Check out what happens when DJ Spider trades snowboarding lessons with Louie Vito for scratch technique, and get a peek at Reggie Bush’s hidden penchant on the tables after the jump.

“The sound is an amalgamation of my influences,” says Marco of the single. “When I’m producing, I try to think about how it would work on a dance floor. In terms of music or genre, if it’s good, it’s good, and I’ll play it. That’s what other DJs taught me and that’s the way I look at things.”

“Daddy Cool” is set to be released on Big Beat/Atlantic Records on February 7. Until then, whet your appetite with a little promo teaser video of the new track below. Like what you hear? Check out his official site for more downloadable tracks and check a look at his tour schedule to see when he’s coming to a town near you. So what’s up for Marco in 2012?

“I did a remix for Childish Gambino’s single, ‘Heartbeat,’ which is coming out on Glassnote Records and should be released by Valentine’s Day,” says Marco. “I also have two more singles coming out soon. One is called ‘Superstar,’ and we’re finishing up an awesome vocal from a very special friend of mine that I can’t wait to share with you. The other is called ‘Rolling’ and will feature some rap vocals from another friend. After that will probably come an EP.”

Words by Rich Thomas (@TheLandfill).

“SUPERSTAR” (ORIGINAL MIX) PREVEW*

Jesse Marco – “Superstar” (Original Mix) Preview* by Jesse Marco

“DADDY COOL” (ORIGINAL MIX) PREVIEW*

Jesse Marco – “Daddy Cool” (Original Mix) Preview* by Jesse Marco

Diplo & Oliver Twist vs Jay-Z & Kanye West “GO (Peacetreaty RMX) vs N****S IN PARIS” JESSE MARCO BOOTLEG

Diplo vs Jay Z & Kanye West – Go (Peacetreaty Remix) vs. N****s in Paris (Jesse Marco Bootleg) by Jesse Marco

Also, starting this week, Jesse will be joining Savoy, Paper Diamond, Machine Gun Kelly and 3LAU, on the  4-city Winter Classic Tour sponsored by BroBible bringing the live shows on the road. The tour is hitting Boston, NYC, and Philadelphia with a different lineup each night. Mr. Marco will then be parting ways for the last day of the tour but make sure to get your tickets for “An Evening With 4AM” that he willl be headlining at Irving Plaza on December 8th featuring the 4AM DJ Family presented by BroBible and powered by Klipsch.

11.30.11 – Boston, MA – Royale – 8:00 Doors, 9:00 Show

12.1.11 - New York, NY – Webster Hall – 7:30 Doors, 8:30 Show

12.2.11 - Philadelphia, PA – Union Transfer – 8:00 Doors, 9:00 Show

12.8.11 – New York, NY – Irving Plaza – 8:00 Doors and Show

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In their recently released YouTube video, hosted by DJ Cheapshot, the two world class DJs take turns sharing their secrets, the tricks of the trade if you will, with you… for free. So, without further ado, here is the video (after the jump). Enjoy.

The drum machine (a.k.a. MPC) is an electronic musical instrument with multiple drum pads, each designed to cue a pre-programmed sound when hit. Performers on an MPC are able to simultaneously produce rapid, rhythmic drum patterns as well as melodies using various samples. Once a tool only seen in hip-hop studios, as of late several performers have taken this instrument out of the studio and onto the stage where they can sequence and manipulate sounds to create live on-the-spot tracks. The result is an awe-inspiring display of high-energy showmanship. This unique “hands-on” talent is a refreshing welcome back to truly live performances in the age of Serato, dicers and other automated DJ programs.

Red Bull MP Embassy will challenge the typically lone-wolf producers to collaborate on creating an innovative, live music performance. The show format takes each producer through a series of different challenges designed to not only take them out of their comfort zone, but to aid them in creating a musical conversation. In round one, the producers will showcase their best original music. Round two will feature all three producers creating their own personal track using a pallet of sounds given to all three. For the third and final round, Araabmuzik, Jeremy Ellis and Party Supplies will collectively come together to build one unique track.

