After leaving Soulwax (the band) dormant for well over a decade, it feels fitting that the Dewaele brothers resurrect their original guise with a subversive, one-take electronic blitz. FROM DEEWEE is a combative record, rigid with taut drums, hypnotic synths, and a deliciously portentous mood. “Conditions of a Shared Belief,” “Is It Always Binary,” and “My Tired Eyes” are highlights, but this is meticulously engineered to be enjoyed as one relentless thrill ride.

Australian exclusive release! If you love the uplifting sounds of artists like Lasgo, Ian Van Dahl, DJ Sammy, Slinkee Minx and iio then you are going to love Groove Coverage. Features the chart topping hits 'Moonlight Shadow' and Alice Cooper's 'Poison' as well as the European smash 'Runaway'. Central Station. 2005.

Reissued 1979 album. 'No. 1 In Heaven' was the bands eight album and produced by Tyrolian disco maestro Giorgio Moroder. Within six months, three singles culled from the LP made the UK charts. 'The Number One Song In Heaven' and 'Tryouts For The Human Race' continuing the success of their inimitable, timeless and bizarre style of pop.

L'Impératrice is a French pop and disco band, founded in Paris in 2012.

这是一个史无前列的DJ MIX制作，用劲力十足的音乐来描写中国人民近代百年来的革命斗争史，以歌曲来赞颂建设新中国的和平崛起道路。来自瑞典的中国迷--DJ Andy，以他那娴熟的混音技巧和对中国的无比热爱的感情，谱写出连场劲爆跳舞乐章，几十位内地优秀唱将通力合作，共同打造出这个辉煌的现代派DISCO史计，可谓独一无二、弥足珍贵！

全辑为双CD合集，分为《革命战争》，与《开国大典》两个篇章。其中《革命战争》篇收录21首中国百年来革命战争相关的歌曲，记录下中国人民争取民族独立、人民自主的整个波澜壮阔的革命斗争史；而《开国大典》则以毛主席宣布新中国成立的第一篇宣言为起点，将全国人民自强不息地建设中国特色的社会主义、走自己和平崛起富强道路的过程，通过19首歌曲巧妙地记述下来。两个篇章均采用最流行的欧洲DJ MIXING手法并接，专门针对时下年轻男女的喜好而设，寓跳舞娱乐于革命教育于一身的不可多得的作品；由于歌曲选取的又是中国百年来脍炙人口的革命歌曲，因此可谓是一辑老、中、青三代共赏之佳作。

DJ Andy，一位来自北欧瑞典的一流唱片骑师，在两年前一次偶然机会的中国采风中，被中国博大精深的艺术文化所倾倒，使他对中国音乐，尤其是中国控革命歌曲产生了浓厚的兴趣。于是在中国的音乐爱好者和专业音乐人的帮助下，DJ Andy将自己所有的热忱和精力倾注而下，打造出这套前无古人的制作，让身居中国的音乐人也感震惊与佩服。他希望将该作品在中国发表，以此回馈中国人民对他的友好感情。

Slave to the Rhythm is the seventh studio album by Grace Jones, released on 28 October 1985 by Island Records. Subtitled a biography in the liner notes, Slave to the Rhythm is a concept album, produced by ZTT Records founder and producer Trevor Horn, that went on to become one of Jones' most commercially successful albums and spawned her biggest hit, "Slave to the Rhythm".

Full title - Journey Through The Secret Life Of Plants. 1993 reissue of 2 CD set originally released on Motown in 1979. 20 tracks in a standard double jewel case. Lyrics included in sleevenotes.

红色沃特加女孩是一张集电子，迪斯科为一体的摇滚专辑。瑞士乐队stevans提供了六十首歌曲让我选择，我选择了一些比较接近流行的能被大众所接受的作品来演唱。在stevans的音乐里我感受到了一种不一样的摇滚风格独特迥异于很多的摇滚乐队，而且非常适合我来演绎！符合我心中对摇滚的期待！-----张蔷

Tango in the Night is the final album the band would record as an infamous quintet. It’s a pop and production masterpiece, yet remains this monolithic, lucrative idea of a Fleetwood Mac record.

Aretha Louise Franklin was an American singer, songwriter, actress, pianist, and civil rights activist. Franklin began her career as a child singing gospel at New Bethel Baptist Church in Detroit, Michigan, where her father C. L. Franklin was a minister.

复古女王Dua Lipa携新歌《Houdini》回归，并计划在伦敦、洛杉矶和东京举办三场新歌惊喜发布活动，开启音乐生涯全新时代。
Composed by：Caroline Ailin/Danny L Harle/Dua Lipa/Kevin Parker/Tobias Jesso Jr.
Arranged by：Danny L Harle
Produced by：Danny L Harle/Kevin Parker

