Buscar:dance 6

PRAED return to Discrepant, after their 2017’s entry Fabrication of Silver Dreams (CREP44)

Known for their signature blend of Egyptian Shaabi, free jazz and improvisation, the Lebanese duo behind PRAED - Raed Yassin and Paed Conca - now assemble a full orchestra for the second time taking the music to a deeper, rooted level.

Following their 2020 release Live in Sharjah, also under the PRAED Orchestra! moniker, the duo now revisit their unique blend of Arabic heritage and free jazz sensibilities with an album that keeps pushing further into strange and unexpected directions.

The Dictionary of Lost Meanings is just that, seven fully composed pieces and large-scale improvisations, performed by an expanded ensemble of musicians from across the globe. The result is dense and playful, unpredictable but familiar, a record where Arabic rhythms and microtonal melodies collide playfully against electronics, warped vocals and orchestral textures.

It’s less about genre than about memory — like tuning into a radio station broadcasting from somewhere between the past and the future.

PRAED continue to blur the line between popular culture and experimental music in ways that feel both grounded and completely their own.

PRAED ORCHESTRA! are
Raed Yassin: Synthesisers, Vocals, Beats
Paed Conca: Clarinet, Electric bass
Alan Bishop: Alto saxophone, Electric bass, Vocals
Andreas Bral: Harmonium, Electronics
Elisabeth Klinck: Violin
Christian Kobi: Soprano and Tenor Saxophones
Hans Koch: Bass Clarinet
Martin Küchen: Alto and Sopranino Saxophones
Maurice Louca: Synthesizer, electronics
Stan Maris: Accordion
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synth
Youmna Saba: Electric Oud, Vocals
Sam Shalabi: Oud, Electric Guitar
Els Vandeweyer: Vibraphone
Khaled Yassine: Drums, Percussion
Michael Zerang: Drums, Percussion
Recorded by Jasper Jan Peeters at the Summer Bummer Festival, DE Studio,
Antwerp August 26, 2022
Mixed by Adham Zidan
Mastered by Mark Gergis
Produced by PRAED
Photos by Geert Vandepoele

Heavyweight Dub album by Alien Trackers, a new project by cosmic trumpet specialist Pablo Volt (STA) and Jahtari space ship mechanic disrupt, landing right in the sweet spot between soulful Black Ark-warmth, digital Firehouse dancehall hitters and Jahtarian Dub psychedelics.

A lazy day at a beach, in a galaxy far, far away... Feel the sand between your tentacles and splash in the emerald acid sea. Snorkel with plasma squids and shock eels. Marvel at the double suns during the magic twilight cycle and bask in their glorious gamma rays. Gaze into the depths of the local Vortex...

Coming on alien-green vinyl, with hand drawn art by David 8000 Farris, additional bass & guitars from Dubsworth, and an all four thumbs up-rating, 'Dubs from Vortex Beach' is landing in your orbit right now!
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Amsterdam label Spectral Bounce recruits French club stalwart Chris Carrier for SPEC06 — Perfect Encounter. Active since 1994, the Parisian artist has released a wellspring of records on Robsoul, Slapfunk and his own Sound Carrier recordings, parallel to his longtime career as a DJ. Characterised by swirling delays and progressive arrangements, Perfect Encounter shows the producer exploring the mesmeric corners of tech house, ideally fitted to the Spectral Bounce aesthetic.

Opener “XLR8” starts with rolling toms that make way for fluid, modulated tones; each bar ebbs and flows to the sweeping synths set in motion by Carrier. Processed with a multitude of delays, rhythmic FX boldly swish above the drums, making for an immersive soundstage. Second track “Light Side” retains the billowing echoes but moves more nimbly, cutting things back to make for a spacious and breezy number. Its croaking synths hop around the stereo field, accompanied by tight percussion and a walking bassline.

The hallucinogenic “Third Moon” sees Carrier step further into trance-inducing territory. The track’s pulsing, syncopated bass note thrums underneath an arpeggio that evolves into a heady prismatic drone. While the chugging beat is ever-present, melodic refrains rise up and evaporate like wisps of vapour, alongside a vocal that fades away as quickly as it appears. The EP’s eponymous “Perfect Encounter” dials up the tension and closes the record with a mysterious touch. Speedy 16th note patterns propel the beat, creating shifty rhythms that rattle and hiss. A rasping, gelatinous synth and squeaky detuned tones resemble extraterrestrial signals — alien morse code for an enraptured dancefloor.