Abraham Orellana, better known as “Araabmuzik” is an American producer from Providence, Rhode Island. He rose to fame after showcasing his skills of making live beats and instrumentals on a MPC drum and producing tracks for such hip-hop notables as Busta Rhymes, Cam’ron, and Jadakiss. A self-proclaimed MVP of the MPC, he is known for his ability to switch from hip-hop to dance to electronic at the drop of a dime. His debut studio album, Electronic Dream, garnered the accolade of “Best New Music” from Pitchfork Media, but to really admire his craft is to see him live.

A true phenomenon, Detroit-born Jeremy Ellis manipulates drum machines with the hands of a classically trained pianist. It’s stupefying to witness his fiercely quick fingers brutally attack the pads in a freestyle fusion of House and Classic Breaks to up-tempo Latin and Detroit Hip-Hop.

Party Supplies is one of the newest additions to the Fool’s Gold family, a production wizard who’s made the leap from knocking out beats to composing full-on anthems on his MPC. He recently returned to Brooklyn after several weeks recording his debut Fool’s Gold LP in the Santa Monica based Red Bull Studio, and is dropping the Firecrackers mixtape- a collection of PS remixes. Party Supplies has stitched together an ecstatic collection of cut-and-paste pop, perfect for rooftops, drop-tops and ear-buds alike. He is a one-man-band to watch.

Kicking off the show in Portland will be local DJ Tyler Tastemaker, and in Seattle Ohmega Watts. 12th Planet will end each show with a special closing set.

Wednesday, November 16

Bossanova Ballroom
722 East Burnside Street
Portland, OR 97214
Click here for tickets

Thursday, November 17

The Crocodile
772 East Burnside 2200 2nd Avenue
Portland, OR 97214 Seattle, WA 98121
Click here for tickets

Both shows are 21+ / doors at 8pm, show at 9pm / $7 pre-sale or $10 at door (if not sold out)

After the release of the BPA’s album, I Think We’re Going To Need A Bigger Boat in 2009, the Fatboy Slim moniker was revived to a ready and willing Australia. Touring sporadically around the world through 2010, including a two year run at Glastonbury, Norman Cook began picking up speed as a force to (still) be reckoned with. With over 70 shows slated for 2011 alone, this year is the most demanding touring schedule he has ever seen.

After kicking his drinking habit over two years ago, Fatboy Slim appears to be having the most fun of his career. Although his productions have slowed, his headlining slots have not. After returning to the United States earlier this year for the first time since 2008, Fatboy Slim headlined the Detroit Electronic Music Festival and this past weekend’s HARD Haunted Mansion. With the end of the year nearing, Norman Cook has achieved what very few could do. He came, he conquered, and he reignited a sense of nostalgia in hundreds of thousands of his loyal fans. Fatboy Slim reminds me a simpler time in dance music, a time where you could watch a music video of Christopher Walken defying gravity and walking on walls, and not have to worry about the media asking you how much drugs you’d have to take to enjoy it.

I was able to speak with Norman before his headlining slot over the weekend at the Los Angeles based, HARD Haunted Mansion and quickly learned that although he might take a break every now and then to satisfy other musical urges, he will always have an insatiable thirst for being Fatboy Slim.

Before 2011, it had been a few years since you played in the United States. I like to tell myself that by you bringing your famous Big Beach party to New York earlier this year, it was your secret way of telling us you missed us. Was there a particular motive behind this?

I really don’t know how it happened. I got really busy in Brazil and Australia. I think I maybe OD’ed on America, or America OD’ed on me. [Laughs] It’s quite easy to get distracted by other things. It wasn’t that I consciously avoided America; I just never got around to it.

Was New York the only place you saw your Big Beach party happening?

We’ve had the Big Beach parties all over the world. In America, it’s quite difficult to do things like this. You have to find the right beach, shoreline, etc. Luckily, I had a lot of people behind the scenes helping to make this happen in New York.

With over 70 shows booked for this year alone, have you found it relatively easy to get back into the full swing of things?

Basically, over the past few years, I’ve held off on making records, which has allowed me more time to actually DJ. With DJing you can kind of spread your shows out over the year, and I usually only “work” on Friday’s and Saturday’s, which makes for some long weekends. Compared to when you’re recording an album, when you work really hard for about six months or so, and you never get to go home.