“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit
YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019).
While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.”
Funk and disco beats. Electro experimentation. Global retro vibes.
A shimmering, cinematic sweep.
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YĪN YĪN’s new long player, The Age of Aquarius, is a simple, direct appeal to dance. It is also a record blessed with a considerable hinterland; with cosmic time, long studio hours and a... determination to transcend the daily ennui of living in the Dutch city of Maastricht all playing their part.
YĪN YĪN see themselves as a bunch of musical dreamers. The track ‘Declined by Universe’ references the fact that “we’re all kinds of drop outs.” The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn’t really conducive to setting up a bustling music scene: and it’s a place where the outsiders quickly recognize each other. YĪN YĪN are all “nightlife people”, which meant their friendship initially came about through co-organizing and deejaying DIY parties. Before the band formed, none had carved out a conventional career, or done the “very Dutch thing” of completing their studies. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking “a lot” of instruments to a rented rehearsal room in a small village near Maastricht. There the pair set up a couple of mics and recorded a number of songs in three days flat.
Yves: “When we put it [the recorded session] out on tape, the reactions were very positive. So we decided to do a live show in Maastricht. We asked our musical friends to help us out, and from that night on we became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals and Gino Bombrini on percussion.”
This “united against the world” stance is also heard at the end of ‘Declined by Universe’, where the band claps their own music, making the track initially sound like a live track. It’s a funny, maybe surreptitious statement of belief in what they do. YĪN YĪN also wanted to create an illusion of strength in other ways: ‘Declined by Universe’ sounds as if there is a large group of people playing, not just the core band. This was done by passing over sampling in favour of live recording multiple layers of percussion. Yves: “In the end we were getting kind of silly and started applauding every take. We decided to keep that reaction in. I still visualize a sort of school building in Thailand where people are playing this when I hear the recording.” Maybe YĪN YĪN also see their position of a band hiding in plain sight in their own land reflected in the legend of Chong Wang. Kees: “Chong Wang is a historical mystical figure. Very little is known about him and some people even deny his existence. But we wrote a ballad for him on the first album and now dedicated another track for him.”
Regardless of attitude, the new record is bags of fun. Mainly because YĪN YĪN make dreamers music, in the sense that everything can happen, sometimes all at once. The working title was YĪN YĪN In Space, one that referenced the band’s inner vision of an entity that travels through space, encountering different planets, aliens, parties and galaxies along the way. Despite the name change, the music is still the soundtrack for that vision. And the intergalactic party vibes are strong. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like ‘Chong Wang’ the title track and ‘Nautilus’ drop some thumping 1990s-style electric boogie and italo disco chops along the way. Then there is ‘Shēnzou V.’, which plots a stately course between eastern-inflected pop music, Italo and Harmonia-style electronic meditations. The record’s party vibe can also be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving”.
The expansive richness in sound and feel may also be down to the fact that more samples, drum computers and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. ‘Faiyadansu’, for example, started with a sample found on an old traditional Japanese koto record. Kees: “I first programmed a beat with 808 drums. Yves recorded guitars over that. Then we found some great vocal samples from a lady on YouTube who teaches the Thai language. These phrases and words all have something to do with enjoying food. The last step was to record some extra percussion on top.”
Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members’ preoccupations with the state of the world. The Age of Aquarius is seen as a time when humanity takes control of the Earth and its own destiny as its rightful heritage, with the destiny of humanity being the revelation of truth and the expansion of consciousness. An old trope musically the Age is most famously referenced in the hippie musical, Hair. For YĪN YĪN it seems to denote the time when this record first took shape during the previous January, when the Age was meant to finally dawn. Other direct references to cosmic times are in the track names ‘Kali Yuga’ and ‘Satya Yuga’: the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga. It is believed to be the present age, which is full of conflict and sin. Who said this was just a party record? more

Laura Ann Branigan was an American singer, songwriter, and actress. Her signature song, the platinum-certified 1982 single "Gloria", stayed on the U.S. Billboard Hot 100 for 36 weeks, then a record for a female artist, peaking at No. 2. It also reached number one in Australia and Canada.

If Janet Planet, Sugar Bones, Clarence McGuffie and Reggie Goodchild weren’t a band already you’d be snapping at their heels demanding they form one quick-sharp. Fact is, they are, and on Friday 13th April 2018 they release Confident Music For Confident People, their 11-track debut album for Heavenly Recordings.
The band have already offered a glimpse of what’s in store on Confident Music For Confident People – recent tracks Boyfriend, Bubblegum and Better Sit Down Boy were big and brash and bright as hell, like Dee-Lite tooled up and ready for our berserk modern times.
How they formed is a matter of debate.
Janet: “These guys (points to Clarence and Reggie, the veiled men) were real saddoes playing by themselves and I needed someone to play music with me. They were obsessed with trying to find someone cool and they saw me dancing in a club and were like, “We want that girl!” I knew if we were going to get anywhere, we needed a hot dude with a six-pack at the front of the stage to even things out because they were so damn ugly themselves. We were hanging out at the public pool one day and there was this hot pool guy cleaning the pool and dancing to the music in his head. He looked pretty good in hot pants and while his moves weren’t conventional, they had a certain flare. And now, we’re like mum and dad and these two are just our petulant kids.”
Confident Music for Confident People sets eleven tales of 21st century ennui to irresistible, irrepressible dance music. The opening lines of Try Your Luck (“I must confess/I’ve been sleeping with your ex/’Cos I heard he was the best/I must confess/I never would have guessed he would get so obsessed… I’m not surprised”) set the tone perfectly for what follows.
Here is a set of songs that take the kind of all-consuming interior monologues that bored, disaffected youth are wrestling with the world over and places them square in the middle of the dance floor before adding call-and-response choruses for good measure – it’s the best collection of perfect pop music you’ll hear all year, the perfect embodiment of the characters that made it that somehow manages to be both wildly ambitious and deceptively simple at the same time.