benny blanco®@blancodisco

A deep, forward-moving cut rooted in dub-techno aesthetics, driven by weighty low-end, hypnotic chord stabs, and restrained melodic textures. Metallic overtones and resonant plucks drift through the mix, while a muted acid line and shuffling, dub-inflected drums keep the momentum locked. Cold, spacious, and patient — built for late-night sets, long blends, and winter-soaked dancefloors. Long Winter Night moves with a restrained, hypnosis-forward groove, letting space and tone do the heavy lifting. Dub-informed depth sits around the core rhythm, while deep-house harmonic DNA stays present without leaning into melodrama. The arrangement is built for long attention spans: subtle shifts in density, careful use of negative space, and a mix-first balance that supports transitions rather than demanding them. It’s a late-night tool that holds momentum quietly—designed to sit confidently in a set and make the next record feel inevitable.

A disciplined, long-form house cut designed for deep mixing and late-room hypnosis. The groove stays locked at ~123 BPM, letting micro-shifts in texture and space do the narrative work—dub-informed ambience, controlled movement in the mids, and a low end that holds its weight without trying to steal the show. Harmonic content leans deep-house in DNA but keeps a restrained, credible tone: functional, not flashy. The arrangement avoids big breakdown theater, favoring subtle momentum and a smooth runway into the final minute for DJs to exit clean. Best used to deepen a room that’s already focused. Background: Trying to evoke some hope when there is little to be hopeful for. Inspired from words from days past looking forward to the future. The Production. Pretty basic deep house tune with some MLK samples I sourced and chopped in a somewhat melodic / rhythmic manner. I tried to express restraint here by doing less. Hopefully these 2 mixes make you move a little (or make your head bob or hips sway a little). Lemmie know what you think in the comments. Record, Produced, Arranged and Mixed of course in Ableton. Mix of TR-8S Drums for basic groove, Some samples (percussion, drums and vocals) and some played keys sequenced. The almost always present TB-303, but this time one of my OG 303's (TB-303 A) and I felt that it was okay that on one of the patterns that one of the notes came out a tad Flat and was too lazy to open up to try to correct the tuning on the device. Thought it added a touch of raw character being flat. Open to labels wanting to put out. Let's talk!

The Dub Mix strips the frame back and lets the room speak. Same ~123 BPM hypnosis, but with more negative space, a darker tilt, and a steadier emphasis on atmosphere and system feel over front-loaded detail. The groove remains disciplined and DJ-functional—no hard edits, no forced peaks—just gradual pressure and dub-informed depth that rewards long blends and patient programming. This is the version for when you want the floor to sink in and stay there: deeper, less glossy, more air around the elements. The final minute opens cleanly for an elegant exit or bassline swap. Background: Trying to evoke some hope when there is little to be hopeful for. Inspired from words from days past looking forward to the future. The Production. Pretty basic deep house tune with some MLK samples I sourced and chopped in a somewhat melodic / rhythmic manner. I tried to express restraint here by doing less. Hopefully these 2 mixes make you move a little (or make your head bob or hips sway a little). Lemmie know what you think in the comments. Record, Produced, Arranged and Mixed of course in Ableton. Mix of TR-8S Drums for basic groove, Some samples (percussion, drums and vocals) and some played keys sequenced. The almost always present TB-303, but this time one of my OG 303's (TB-303 A) and I felt that it was okay that on one of the patterns that one of the notes came out a tad Flat and was too lazy to open up to try to correct the tuning on the device. Thought it added a touch of raw character being flat.

A slower-breathing hypnosis tool that leans into dub space and deep-house restraint. The groove sits around ~113 BPM, giving the track a wider stride: less rush, more weight, and more room for micro-detail to read on a system. Arrangement stays disciplined—subtle timbral drift, controlled ambience, and a low end that holds the narrative without theatrics. It’s the kind of cut that works as a deepener early in the night or as a late-room settle point when you want the floor to lock into a steady trance rather than chase peaks. DJ-friendly and patient by design.

Interest Report sits squarely in the ~160 BPM continuum, but with an old-rave sensibility: fast pressure, break-driven propulsion, and that warehouse-forward tension you’d expect from early techno/hardcore DNA folding into modern D&B framing. It’s built for DJs: tight runtime, high blend utility, and enough dynamic headroom to keep the groove breathing rather than collapsing into a flat wall. Think rave-era urgency translated into a clean, system-ready mix—kinetic, functional, and direct without relying on big “festival” moments. Old School Style Rave D&B Track. All Sound Design and Sequencing in the Polyend Tracker+. Recorded, Arranged and Mixed in Ableton.