I did notice that when I saw you at one of the Electric Zoo after parties at Pacha earlier this year, you were playing with CDJ’s. How has the digital transformation affected how you approach your live set? What do you miss about playing an all-vinyl set?

I kind of have two sets; the big show and then the club show. On the whole, I tend to do the bigger show with all the visuals and big tunes. You have to feel the stadium or beach and adjust your set for it. It was nice to play a club set, where you don’t have to play the non-stop big tunes and can try out new tracks to see if they’re ready for the big show. As far as things I miss about playing with all vinyl’s, not much really. I don’t miss lugging them around or having records skip when I jump around. I hung onto for vinyl for so long but I’m having so much fun now, being able to sync visuals to my tracks and jumping around without having to worry about anything.

In the latter part of 2008, it was rumored that Fatboy Slim would be taking an indefinite break to focus primarily on the Brighton Port Authority. Was this the extra step needed to eventually produce and release, I Think We’re Going to Need a Bigger Boat, in 2009?

I’ve been in the business for 26 years so it’s hard to keep doing the same thing over and over again. I was at the stage in my life when I didn’t want to be Fatboy Slim, but wanted to do something different, so I went off with David Byrne and did the BPA thing. At the moment, I probably don’t have a record in me, as an artist, so I really enjoy being Fatboy Slim and DJing.

Having revived Fatboy Slim since then, is the BPA on hold or have you found a balance?

The BPA isn’t necessarily out of the question; it just depends on my mood. However, over the past two to three years, I’ve really enjoyed DJing. It’s a good time to be a DJ. The whole music business is in this freefall, with downloads and not selling records. You practically have to give away your records. The one thing that can’t be replaced is people wanting to go out and get drunk, laid or high. DJing just suits me at the moment.

Are there any original Fatboy Slim productions slated for release in the future?

In the coming weeks, I have a tune coming out with Riva Starr and Beardyman. Other than that, nothing too serious, just some bootlegs and mash-ups. After I quit drinking, I had a baby and it’s changed my life, so I’m trying to be a dad and DJ. You can really only do two things at once in life. I can’t be a dad, DJ, and artist all at the same time.

You have quite the full plate!

It’s keeping the plates juggling. Hard to keep them all spinning at once so sometimes you have to put some down.

Congratulations on winning Q Magazine’s “Inspiration” award the other night for your music videos! I saw an interesting quote from A-Trak in a Rolling Stone story in which he explains that creative music videos, particularly in the dance music genre, have become quite scarce. Any chance we’ll see some more of your intuitive music videos in the future?

Thank you! We’ve actually been going through scripts for different visuals that we’re hoping to make for this big show I have next year in Brighton. We have some really good ideas, but I have to make a record first! [Laughs] It’s quite expensive to make visuals for just one show, but we have quite a few good ideas in the bag for the next time I make a record.

Big Beach Boutique is set to return to your hometown of Brighton for Round 5 next year, approximately ten years after the very first one. How does it feel to continue the tradition in the same city that had once banned you from even playing, for almost four years?

They never quite banned me from playing; I’m just not allowed to play on the beach anymore. It became too difficult to control crowds, noise, parking, etc. I was lucky enough to be able to do it four times. At the same time, I knew I didn’t want to do it in a park; I wanted to do it somewhere special. I’m being lent the new Amex Stadium that just opened up in Brighton in August and I’m doing the inaugural gig there. My relationship with Brighton is so strong. I’m really proud of the city and they’re really proud of me.

Words by Alexander Rose. Photos by E.M.S.

I just read on your Facebook page that you had bras, panties, and boxers thrown on stage the other night. Does undergarments on stage equal a successful show?

Gabe: That was Denver. Two panties and a pair of boxers. I mean that was OK…

That was just OK? You’ve had better?

Vito: What’s the record Gabe?

We’ve had all sorts of stuff. We’ve had whole lingerie sets thrown up at us, garters.

Vito: Yeah that stuff’s expensive!

Gabe: We’ve had some really expensive stuff thrown at us on stage, like long nightgowns, flannel nightgowns, bathrobes [Laughs]. You know a onesie with the little feet, what are those called, footsies?