Credits:

It’s Not That Deep captures Demi at her most radiant - reclaiming the carefree spirit of her early eras while unleashing 11 dance-pop anthems made for late nights & dancefloors. Executive produced by Zhone, the album pulses with confidence, freedom, and joy, led by the sleek single “Fast” and the infectious “Here All Night."

Originally released on Mon 22 August 2005, the Furries’ third and final album to be recorded by Epic Records, Love Kraft is to be reissued on double vinyl, 2CDs, including the 22-track bonus CD, Kiss Me With Apocalypse and digital formats on Fri 24 October 2025 via the Cardiff-based independent label, Strangetown Records. Four previously unheard tracks are drawn from the vaults, including the squidgy ELO-stomp of drummer, Daf Ieuan-led Rock ‘N’ Roll Flu, plus the distorted space-jam of Cae Marw, the band’s deep-bass sketch of Palo Alto and ghostly, percussive morsel of Bedw Arian.

The album followed six previous albums by the band, including their statement debut album, Fuzzy Logic in 1996, melding an attention-demanding mix of literary, narcotic and musical influences. Maintaining a shape that was ill-fitting in the jigsaw of other 90’s guitar bands, their follow-up, UK Top Ten album, Radiator brought the hooky squelch of the bona fide indie dancefloor classic, The International Language of Screaming. The next decade saw the release of the first Top 20-charting, Welsh language album, Mwng (2000), followed by further experimentation and commercial success with Rings Around The World (2001) and Phantom Power (2003).

Love Kraft’s sense of cohesion, collaboration and free-flow of rich harmony has been credited to the five-piece escaping Wales to record in the shimmering heat of Figueres, Catalunya. Bringing famed Beastie Boys producer, Mario Caldato Jr along with them for the ride, the travelling band’s stay in the Catalonian hometown of Salvador Dali included found sounds, boozy petrol stations, gastronomic revelations and, finally, a rich album of strings, synths and opulent vocal harmonies.

While eventually finding their way to Baha, near to Rio di Janeiro to mix the album Love Kraft’s story began in Wales and Pleasure Foxxx Studios, where the band began to craft the album’s songs. Embracing the landmark of a seventh album, notably coming after the 2004 release of their first ‘best of…’ package, Songbook: The Singles, Vol. 1, Super Furry Animals pooled ideas and affected further democracy in their songwriting, taking a load off traditional lead-writer and front man, Gruff Rhys, and sharing in lead vocal duties (aside from the microphone-averse bassist, Guto Pryce).

Love Kraft was the first Super Furry Animals album recorded to hard disc instead of multi-track tape, and found the band typically explorative and open to happenstance. Zoom’s opening splash into the recording studio’s swimming pool is accompanied by the on-location, pool table samples found elsewhere on the album.

Updated packaging features the original, meticulously built diorama design by long-time collaborator Pete Fowler. Constructed by hand in his studio, complete with bulb-lit illumination, then photographed, the sleeve’s depiction of a monolith-rich desert landscape reflects the sense of other space and time depicted by Love Kraft’s woozy songs. The final sleeve design again comes courtesy of Mark James.

„It’s Not That Deep“ zeigt Demi von ihrer strahlendsten Seite – sie kehrt zu ihrer früheren Unbeschwertheit
zurück und präsentiert elf Dance-Pop-Hymnen, die wie geschaffen sind für lange Nächte und Tanzflächen.
Das von Zhone produzierte Album strahlt Selbstbewusstsein, Freiheit und Freude aus, angeführt von der
eleganten Single „Fast“ und dem mitreißenden „Here All Night“.

Clarence Carter, blind from birth, was a blues singer with lascivious wit, a talented guitarist, a songwriter with a twinkle in his eye, and a champion of down-to-earth soul grooves who taught himself to play the guitar.

He sang in a gospel choir, completed a degree in music, and grounded the duo Clarence & Calvin but was not however very successful.

After a car crash involving Calvin Scott, Carter started on a solo career and signed a contract with Rick Hall and the Fame label as a soloist.

Among the earliest singles recorded at the Muscle Shoals studio were a few hits. After leaving Fame for Atlantic, he managed to enter the Top 20 of the R & B charts with "Looking For A Fox". His breakthrough came with "Slip Away", which sold a million copies and was awarded a Gold Record.

The legendary Fame Studios in Muscle Shoals remained the home basis, as it were, for Carter during his career with Atlantic. "This Is…" begins with a contemplative, soft sound. "Do What You Gotta Do", written by Jim Webb, is a lovely, melancholic mid-tempo ballad, saturated with Barry Beckett’s keyboard and smothered by lush, plaintive winds.