A classic BlancoDisco deepener: ~120 BPM, disciplined groove, and dub-informed negative space that lets the room do part of the work. The track evolves through micro-shifts—texture, depth, and harmonic suggestion—rather than big arrangement events, keeping it highly DJ-functional and credible. It sits cleanly in the deep-house / dub-house overlap: grounded low end, restrained mids, and an atmosphere that feels engineered for long blends and late-room patience. This is the one you reach for when the floor is already focused and you want to deepen the trance without changing the temperature. Dark Downtempo Dub style track with Industrial undertones and freaky spoken word sample. All parts generated in Eurorack. Drums are TR-8S and Ectocore beats I cobbled together in a dub style. Recorded Arranged and Mixed in Ableton.

Political System runs at 130 BPM with a broken-rhythm, warehouse-leaning drive: rave energy and old-school techno DNA, but sharpened with industrial/EBM attitude. The groove is functional and pressure-led—more about momentum and tension than “hands up” moments—while the mix stays disciplined with a controlled ceiling and solid punch. It’s short, direct, and DJ-practical: built to slot into a set as a statement transition or a mid-run pressure reset where you want the room to feel tougher without jumping to faster tempos. Background: Latest track completed on a Polyend Tracker+. It has been a while since I worked solely on the Tracker and it was fun to come back. Everything produced on tracker plus the mix. Only did some light sweetening inside of Ableton and Elektron Analog Heat.

A tighter, more compact cut (7:42) that still keeps the EP’s core discipline intact. At ~125 BPM it reads as a DJ utility record: consistent momentum, clear runway for blends, and a structure that avoids hard “attention grabs.” This is the one you can slot between longer pieces to keep the narrative moving without changing temperature. It’s direct, functional, and mix-friendly—built for the part of the night where you want the room glued to the groove and transitions to feel invisible.

The EP opener sets the lane immediately: long-form hypnosis at ~125 BPM with a disciplined, DJ-first arc. Rather than chasing big events, it builds trust through continuity—steady pressure, controlled space, and micro-shifts that read over time. It feels designed for long blends and patient sequencing, where atmosphere and groove do the heavy lifting and the track sits inside the room instead of performing at it. Use it to establish the floor’s focus early, or to re-center a set after something busier. Functional, restrained, and credible. Happy Dub of July. Excerpt of a live jam I made July 4, 2025. Chill out. Head Bob. Modular Mayhem. ~ 45 minutes of music broken down into 5 tracks of the same live jam session Bits of Acid Dub Techno and some breaks. Moody swimming synth bleep blops with a sine wave bassline.

A late-EP closer that keeps the same ~125 BPM backbone but reads slightly more dynamic/air-forward than the denser cuts. The pacing is patient and DJ-native: no forced peaks, just controlled pressure and long arcs that support deep mixing. It works well as a “closer inside the lane”—the record you play when you want to maintain seriousness and depth while setting up an exit into either something darker, something more minimal, or a final comedown chapter. Functional and credible, with room to blend. Happy Dub of July. Excerpt of a live jam I made July 4, 2025. Chill out. Head Bob. Modular Mayhem. ~ 45 minutes of music broken down into 5 tracks of the same live jam session Bits of Acid Dub Techno and some breaks. Moody swimming synth bleep blops with a sine wave bassline.

The long-breather of the set (9:50), built around patience and incremental pressure at ~125 BPM. It’s the kind of record that rewards letting it ride: the groove stays disciplined while texture and spatial design carry the progression. Rather than “drop → reset,” it works in slow adjustments—ideal for DJs who like to keep the floor in a single state and evolve it gradually. This is a deep-room commitment track: once it’s in, you can stay inside it and blend for minutes at a time. Happy Dub of July. Excerpt of a live jam I made July 4, 2025. Chill out. Head Bob. Modular Mayhem. ~ 45 minutes of music broken down into 5 tracks of the same live jam session Bits of Acid Dub Techno and some breaks. Moody swimming synth bleep blops with a sine wave bassline.

The most “breathing” track in the EP from a dynamics perspective, still anchored around ~125 BPM. It reads like a deeper, more spacious chapter—less about density, more about room and movement over time. The arrangement holds a steady spine while leaving enough air for the system to feel present, making it ideal for late-room pacing and extended blends. If you want the set to feel wider and more immersive without slowing down, this is your pivot: a deeper pocket that doesn’t break continuity. Happy Dub of July. Excerpt of a live jam I made July 4, 2025. Chill out. Head Bob. Modular Mayhem. ~ 45 minutes of music broken down into 5 tracks of the same live jam session Bits of Acid Dub Techno and some breaks. Moody swimming synth bleep blops with a sine wave bassline.