Do people slip their own undergarments off or bring specific ones to throw up on stage?

Vito: I can’t figure it out.

So you haven’t looked into the crowd and witnessed someone trying to slip off a bra or anything?

Gabe: We’re pretty busy [Laughs].

Yeah you have a lot going on up there! I just always wonder if they bring it specifically to throw up there or not.

Vito: Me too.

You guys took a big break between 2006 and this latest album. What was going on exactly?

Gabe: Vito’s a rock. I try and be a rock but you know we had a couple of crazy people in our band and they just needed to get the crazies out for a little while in order for us to continue to be a band.

So Luke quit and then came back…

Gabe: Luke quit and came back and then we worked for a while and then Mattie quit and then we started over again. It was a 1 ½ – 2 year process.

Did you think the band was ending when Luke quit?

Vito: I don’t know. We never talked about it and I never really thought about it that far. Every time we were working on music I was excited about it and just wanted to finish whatever we were working on.

Gabe: I felt like we just had unfinished business and we needed to keep moving in a direction to finish our business.

Now that you’ve been thru a breakup and gotten the band back on track, do you see The Rapture lasting for many years to come?

Gabe: I have no idea.

Do you just take it day by day now?

Gabe: I think that’s the whole thing now are we just kind of try to just take it day by day.

Vito: It could all be over tomorrow. You never know. It’s a thing you kind of learn with what we went through is that you can’t ever take anything for granted.

Gabe: I learned two important lessons – well I haven’t fully learned them yet.

1. You can’t take anything for granted
2. You can’t take that shit personally

Did what you went through inspire the material for the latest album?

Vito: I think the album is really reflective of where we were at the time. Having gone through everything we went through and then getting through to the other side.

Gabe: I think after a long period of dysfunction and then when everything starts working and clicking, there’s a lot of excitement and you’re also very grateful. For us, it was really accepting each other for our strengths and nobody getting too bigheaded about anything. Also learning how to communicate. We’re kind of grown ups in that way that we’ve learned that in order to stay playful, we have to communicate.

You’re doing a DJ set tonight. Do you do a lot of DJs shows compared to full band shows or is it an equal mix?

Gabe: Compared to the full band shows, we barely DJ but over the years we’ve DJ’d a bunch. We travel and DJ. We’ve DJ’d as individuals. We’ve DJ’d at bars and friend’s parties or at our own parties.

Vito: I’ve been DJing for a long time – probably a decade now.

What tends to have the crazier crowds? The full shows or the DJ sets?

Vito: It depends. We’re starting to play a lot live now so the shows are getting pretty bonkers.

Gabe: I mean we’re a band before we’re DJs. We’re musicians and I think that’s where our heart is but we also really like dance music and we love dancing and we have fun doing that. We love records and hearing new songs so it’s just kind of another side of things. If it went away, we’d still be a band.

Vito: I don’t think I’ve ever considered myself just a DJ. I’m more of a musician but we’re more than just dudes that DJ. We really take it seriously.

Gabe: I think there was a period in time where a lot of band dudes and gals were asked to DJ and a lot of them weren’t very good and we all have good friends that are DJs and have a lot of respect for good DJs so we felt like we need to know what we’re doing and be half decent at it.

For a while it seemed like everyone was a DJ and just stood up there.

Vito: Exactly. With an iPod.

So you guys are the real deal?

Gabe: Yes!

Vito: We’ve been DJing for a long time, with vinyl and all that.

Gabe, You play keys, sax, bass, percussion, and sing. Is it hard to multitask and juggle all of that?

Gabe: Well I don’t really sing. I sang on one song but you can’t hear me.

Vito: He just wanted the credit.

Gabe: Well I’m on it. [Laughs]

What song is it?

Gabe: “Never Die Again.” At the end there is a big chant that I’m one of the many voices on.

What’s your instrument of choice?

Gabe: Probably saxophone, but I neglect it. I’ve been neglecting it in favor of synthesizers and computers for a long time but I think it’s the one that I’m at most ease with and I can probably express myself the most seamlessly on but I definitely take it for granted.

You gotta bring it back!

Gabe: Well they make me play. I probably wouldn’t have played it as much on the record, if our producer on the record didn’t keep asking me to play.