But the man is primarily funky here … as three danceable, finger-snapping tracks prove; "Wind It Up", with further witty improvisations and a fervid organ solo, the highly syncopated, playful "Thread The Needle", and the smoky, irresistible "Funky Fever" – all written by Carter himself.

Dan Penn’s and Spooner Oldham’s "Slippin’ Around" has an unorthodox bossa nova-like beat that is reminiscent of Ray Charles’s "What’d I Say", while Carter’s unmistakable chuckle is to be heard for the first time on the riotous funk-rock number "I’m Qualified", which has the very same unique, infectious groove as was to be heard on Wilson Pickett’s "In The Midnight Hour". "She Ain’t Gonna Do Right", composed by the same man, brings more Alabama Country to the mix, whereby Beckett contributes a catchy, persistent organ riff in the refrain.

Bloodred Hourglass (BRHG) meldet sich zurück mit ihrem mittlerweile siebten Studioalbum „We Should Be Buried Like This“. einem kompromisslosen Statement einer Band. die sich über die Jahre zu einer der eindrucksvollsten Kräfte im modernen Death Metal entwickelt hat. Beheimatet im finnischen Mikkeli wurden BRHG bekannt für ihre Fähigkeit. die rohe Wucht von Thrash- und Groove-Metal mit den atmosphärischen Sounds von Metalcore. Alternative Metal und Melodic Death Metal zu verschmelzen. Ihr Sound ist so kraftvoll wie emotional. so mitreißend wie facettenreich - eine Mischung. die ihnen regelmäßig positives Feedback. eine internationale Fangemeinde sowie den Ruf explosiver Live-Shows eingebracht hat. Mit „We Should Be Buried Like This“ schlägt die Band nun ihr bislang dunkelstes und schonungslosestes Kapitel auf. Ein Werk. das sie selbst als „Lieder für das Ende der Zeit“ beschreiben - ohne Trost. ohne Erklärungen. Stattdessen erwartet uns eine Geschichte vom Zerfall von Hoffnung. dem Verlöschen von Liebe. der Wiederholung familiärer Fehler und einer Welt. geprägt von Egozentrik. Entfremdung und Gleichgültigkeit. „Hier wird nicht gebettelt. nichts beschönigt“. erklärt die Band. „Wir wollen nichts beweisen. Dieses Album ist aus dem inneren Drang entstanden. Dinge aufzureißen und sie beim Namen zu nennen.“ Musikalisch ist „We Should Be Buried Like This“ das aggressivste und kompromissloseste Album. das BRHG je geschaffen haben. ohne dabei ihre charakteristische Melodik zu verlieren. Heftige Riffs. brachiale Energie und tiefe Emotionen ziehen sich wie ein roter Faden durch das gesamte Album.

Gastauftritte und neue klangliche Elemente sorgen für frische Akzente. doch der Kern bleibt unverkennbar BRHG - verfeinert über Jahre. einzigartig und intensiv

This curated collection highlights hard-to-find salsa 45s from the Discos Fuentes vaults-deep cuts that have long flown under the radar but still light up dance floors today. These tracks, once pressed in small numbers, feature top tier musicianship, fiery brass, unforgettable grooves, and lyrical gems that reflect the rich diversity of Colombia's musical landscape. Among the featured artists are: Super Combo "Los Famosos" with their irresistible barrio anthem 'El Bailador de la esquina', capturing the spirit of Cali's street life, Sexteto Manaure, delivering a poignant son that blends regional pride with poetic nostalgia, La Protesta de Colombia, a revolutionary Barranquilla outfit that gave a young Joe Arroyo his early spotlight and channeled the rebellious pulse of the times. This compilation also includes a range of studio experiments and covers-where artists like Piper Pimienta, Galileo y Su Banda, and La Integración reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens. These obscure gems, long scattered across dusty crates and forgotten jukeboxes, now find new life. They speak not just to the past, but to a timeless rhythm that still moves dancers and dreamers alike.

You hear a pulsating rhythm. What does it mean when the intensity rises? Is it the blood rushing from the sound of the drum that brings meaning or is it the anticipation of what's next? Kasra V's returns to his budding V-sion imprint with its third installation. This latest offering brings us to the totality of physicality, where grooves and melodies do not require a resolution. The tracks bring to mind the unbridled maverick spirit of early Techno and Tribal House where the rulebook was tossed into flames and only the unfettered psyche remained. Keeping the spirit of experimentation alive, Kasra's affinity for manipulating samples and sounds in obscure ways shines through with playful nods to both industrial and early Midwest dance music alike. Unchaining the shackles of where dance music has gone wrong, Kasra is trying to maintain the connection to a time when bodies moved to the beat religiously and held reverence only for the speaker stack. Drum hypnosis is beginning now. Please enter the room and have a seat.