An improvised Eurorack jam that leans acid-tech-house in attitude, but keeps your restraint and credibility intact. Around ~106 BPM, it reads more like a slow, heavy chug than peak tech-house: tactile movement, evolving texture, and a jam-forward flow where the interest is in timbral drift and live-feel modulation rather than arrangement fireworks. It’s built to sit in a set as a long-form chapter—something you can ride, layer, and shape with mixing choices, not a track that demands the spotlight. About to go on a vacation so I needed one last little jam before I'm away from my module babies. Found a good groove this afternoon. Maybe the Underworld show last night in Brooklyn helped to inspire. Pretty Happy with his lil jam.... only forgot to bring in the Ectocore breakbeat that I spent tiime earlier in the day compressing to sound quite punchy... oh well.

A long-form, hybrid jam that threads deep-house warmth, acid edge, and break-leaning motion into a cohesive slow-pocket hypnosis. The ~107 BPM pace gives it breadth: less rush, more room for detail to breathe, with a live-feel evolution that rewards letting it run. This isn’t a “single moment” record—it’s a continuous environment built for long overlays, patient transitions, and gradual narrative control. Best used when you want to hold the room in a steady trance while shifting texture over time. Video Version: https://youtu.be/nB9DG_MknSE Sunday afternoon improvised Jam. Warts and All. I kept it going as I wanted to keep experimenting and practicing. In a live situation, you'd have to keep going and figure out how to get out of you mistakes. Hopefully nobody really notices. I did not alter the musical sequences at all, no new variations in melody or rhythm.... more just working on some sound design around Rings and bring parts in and out. Gear Geek Production Stuff: A short 2 bar loop off the Radio Music kicks things off filtered through the Ikarie Stereo filter with some minor modulation from Ochd. Not far behind, the TR-8S provides the steady backbone for everything with a steady 4 to the 4 kick for almost the entire piece. Hats and other percussive elements make their way in and out of the jam. I introduce next the 8 Step 2hp Sine Bassline that just continues through pretty much through the entire track holding the groove in a clean simple way. A breakbeat loop comes in next coming off the Ectocore module where glitches of the loop and some bugged out delay fix do their chaotic business throughout. Rings comes in with some trippy FM tones coming out of Typhoon for a simple quarter note rhythm and melody. Nothing to original with this, but it has its moments of sonic entertainment. Braids with Sawtooth Triangle Oscillator Combo come in next with a little ominous entrance piped through the Intellijjel Sealegs Delay and Fog Reverb fx. Two more parts to go! The next element to make an entrance in this Jam is a. single Bassbot 303 line with a little knob twiddling in and out. Pairs well with the 2HP Sine Bassline. The last element introduced is a somber guitar like Lead melody drenched in reverb wash coming off the super cool Plinky synth. I sequenced this part actually in Ableton, fed the MIDI out to one applet in the Plum Audio Ornaments and Crime MIDI app conversion from USB Midi to CV for Pitch and Gate into CV Pitch and Gate in on the Plinky. I haven't really dug in how to create original sequences on the built in sequencer on Plinky yet. After all the parts have been introduced, I continue to go around the Befaco Eurorack case noodling with things, Bassbot 303 workout and TR-8S bringing Percussion parts in and out and one sub pattern change back and forth. Basically, I'm just jamming out try to perform something interesting and evolving. I strip things down.. and then build attempt to build it all backup again. #Roland #TR-8S #Ectocore #Marbles #RIngs #Typhoon #Braids #Sealegs #PlumAudio #Ornaments&Crime #Phaserville #Mosaic #Ikarie #Befaco #Maths #Plinky #Ochd #DivKid #WMD #ALM #PamsProWorkout #CycloneAnalogic #Bassbot #Touchable #Ableton

A slow-stride dub techno tool built for system weight and long blends. Sitting around ~107 BPM, it favors pressure and space over speed—echo architecture, restrained harmonic suggestion, and a groove that stays locked without “event” arrangement tactics. The edit feel is DJ-native: patient entry, minimal drama, and enough runway to layer percussion or swap basslines without forcing a transition. This is best used to deepen a room, slow the pace without killing momentum, or thread a dubby chapter between faster records. From my YouTube Description: Just a quick after work dub techno inspired jam. Practice Practice Practice... maybe I'll get enough skills to perform a live jam a set out in the wild again. Been a while since Phoenix Landing and Electric Highway live sets. Setup is pretty straightforward here. All Drums just 1 pattern on the TR-8S, a few faders nudged up/down to bring in the parts. Need to do more here with additional alt patterns and more probability to steps. For the Synth lead, just running Braids through a Mosaic 1U filter and out to Sealegs for delay/verb. Braids is sequenced by TB-3PO hemisphere applet off an Ornaments & Crime (Phaserville Firmware of course). Some modulation of the VCA with Maths for that funky envelope groove and Ochd for subtle Braids Timbre / Color manipulation. A little manual control of the TB-3P0 with the WMD 4TTEN for slight pitch and note density in the pattern. Sounds pretty full with just these few modules and certainly could have continued evoloving the patch, but thought that this lil groove sounded cool enough as is and wanted to capture one performance.