Vito: He’s an amazing saxophone player so we just kind of have to make him play.

What were the first instruments that you both picked up?

Vito: Drums

Gabe: Euphonium

Vito: I guess actually harmonica, my grandpa’s harmonica.

Gabe: Could you play it? I did not get the harmonica. I couldn’t get a handle on it.

Vito: It didn’t interest me.

From harmonica to drums…

Vito: Yeah exactly, well the drums are what I always wanted to play.

Did you start out banging on pots and pans as a kid?

Vito: I did do a little of that. I didn’t really start playing the drums until I was like 18 though. I loved the animal. I really wanted to be like him.

Gabe: He’s pretty much the coolest Muppet!

What are your favorite songs on the radio right now?

Gabe: I don’t know what’s on the radio to be honest.

Vito: We listen to satellite radio in a rental car. We listen to Raw Dog, this comedy station and then we listen to a lot of 50’s and 60’s and 70’s station but I don’t know what’s on the radio. We don’t have cars either in New York so we don’t really listen to it much.

Gabe: What are songs that are always on the radio? Classic songs that you love that you can go anywhere and you’ll hear it on the radio?

Vito: Well in California, I’ve heard “Hotel California” like 7 times. I haven’t even listened to the radio; it’s just been in the background of everything.

Gabe: There’s always some Stevie Wonder on the radio. I’ll always hear some little Stevie or 80’s Stevie – whether it’s “Ebony and Ivory” or “Up Tight,” there’s Stevie.

Words by Nicole Pajer. Photos by Catie Laffoon.

“I’m with the DJ,” I blurt to the Samoan gentleman holding the clipboard of names. “Which one, jackass?” is the fair reply, for on any given Do Over Night, one might experience DJ’s the likes of Mick Boogie, Jazzy Jeff, A-Trak or DJ Quick. Since 2005, founders Jamie Strong, Haycock and Stones Throw alum Aloe Blacc have been hopping this party all over LA and the world as it tends to outgrow spot after dope spot. Portland, Brooklyn, and even Oslo have become the latest cities treated to a satellite throw down with spin doctors in tow.

Through the burly gates I pass into a tunnel with a blinding light which silhouettes the Palms in my future. It is here I am over come by the sound of Motown in polymeter and begin my dissection of the tongues voicing lines from the vinyl. I am weak from my travels and blessedly come across a gilded taco cart serving all manner of the flesh to glass eyed revelers. Tacos in hand I wring my way through the undulating masses towards an oasis of Sangria.

Once I have a Carafe in tow, I will begin to slosh my way through the now found souls anointing a varied few as misguided pelvic thrusts will be certain to land a plenty on my quest for turntable enlightenment.

Click here to find out about the next Do Over

Words and Images by Dustin Downing

OK, imagine that you are between the ages of 13 and 17. Now, as you stroll into the beautiful Ojai grounds which include a skatepark, human foosball field, rock climbing wall, ping pong tables, and frisbee golf course, with unlimited supply of red bull you think “I’ve died and gone to heaven.” And those are just the peripherals.  The reason you are there is to learn all there is to know about the dark art of DJ-ing.

Camp Spin-Off, founded two years ago by internationally renown DJ Tina T to share her love and passion for the art with the next generation of party rockers, is a week long immersive experience aimed at equipping campers with the tools needed to go forth into the world of beat making, crowd rocking, and brand building.

The Camp Spin Off schedule balances “work” and “play” quite nicely. Campers participate in Serato, scratching, Ableton and design and marketing classes taught by some of the best in the biz, in addition to experiencing “normal” camp activities like making s’mores, swimming, hiking, etc.

During my visit to camp, I sat in on DJ Serafin‘s Ableton class in which group 3 completed the finishing touches on their remix of B Howard’s “Dance Floor.” “The track is built using all original sounds,” Serafin tells me, and features the acapella vocals of B Howard and beatboxing of Blake Lewis who upon his camp visit the day prior, gifted campers with some “filthy” (“filthy” and “swag” are the words of the day) sound bytes, which are chopped and treated according to the group’s discretion. As Serafin plays the track, the class shouts out “let’s pull that out” or “it needs something there.” With jovial teenage banter, they work well together as a team and when a disagreement arises, they “call it to a vote.”