Skylax Records is proud to welcome one of Germany’s deepest and most respected producers to the family: Sascha Dive, with his stunning Cosmic Ritual EP, featuring house music legend Robert Owens and Zimbabwean vocal virtuoso Vusa Mkhaya. From Frankfurt to the world, Dive has spent nearly two decades carving a unique space where deep house, Detroit techno, and spiritual soul converge—this new release is a testament to that lifelong mission. On A1, Owens delivers an uplifting sermon on the irresistible "Don’t Let No One Or Nothing Stop You", a timeless piece of motivational house drenched in analog warmth. A2’s “Deep Connection To Detroit” is exactly that: a hypnotic, percussive journey into Motor City groove science. Flip the record for “Take Your Time”, another Robert Owens collab that slows things down into deeper, more introspective terrain. Then comes "Cosmic Ritual (Vocal Mix)", where Vusa Mkhaya’s voice channels ancestral energy over shimmering pads and tribal percussion—pure transcendence. Closing things off is “Ultimate Mind”, a stripped-back, late-night cut for meditative floors and after-hours revelation. All tracks are deeply rooted in the vinyl tradition, made for DJs, dancers and dreamers. With this EP, Sascha Dive reaffirms what real house music is all about: soul, message, rhythm, and ritual. Limited 12” vinyl – no repress.

Out on Madrid's leading label for braindance, breakcore, acid, and experimental electronics, it marks a fearless new chapter in electronic music. Amidst a sea of mediocrity and plagiarism, I'm Not Here stands as a testament to the uniqueness of the Cornish Braindance scene, which has given rise to some of the greatest producers in electronic dance music. Here, Benjamin James demonstrates that he is the torchbearer of that legacy, delivering anthems for a world spiraling in self-alienation--where identity flickers between screens and silence.

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

Free Universe follows up their highly acclaimed debut release with Impromptu Adventure, a three-track collaborative EP between Brooklyn-based label founder Gee Dee and one of the leading names in German electronic music, Roman Flügel.

The three-track EP, recorded in Brooklyn over the course of three days, perfectly captures the duo’s unique, evolving, and boundary-pushing style. “Trip Or Trap” opens with a punchy, psychedelic groove that immediately pulls listeners into the jour- ney. “Cosmetics” lifts the energy even higher with playful piano flourishes and an acidic bass line that’s a surefire crowd-pleas-er. Finally, the title track, “Impromptu Adventure”, brings the project to a close with a high-energy, acid-driven rip that leaves a lasting impression on DJs and dancers alike.

Drawing from over three decades in electronic music, DJ Rame (one third of the acclaimed Italian Pastaboys team) showcases his House Music expertise with this genre-blending original EP on Memento Records, going right back to the roots of club culture.

Title track Life 3 starts off with a dreamy pad intro and New York-house inspired piano chords, setting the mood for the dance floor and suddenly exploding into a bouncy, tension-and-release energetic swing, trippy percussions and rubberized synth rhythms.

Toyholic’s infectious bassline and syncopated beats match retro-futuristic synths and acid melodies, while Niwa’s faster pace and robotic vocal samples are drenched in 80s Electro Disco moods.

Stone Garden rounds off the release with a breakbeat groove, vintage analog sounds and mesmerizing stop-and-gos.

A visceral ode to the free spirit of the early warehouse parties that came to define an era of revolutionary music, these 4 tracks are one part raw emotion, one part contemporary sonic innovation.

Reflecting years of listening from behind the drum kit with Animal Collective, Boredoms, Dan Deacon, and Lifted arrives Low Air, the first solo LP from Jeremy Hyman.

The record is collected from home studio sessions, taken on the road, and sequenced through reflections of the live experience. Building on previous dance-floor-tuned outputs for Max D’s Future Times label, Low Air moves into a broader compositional arena: pared-down rhythms guide a wash of understated harmony, and compositions surface from a stream of purling noise. There were no standard operations across the music, but one key to the sound is the doubling and tripling of playback speed to fit musical passages into old sampling equipment. This process opened up a new line of inquiry into fidelity and pitch that can be heard throughout the LP.