PODCAST
benny blanco®@blancodisco
by benny blanco®@blancodisco
I like Underground Dance and Electronically Based Music, primarily. Located in Dobbs Ferry (prior, I lived NYC and Boston before that). I use a mix of Analog and Digital Hardware Devices from across the decades and of course anything I can load up inside of Ableton Live (whatever the current version is). Back in the 1990's I release a few track under the name Sedona (https://www.discogs.com/artist/16184-Sedona) with Dale Charles (https://soundcloud.com/compago)releasing work on Boston's OHM Recordings (https://www.discogs.com/label/36574-OHM-Recordings-2) and LA's Rampant Records (https://www.discogs.com/label/3435-Rampant).Live DJ Sets Fridays 5-8 pm ET on twitch.tv/blancodisco
Episodes
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Long Winter Night
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,...
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We Shall Overcome (Original)
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...
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We Shall Overcome (Dub Mix)
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...
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The Big Letdown
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…
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Interest Report
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,...
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The Man Cowered In Fear
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...
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POLITICAL SYSTEM
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…
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2-DUB YA JULY (SHOOTING STARS)
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...
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1-DUB YA JULY (OUTTA DA GATES)
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...
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5-DUB YA JULY (SPLIFF GRENADES)
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…
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3-DUB YA JULY (BREAK MY CHOPS)
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…
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4-DUB YA JULY (MIDDLE EARTH)
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,...
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Improvised Eurorack Jam - Acid Tech House Experimental Groove
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...
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Chill Deep House Acid Breakbeat Techno Eurorack Jam
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”...
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Dub Techno - Edit
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,...
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Brass Knuckle Evangelists - Satin Money (blancodisco acid dub disco remix)
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...
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Brass Knuckle Evangelists - Satin Money (blancodisco acid dub disco sludge remix)
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…
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Set Me Up
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...
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SHE'S LOSING IT
SHE'S LOSING IT by benny blanco®@blancodisco
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Get Me Outta Here
Downtempo dark groove with some vocal sample snippets and subtle off kilter 303 business.
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Not From Here
Dark techno track with some noodling synths and droning overtones.
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Do You Jack
Late night dance floor deepness. Mastering by: Ricardo Adrian Maceira
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240 Pas - Skratch That Kitty (blancodisco dubmatic remix)
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...
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240 Pas - Skratch That Kitty (blancodisco breakbone remix)
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…
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AS NIGHT FALLS (original)
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]
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Eyes From The Edge
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…
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Time To Shut Them Down
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…
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Something For My Love
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…
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The Harvest Moon
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...
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Cubic Zirconia Remix
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…
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Cubic Zirconia
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...
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We Are Not Going To Harm You
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...
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I Know Of The Evil - Remix
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...
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All The Tracking Stations Are Ready
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…
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Carrier (dirty drums version)
“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...
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Carrier
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”...
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Why Don't You Spend Time With Me?
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...
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A Little In The Morning, A Little At Night
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...
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Spookah Remix
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.
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Spookah
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
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Enders (Mix 3)
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...
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Enders (Leeds and Traces Mix)
More Minimal Drum and Bassline Driven mix. [Sonic Potions LXR, Elektron Analog Four] Updated with a Re-Master on 11/12/14.
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Enders (Mix 1)
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
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Basic Challenge
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...
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Christian Zombie Vampires
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...
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Interstellar Bass Travel
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....
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The Creepers
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...
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Schnooks (Version 2)
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…
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Schnooks (Version 1)
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…
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The Law Of Averages
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.
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ABOUT THIS SHOW
I like Underground Dance and Electronically Based Music, primarily. Located in Dobbs Ferry (prior, I lived NYC and Boston before that). I use a mix of Analog and Digital Hardware Devices from across the decades and of course anything I can load up inside of Ableton Live (whatever the current version is). Back in the 1990's I release a few track under the name Sedona (https://www.discogs.com/artist/16184-Sedona) with Dale Charles (https://soundcloud.com/compago)releasing work on Boston's OHM Recordings (https://www.discogs.com/label/36574-OHM-Recordings-2) and LA's Rampant Records (https://www.discogs.com/label/3435-Rampant).Live DJ Sets Fridays 5-8 pm ET on twitch.tv/blancodisco
HOSTED BY
benny blanco®@blancodisco
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benny blanco®@blancodisco currently has 50 episodes available on PodParley. New episodes are automatically indexed when they're published to the podcast feed.
What is benny blanco®@blancodisco about?
I like Underground Dance and Electronically Based Music, primarily. Located in Dobbs Ferry (prior, I lived NYC and Boston before that). I use a mix of Analog and Digital Hardware Devices from across the decades and of course anything I can load up inside of Ableton Live (whatever the current...
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benny blanco®@blancodisco has 50 episodes. Check the episode list to see recent publication dates and frequency.
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