Ableton class is followed by a pool party DJ’d by the legendary DJ revolution who spins deep funk cuts from James Brown and others to the splashing campers as if to expose them to some alternative to “DubStep” (they love dustup). and then it’s off to dinner.

The 36 campers, many of which are there on scholarship, all meet at “the hub” for BBQ ribs, cheesy potatoes, and camp camaraderie. It is the last day of camp and founder Tina T is getting sad. “I’m going to cry” she tells me.  She shares about how last year during the slide show, all the DJ/camp counselors (especially the dudes) were moved to tears.  Tina likes keeping the camp small because “that way, people can really get to know each other.” At weeks end, you can tell that this camp has been about more than music.  New friendships are forged, many of which will go beyond the camp boundaries. “Most of the kids keep in touch on Facebook and Twitter,” Tina tells me. And with file sharing so accessible, its no doubt that these young DJ/producers will soon be collaborating on beats and remixes together.

Oh, and just when they thought it couldn’t get any better, each camper is sent home with a gift bag full of swag from sponsors Skull Candy, Royal Elastics, Rane, Serato, and Scratch DJ Academy. Not a bad way to spend your summer I say.

For more information or to register for next year’s Camp Spin Off, click here.

Words by Mike Bucher. Photos and video by Mahfia.com

The Electric Daisy Festival is quickly turning out to be the newest Coachella— a massive music extravaganza that has tapped the mainstream pulse of a nation’s youth, drawing in fans by more and more thousands each year.

But did you know it’s also likely to incite mass chaos and rioting in the streets – especially if those punk-ass raver kids ain’t happy?

With its official Grauman’s Chinese Theater debut, the premiere of The Electric Daisy Festival documentary was supposed to be a real red carpet gala affair, more a cause for celebration amongst the filmmakers/ festival planners/make-up artists/clowns/sfx coordinators/CGI people.

Coming from across town, it took over an hour to get there. Multiple helicopters flew within an eerily-close proximity of one another. Rumors abounded as to what could be causing the backup: Lady Gaga block party, Live set from EDF star DJ Kaskade, The I Love Lucy Turns 60! exhibit at the Hollywood Musuem… turned out that they were right on all counts. Tourists, denizens and L.A.’s finest, all colliding in a chaos just as I arrived.

Despite tweeting earlier in the day, “”Me+BIG SPEAKERS+MUSIC=BLOCK PARTY!!! RT!”, DJ Kaskade ended up canceling his set – especially when EDF fans flooded the boulevard, pelting cops with bottles and doing that move that makes it look like they’re picking apples. One guy reportedly taunted police, and the police shot him, as well as a few others, with a beanbag gun.

Two people were arrested on suspicion of vandalism — looking down upon the boulevard, you could see that one of the shops had been completely trashed – but otherwise it just looked like a lot of garbage, everywhere.

The end result: hundreds of people basically standing on top of one another to get a view of riot police, who’d been called in to disperse the ruffians in the streets. Ruffians who did little else than lie down on the street in defiance and/or taunt police – sort of a like bunch of raver Eddie Haskells taunt Kevlar-wearing Beavs. Altamont this ain’t, though it was the first time I might have ever felt something resembling a dash of sympathy for a cop.

But honestly all you have to do is Google ‘Electric Daisy Festival’ and one of the first headlines you’ll read is “LAMEST RIOT EVER!” After the crowds had dispersed, even gawkers had to agree. More pity to the schmucks who are going to have to clean up all this trash.

As for the premiere, it looked fantastic, and exciting, and like the people behind the whole thing had put a hell of a lot of work into it. But the actual festival has been marred with some serious bad luck lately – from a young girl’s accidental death to a few drug overdoses, and a consequential relocation to Vegas as a result. Hopefully this will end the drama; the festival itself should be the reason for commotion, not a few kids throwing tantrums.

View the trailer to the Electric Daisy Carnival Experience below

Words by Jeff Nau. Photos by Lisa Johnson.

http://www.youtube.com/watch?v=R0uEwlSoJp4