, i heard Michael Douglas prophetically say “mixed emotions” in a movie, sealing the deal). I was really happy with the results, which even included some very basic stabs at production (an intro)..

at the time something else that bothered me was that i was not famous. it wasn’t so much that i wanted to BE famous, but i wanted to at least LOOK famous. be a bit like some of my heros: Bowie, and Duran Duran (well, Nick Rhodes actually) and Soft Cell… i wanted to at least be on a record cover. i had been in love with the techno and rave ethos, i had enjoyed the ecstacy fueled facelessness that was exciting in the early 90′s, but it had run its course (back then) and i was bored out of my mind. i wanted to be MORE, i wanted to be FREE..and so i did what anybody would do: got naked, grabbed some lipstick and posed.

while it seems so obvious now, at the time in 2000, for a DJ to blatantly do away with the “dj image” and present himself as a personality was not very common. many friends laughed at me. i took some heat. BUT i knew very quickly that it was the heat of haters…. and it was quickly overshadowed by a new love, and a connection with a growing scene of people that felt the same. i learned the first of many valuable lessons: if nobody thinks you are an idiot you probably aren’t doing anything very good.

what happened next was the stuff of fairytales: DJ Hell heard Mixed Emotions and came calling. i made Sunglasses At Night with Jori Hulkkonen shortly after launching my production career. The electro revival of the early 2000s was in full swing, and all my dreams were coming true. in my mind, Mixed Emotions was ground zero, and it is still to this day my favourite mix i have ever done. Competed in one take with just the basic two 1200′s, no fancy tricks and no tech… just the basic ingredients that start any movement: LOVE, courage and a little luck.

this new sound, for me, reached a peak with 2002′s DJ Kicks mixcd, by then integrating new twists like DFA and more vocal tracks.. but Mixed Emotions was always the prototype. naive and pure. the vital FIRST escape.

im not a nostalgic person, and rarely look back: but here it is with all its rough edges: the cover painting, the literary fable, the bathtub shot, the pink “japanese” Turbo logo, and of course the music. 15 years later.

happy valentines day.

love from montreal,


Swedish producer Johan Agebjörn (perhaps most known for his work together with singstress Sally Shapiro) release his album “Notes” (which includes collaborations with Sally Shapiro, Loney Dear and Young Galaxy) today on Paper Bag Records.

The starting point for the album was the electric piano sound of the Casio MT-52, a cheap keyboard from the early 80s that was mostly used on an amateur level. It’s used (together with other sounds) on almost every track on the album.

“I was making a remix (for Jam & Spoon) and I needed a cheap electric piano sound. I settled for the piano sound of the Casio, and then I fell in love with it. It inspired me to start working in a different style, mostly without the kind of drum, bass and pad sounds I normally use. For some reason it turned out to be the perfect sound to express feelings I had inside me that I wanted to turn into music. There’s some kind of unintended sadness, simplicity and authenticity in that sound”.

What better way to celebrate the album release than with an exclusive mix from the man himself, listen to the mix and discover the soundscape of Johan Agebjörn then check out the album!

Tracklist for the mix after the jump.

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