Remix of Brass Knuckle Evangelists - Satin Money (blancodisco acid dub disco remix) Official Single Released across various streaming platforms... Acid pressure in a dub-room frame: a disciplined disco/house pulse with just enough bite to lift intensity without turning cartoonish. The arrangement stays mix-first—steady groove, controlled evolution, and space that lets the room do part of the work. Rather than “drop moments,” it moves through micro-shifts in texture and tension, keeping the hypnotic lane intact and credible. This is the functional version: forward enough to hold a floor, restrained enough to sit inside a longer DJ narrative. Background: In coming up with a concept for this remix, I wanted to preserve as MUCH of the original parts and only embellish with a few of my own added parts. First, the classic Linn Drum Machine enters with samples coming out of a Roland TR-8S with only a few simple pattern/variations programmed and jammed live mainly on high hat decay times for increasing intensity. Second is a recently DIY'd re-issue of the Dreadbox NYX that I wanted to put into use due to its rich full ballsy oscillator and Creamy Filter that Dreadbox is known for. For this part, I simply tuned the synth to a G note and rode the filter up and down on a drone. Near the end of the improvised pass, I added a little LFO modulation to the filter to give a bit more off-kilter rhythmic feel. Finally, at the end, instead of the Metal Guitar Jam and Chaotic Drum climax, I swap in one of my TB-303 remakes, the Cyclone Analogic Bassbot MK2 for another quirky non conforming pattern size on a single pattern with classic open and closing of the Filter Resonance Env Mod and Decay controls for a classic Acid style. In respect to the original parts, I've included almost every stem that was provided, but opted from a creative standpoint to go with a more Dub/Reggae almost vibe and dropped the lead vocals which was common in 80s 12" remixes to do some sort of tripped out mix focusing on an altered arrangement and chopped up portions of the audio. Running almost every track with massive amounts of Roland RE-201 Tape Delay emulation, lends to a very spacey tripped out mix. Filling the mix by doing more with less. For the slower Sludge remix, I purposely dropped the tempo down as it added a more trippy, hypnotic groovy feel. Slowing things down can sometimes do wonder to the sound of audio. The original remix is preserved at the Original Tempo and clearly has a more driving feel, but I can't decided which version I like more. They are the same thing, just different tempo. Which do you prefer? I enjoyed this project and actually want to create at least one more remix variation, but straying away from the core cuts of the track and making something a bit more original with snippets of audio from the original. Something more future vs. one with the past.

Brass Knuckle Evangelists - Satin Money (blancodisco acid dub disco sludge remix) Official Single Released across various streaming platforms... The heaviest-weight version of the set: same disciplined groove logic, but with a thicker, grittier pressure profile—“sludge” as in density and mass, not chaos. It stays credible and restrained, avoiding gimmicks; the tension comes from sustained weight and controlled movement rather than big arrangement events. Use this when you want Satin Money to feel more physical on a system—an anchor remix that can hold the room steady while you mix around it. Background: In coming up with a concept for this remix, I wanted to preserve as MUCH of the original parts and only embellish with a few of my own added parts. First, the classic Linn Drum Machine enters with samples coming out of a Roland TR-8S with only a few simple pattern/variations programmed and jammed live mainly on high hat decay times for increasing intensity. Second is a recently DIY'd re-issue of the Dreadbox NYX that I wanted to put into use due to its rich full ballsy oscillator and Creamy Filter that Dreadbox is known for. For this part, I simply tuned the synth to a G note and rode the filter up and down on a drone. Near the end of the improvised pass, I added a little LFO modulation to the filter to give a bit more off-kilter rhythmic feel. Finally, at the end, instead of the Metal Guitar Jam and Chaotic Drum climax, I swap in one of my TB-303 remakes, the Cyclone Analogic Bassbot MK2 for another quirky non conforming pattern size on a single pattern with classic open and closing of the Filter Resonance Env Mod and Decay controls for a classic Acid style. In respect to the original parts, I've included almost every stem that was provided, but opted from a creative standpoint to go with a more Dub/Reggae almost vibe and dropped the lead vocals which was common in 80s 12" remixes to do some sort of tripped out mix focusing on an altered arrangement and chopped up portions of the audio. Running almost every track with massive amounts of Roland RE-201 Tape Delay emulation, lends to a very spacey tripped out mix. Filling the mix by doing more with less. For the slower Sludge remix, I purposely dropped the tempo down as it added a more trippy, hypnotic groovy feel. Slowing things down can sometimes do wonder to the sound of audio. The original remix is preserved at the Original Tempo and clearly has a more driving feel, but I can't decided which version I like more. They are the same thing, just different tempo. Which do you prefer? I enjoyed this project and actually want to create at least one more remix variation, but straying away from the core cuts of the track and making something a bit more original with snippets of audio from the original. Something more future vs. one with the past.

A long-form, DJ-native cut that settles into a steady ~108 BPM pocket and holds it with confidence. Compared to 023 it reads denser and more forward, while still keeping your credible restraint—no forced peaks, no breakdown bait, just consistent pressure and controlled space. The extended runtime supports patient mixing: you can ride it, layer it, and let transitions disappear. This is the one that establishes the slow-lane chapter and keeps the floor locked without changing temperature. Acid Infused with a bit of IDM melodic lines with a steady 108 BPM groove that starts out mellow, and later builds some nasty gritty and emotional pad like sounds as the track evolves. I imagined this track as most of my music as dark and atmospheric with layered synths, acid gooeyness with a bit of groove to get your head boppin' a little bit. Synth parts were all composed on a Eurorack Modular synthesizer and multi-tracked into Ableton. I recorded a ton of Acid lines on a Behringer TD-3-MO with a Korg Monotron delay and even more 303 goodness on a recently acquired Cyclone Analogic Bass Bot, as I wanted to compare its sound, sequencing and knob twiddling fun. I'd say it's fun and does a respectable enough job of recreating the TB-303. I also patched in my neglected BOSS RE-20 Pedal for some live dub delay fx as I had not used that in quite some time. I think it helped add to the atmosphere and sonic quality that I was shooting for. Cover Image comes from some Diffusion Bee as I try to learn these AI prompts and tools. Give this track a little Love if you Dig it and Share!

SHE'S LOSING IT by benny blanco®@blancodisco

Downtempo dark groove with some vocal sample snippets and subtle off kilter 303 business.

Dark techno track with some noodling synths and droning overtones.

Late night dance floor deepness. Mastering by: Ricardo Adrian Maceira

Dubmatic is the more assertive, system-forward take: same disciplined restraint, but with a denser presentation and a steadier sense of pressure. It still avoids obvious peak theatrics—no cheap drops—yet it reads more “held” in the mix, making it easier to keep a floor locked. This is the version you choose when you want the remix to speak clearly in a set: practical, DJ-native pacing, and a consistent arc that supports long blends while maintaining presence. Background: This track is a remix of a remix essentially. The original track is up on spotify here: https://open.spotify.com/album/0lXmlkrUBLlur2kRjRWYYe My 1st remix completed a few weeks ago is the blancodisco breakbone remix: For this version, I set out to make a dub like version with every track pretty much running through a tape delay and just selected some parts to mix in the Delay effect and introduce parts in and out. I pitched stuff down to a mellow 91 BPM (originally around 134) and the mixdown was captured live in 1 performance take.

Breakbone takes the source into a looser, more skeletal hypnosis frame—more air, more negative space, and a groove that feels designed for layering rather than dominance. It reads as the more “breathing” version of the pair: less pinned, less insistent, with room for the system and the DJ mix to do work. The arc stays disciplined and mix-first—no big breakdown bait—just steady pressure and micro-shifts that reward long blends. Best used as a connector or mood reframer: a track that sits inside a set and quietly re-centers the room. Background: Remix of 240 PAS's track, Skratch That Kitty released on Spotify. This deconstruction goes in a different direction from the original. Longer composition extending the intro, replacing parts with newly recorded ones. Tried to go for a bit of a Baltimore Breaks vibe, but then ventured into some electronic noodling towards the end with a bit of Acid. The original track is up on Spotify here: https://open.spotify.com/album/0lXmlkrUBLlur2kRjRWYYe

Deep melancholy track filled out by some simple off kilter 303 patterns and some fun horror movie sample clips. [TB-303, Elektron Analog Four & RYTM]

A mid-slow groove tool that bridges the gap between downtempo pressure and club tempo without feeling like a compromise. Around ~99 BPM, it carries the same disciplined BlancoDisco ethos—steady pulse, controlled space, micro-shifts over “events.” It’s practical in a set: short enough to deploy as a connector, stable enough to blend anywhere, and restrained enough to sit inside a narrative without turning into a feature moment. Use it to move the room upward from the 90s pocket, or to hold a slower chapter in a more DJ-functional zone. Background: A Downtempo Synthpop chugger with an uplifting mood where all the synthesizer parts less 1 lone pulsating TB-303 line come from the Roland JX-03 Boutique synth (Basses, Pads, Flourishes & Lead lines). Drums were a stock glitch kit from Ableton. Recorded Arranged and Mixed January 2016 @blancodisco [JX-03, TB-303]

The set snaps into a more familiar slow-club pocket here: ~108 BPM, steady pressure, and a disciplined arc built for long transitions. It reads “breathing” rather than pinned—space-forward and system-friendly—so it layers well without getting crowded. The arrangement avoids big breakdown drama and instead relies on continuity and subtle timbral drift, keeping it credible and DJ-native. Use it as the moment your batch leaves the 90s pocket and starts acting like a deep-room run. [Erebus, JX-03, Streichfett]

Same ~108 BPM lane, but with noticeably more headroom and a slightly gentler “push” than the most forward tracks—useful when you want the groove to sit inside the room rather than dominate it. The pacing is patient and mix-first, supporting invisible transitions and long overlays. It stays aligned with your restrained, dub-informed aesthetic: steady pressure, controlled space, and micro-movement doing the narrative work. This is the version you drop when clarity and blendability matter more than sheer presence. Background: Devices used in making of this track in no particular order. Roland JX-03 – Synth Bass and 8th Note Progression Stab Dreadbox Erebus – Deep Bassline, Arp and Klonky Melody Waldorf Streichfett – String Pads, duh Elektron Analog Four – 2nd Bass, Counter Melody, Deep Dub Chord and Offkilter bass at the end Elektron Analog RYTM – All Drums except for one retro clap sound Legowelt’s SMACKOS CLAPERNICUS for some retro clap fills [A4/RYTM, Erebus, Streichfett & JX-03]

The most forward, club-leaning cut of the batch: ~117 BPM with a higher average level and a more present “hold” on the room. It still avoids peak theatrics—no cheap drops—but it reads as the moment the set tightens up and steps toward standard deep-house tempo. Use it to lift energy while keeping the hypnotic lane intact: steady arc, minimal event structure, and a system-forward stance that can carry a floor without shouting. A practical end-cap for this batch’s tempo climb. Background: Today (09.27.15) marks this year's harvest moon rising in north america. http://www.almanac.com/content/shine-harvest-moon Outside of the science, this is the first track I've produced using Elektron's new Overbridge technology. It was a breeze to track both A4 and RYTM as a Jam session in one pass as individual tracks into Ableton Live all without a soundcard and just 2 usb cables using the Elektron supplied Control Panel and VST plugins. I'd say the quality is just fine (44.1khz 16bit for what my computer was able to handle). These were the only two instruments used in the entire track. After the long jam session, I simply edited things down, added some EQ, compression and a few return fx (reverbs, delay) to polish off the mix. I hope you enjoy the results of this simple diddy while looking up into the sky. [Elektron Analog Four and RYTM]

A tighter, more practical version of the slow-pocket lane. Same ~86 BPM pacing, but with a slightly more forward presentation and shorter runtime—built to be deployed as a connector rather than a full environment chapter. It stays disciplined and room-forward: steady pressure, controlled space, and micro-evolution instead of arrangement theatrics. Use this one when you want the slow lane to function like a DJ tool—bridge into/out of downtempo pressure, or stitch a slower chapter into a set without committing to a 10-minute drift.

A slow-pocket hypnosis chapter built on weight and room feel rather than speed. Around ~86 BPM, it plays like a deliberate downshift: dub-informed space, restrained motion, and a long arc that rewards patience. The arrangement avoids headline “events” and instead works through micro-shifts in texture and pressure, making it ideal for afterhours pacing, mood control, and long overlays. This is the kind of track you ride under a blend—letting the system breathe—then use to re-center the room before moving back toward faster material.

A mid-slow groove that reads like the batch’s hinge point: not downtempo, not full club-lane—just steady pressure in a more DJ-functional pocket (~103 BPM). It’s also one of the most “breathing” mixes here: more air, more room for the system, and a pacing that supports long overlays. Arrangement stays restrained and credible—no forced peaks—built to hold attention through texture and space. Ideal for moving the room upward from the 80s/90s pocket without a hard gear change. A Dystopian future awaits us. [Elektron Analog Four, Waldorf Streichfett, Samples]

Around ~136 BPM, this remix reads as a forward DJ tool: compact runtime, steady arc, and a more present “hold” on the room compared to the slower cuts. It still keeps the BlancoDisco discipline—micro-shifts, controlled space, no cheap breakdown bait—but it’s clearly designed for mixing inside a faster run. Use it as a pressure bump, a quick utility hitter, or a pivot point when you want to lift energy without changing into obvious peak behavior. Here's a remix… harder.. a lil more… 'industrial'.

The most forward, most “pinned” mix in this batch, sitting around ~144 BPM with a higher average level and a more assertive stance on the room. Even so, it stays inside your restrained ethic—no melodramatic drops—relying instead on continuity and steady pressure to carry energy. The longer runtime makes it a serious tool in a faster run: drop it when the floor is already locked and you want to keep momentum consistent while mixing around it. This is the batch’s closer by tempo and intensity. Background: Here's my slice of a mellow Electro style jam. Dark Synth overtones and metallic drums pulse through this 105 BPM groover. [Elektron RYTM & Analog FOUR, Waldorf Microwave I] Produced and Mixed @blancodisco, March 2015

“dirty drums” gives a firmer grip on the room while keeping the same disciplined arc and long-form DJ utility. At ~105 BPM it works as a pressure anchor in a mid-tempo run—steady pulse, controlled space, and micro-evolution over event structure. This is the version you choose when you want the groove to feel more pinned and physical on a system, without tipping into obvious peak behavior. Background: This track is all Analog Source Driven and has a certain Kerrier District quality to it. Drums are all punched out by the Vermona DRM1-MKIII, but on this mix, I double tracked the drum buss with some overdrive and cabinet plug ins to fatten up the drum sound and add some grit. All the synths are multitracked from the one Oberheim SEM I have here. There is one synth string pad part that is created by the Arturia SEM. All FX are inside the box. [Vermona DRM1-MKIII, Oberheim SEM] Twealed in Ableton February 2015. Everything done @blancodisco. Published 2.28.15

A leaner, more breathable counterpart to the dirty-drums version. Same ~105 BPM pocket, but with more air in the presentation—better for layering and invisible transitions. It keeps the BlancoDisco discipline: steady hypnosis, controlled space, no forced peaks. Use it as the connector or “ride” version of Carrier: drop it, let it sit, and blend around it while you steer the narrative. Background: This track is all Analog Source Driven and has a certain Kerrier District quality to it. Drums are all punched out by the Vermona DRM1-MKIII while all the synths are multitracked from the one Oberheim SEM I have here. There is one synth string pad part that is created by the Arturia SEM. All FX are inside the box. [Vermona DRM1-MKIII, Oberheim SEM] Mixed and arranged in Ableton January 2015. Everything done @blancodisco. Published 2.1.15

A slower-pocket pressure tool designed for mood control. Around ~92 BPM, it reads as a deliberate downshift: weight, space, and patient pacing rather than club-speed urgency. The structure is DJ-native—steady arc, minimal event drama—making it easy to overlay and to use as a reset between faster stretches. This is a strong “turn the room inward” cut: keep tension alive while giving the floor more air. Background: This track was done completely "in the box" while on vacation in San Diego. An Old School breakbeat runs underneath with some chopped up gating and dub delay fx. 2 basslines take care of the low end duties while a rhythmic key pattern sets the groove foundation. 2 simple lead lines play off each other weaving in and out of the arrangement. Finally, a lil dose of 303 knob twiddling sits in the mix hinting at some old 'Ultramarine' style track from the early 90's given the 92 BPM tempo. I would say I was mostly influenced by Depeche Mode and Meat Beat Manifesto when I started this track out before it went into its own direction. Written Produced and Mixed 2nd Half of December 2014. Re-mixed down January 2016.

A more spacious, breathing piece that can be perceived either as half-time (~65) or double-time (~129) depending on how you frame it in the mix. Either way, it stays aligned with your restraint-first approach: slow-burn pressure, room-forward space, and subtle drift instead of big events. It’s useful when you want a set to feel wider and less “pinned,” especially for afterhours pacing or for transitioning between tempo worlds without a hard gear change. Background: The typical time I get to spend on making music. Clean sounding beats coming off the A4 and perhaps a bit of a older 'trance' like vibe. A few other retro sounds thrown in for good measure. [Elektron Analog Four & RYTM, Oberheim SEM] Produced, Recorded and Mixed Early December 2014.

The Remix... a bit harder and a touch of 'hip-house'. I retain some of the elements of the original while others are 'treated' a bit more harshly.

Dark haunting Analog driven grooviness. [Elektron RYTM, Analog Four, Oberheim SEM and TAL U-NO-LX] Parts recorded in September/October 2014. Arranged & Mixed Nov 1, 2014 @ blancodisco

An alternate version of this track produced entirely on the Elektron Analog Four for the Synth parts (like the 1st version of this song) and RYTM for all Drums/Percussion. This is the first track I've used the RYTM on as it is a recent addition into the studio. Production wise, I recorded Drums/Patterns separately with different instruments/voices muted or playing. Similarly on the Analog Four, I recorded each instrument and pattern track by track in Ableton. Once Inside Ableton, I made my loops of each instrument and started arranging away. I only used a little bit of FX inside ableton where the drums would break down to add a little space, so the entire sound is really Elektron. I routed the RYTM into the inputs of the Analog Four as I really like Reverb and I have better control of the volume on the external inputs on that box as opposed to the RYTM. [Elektron RYTM & Analog Four] Recorded last week of June and 1st week of July 2014. Arranged and Mixed on July 4, 2014. Updated with a Re-Master on 11/11/14.

More Minimal Drum and Bassline Driven mix. [Sonic Potions LXR, Elektron Analog Four] Updated with a Re-Master on 11/12/14.

Electro Wave. Another shot of my hardware duo of drums and synths. Hint of Rave. Jammed out live, edited down in Ableton. [Sonic Potions LXR, Elektron Analog Four] Updated with a Re-Mastered Mix 11/12/14

Something for the chill vibes. Minimal Dub Techno from the Elektron Analog Four on Synths and Vermona DRM-MKIII on Drums running through the noisy Ensoniq DP4 Verb effects and Flange treatments. Jammed out the synth parts into Ableton with some Knob Twiddling. Performed the Arrangement using TouchAble2 on an iPad and then edited down to this mellow somethin' somethin'. [Elektron Analog Four, Vermona DRM1-MKIII, Ensoniq DP4] Remastered on 11/13/14.

Droney Atmoshpehric Electro Pop Funk Bump. Where somber timbres raise a smile or hair on your arms if your into that sort of thing. Recorded drums/percussion (Vermona DRM1-MKIII) and synth parts (Waldorf PulsePlus & Oberheim SEM) through the Ensoniq DP4 effects (mostly reverb). Couple of TAL plug ins used and then all arranged in Ableton. I have recently updated some of the sounds and levels in the track so hopefully it sounds even better. There you go. [Vermona, Waldorf, Oberheim, Ensoniq]

Space Funk beaming you across the Universe. The bass is the propellent, the Zips and Zaps are the cosmic noise encountered in your journey with periodic moments of calm transmissions back to Earth letting everyone know, that although it's a traumatic journey, it's all worth it in the end. Subwoofers or Good Headphones advised. Composed and created again on two pieces of hardware, the Sonic Potions LXR Drum Machine for all the Drums running into the inputs of the Elektron Analog Four playback back 4 different Synth parts. I jam about playing the handful of patterns muting things in and out and record straight into Ableton. Edited down the 3rd take / pass to this. Been experimenting on how fast/quickly I can crank out material. Does it sound better than the tracks I take a lot more time to produce inside of Ableton? Musically less complex and less engineered, but perhaps the Rawness can be more satisfying. Is Less, More? thanks for listening. Remastered a touch on 11/15/14.

This song has nothing to do with Minecraft but when I asked my son to name it for me, he said it reminded him of Creepers in a video he saw once before. Anyway, this track strays away a bit from my 'techno' or 'electro' sounding tracks preceding. It's more of an 80's throwback…. no Vocals…. but there's probably a space waiting for some if you can write some lyrics. Remastered, slightly re-arranged and a few sound replacement choices, 11/15/14.

This is a very simplistic tune consisting of just the LXR Digital Drum Machine for all percussion with the stereo outputs running into the Elektron Analog Four. 3 synth parts are utilized on the A4. I did 1 long take performing the arrangements recording into Ableton. Cut up the arrangement down to something reasonable in length. This is the second edit from the 2nd half of the entire original session. [Sonic Potions LXR, Elektron Analog Four] Remastered 11/23/14.

This is a very simplistic tune consisting of just the LXR Digital Drum Machine for all percussion with the stereo outputs running into the Elektron Analog Four. 3 synth parts are utilized on the A4. I did 1 long take performing the arrangements recording into Ableton. Cut up the arrangement down to something reasonable in length. [Sonic Potions LXR, Elektron Analog Four] Remastered 11/23/14.

Some late night tv special edition documentary sample play here. Message, Don't Do It. Upbeat twitchy busy choon. This one Made All Inside The Box. And when I say box... I mean Ableton.