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#nu-disco
haveyouheardthisband · 5 months
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Tracklist:
Back in Town • Generous Dimensions • Typhoon Turnpike • Solar Winds • Cosmic Tides • Hidden Potential • Under the Sun • L.A.D.Y. Radio • All Night Forever
Spotify ♪ Bandcamp ♪ YouTube
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nineteenfiftysix · 2 months
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Modjo - Lady (Hear Me Tonight) (Modjo, 2000)
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Someone asked for me to include the Napoleon Dynamite dance scene as an alternate music video for Canned Heat, so here it is.
Listen to both songs before voting, and define "better" any way you wish!
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lowpassed · 4 months
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strangeauthor · 6 days
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Potatoes originated around what is now Peru & Bolivia! A lot of things we think of as intrinsic to European dishes come from the Americas
omg
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disease · 1 year
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ALL I DO IS WORK KURTIS PERRIE [SINGLE, 2022]
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princesaimposible · 1 year
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listen here
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TRENDING - House in Pop
definition
House is a genre of electronic dance music characterized by a repetitive four-on-the-floor beat and a typical tempo of 120-130 beats per minute as a re-emergence of 1970s disco. It was created by DJs and music producers from Chicago's underground club culture and evolved slowly in the early/mid-1980s, as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat. - Wikipedia
recent examples
yes, and by Ariana Grande (2024)
Problematique by Kim Petras (2023)
Break My Soul by Beyoncé (2022)
Chromatica by Lady Gaga (2020)
and more!
origins
Similar to the actual origins of house music, we can credit the current trend of house in pop to the popularity of disco pop (also known as nu-disco) in the mid-2010s - 2020. The first wave of nu-disco was in the early 2000s (see Kylie Minogue, Sophie Ellis-Bextor) but its second wave is what is responsible for the house resurgence today.
Kickstarted by Robin Thicke's "Blurred Lines" and piqued by "Get Lucky" by Daft Punk, 2013 was the year that brought disco pop back from the dead. Its popularity waned as the 2010s came to a close and then peaked back up again in 2020 thanks to hits like "Say So" by Doja Cat and "Don't Start Now" by Dua Lipa.
Then, 2 months after the release of the disco-laden Future Nostalgia, Lady Gaga released Chromatica, pioneering the house pop revival of the 20s. Unfortunately, the pandemic stifled this era. Clubs, THE house for house music, were closed so who knows just how big songs like "Babylon" and "Sour Candy" could've been had they been on rotation at queer nightclubs instead of streamed in isolation at home. It wasn't until Beyoncé's "Break My Soul" in June 2022* did we see this sound dominate in pop, becoming Beyoncé's 8th solo #1. Plus, the clubs were reopened so house music was allowed to thrive in its home once again and catch on with those even outside its doors.
It's fitting that a genre created for Black, Brown, and queer audiences amid a deadly epidemic would be revived during a deadly pandemic to remind us to forget the haters and celebrate life.*
forecast
Even though it is currently trending, house is forever. It will ebb and flow but its influence and sound on music is permanent. It's too good to go away entirely. That said, we may only score just one more house pop hit from a pop diva (looking at you Katy Perry) before a seismic shift in pop culture happens. We are at the midway point of the decade (Already?!!!) so dramatic changes in trends, music, etc. are bound to occur. It's telling that Ariana Grande's latest release was met with a divisive reception, with some of this being due to the drama surrounding her personal relationship and some of this being that people just do not like the sound, deriding it as "H&M music." Disco pop is already in its decline so house pop will probably follow.
*It's worth noting that Drake took a career turn and released a house album just days before "Break My Soul." It wasn't good though so honestly, nevermind.
*Babylon, Break My Soul, Problematique, and yes, and all share this sentiment. There are many reasons why house music is the appropriate genre for this message, but the most obvious reason is that this message resonates most strongly with queer audiences.
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priokskfm · 5 months
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#FREEDOWNLOADS #FREEPROMO #RADIOCHART Good Custard Mixtape 094: David Dunne GC094 - David Dunne 🇬🇧 David Dunne has been a constant figure in the ever-evolving dance music scene and culture since 1988. He has been described and applauded as “the DJ’s DJ” (Manchester Evening News), “A true pioneer and champion of house music” & “If there’s been a radio station and a pair of decks, he’s been there” (DJ Magazine), “A DJ with no ego and plenty to talk about”(The Big Issue), “A man with a gold star in rocking crowds” (Trust The DJ.com), “A Guaranteed crowd pleaser”(BBM Magazine) and “the most deserving DJ to cross over to the premier league” (BBC Radio One). His Dj career spans 30 years behind the decks, promoting nights, remixing, producing and of course, breaking and supporting dance music on Radio. Tracklist: 1) JAEGEROSSA - RICHARD’S GEAR 2) BUTCH LE BUTCH - LOVE DANSE 3) MACHINE - THERE BUT FOR THE GRACE OF GOD (MOPLEN REMIX) 4) THE PATCHOULI BROTHERS - BURNIN’ 5) JACQUES RENAULT - NEVER 6) BOOGIETRAXX - IN THIS PLACE 7) STAR B - GOTTA HAVE YOU (THE DJ DUB) 8) DONNELL PITMAN FT DAPHNI - DO YOU WANNA (DAPHNI EDIT) 9) HARRY CHOO CHOO ROMERO -TANIA w/ RITMO-DYNAMIC - CALINDA (ACAPELLA) 10) SERENDA  - THE PROPHECY 11) FELIX DA HOUSEKAT - ILL NOISE - CLANDESTIN EDIT 🍯 The Artist 👉🏻 @david-dunne ________________________________________________________________ 🍯 Facebook 👉🏻 https://ift.tt/iBPcjNK 🍯 Instagram 👉🏻 https://ift.tt/7QlKyPM 🍯 Dancefloor Jams 👉🏻 open.spotify.com/playlist/3MIKbEK…YCRjyJWRdI4zdcJg Скачать: https://ift.tt/UDx0TA9 https://ift.tt/4chTJLS
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luuurien · 7 months
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Carly Rae Jepsen - The Loveliest Time
(Dance-Pop, Contemporary R&B, Synthpop)
Carly Rae Jepsen’s companion album to last year’s The Loneliest Time ends up her most experimental, putting down her usual synthpop for songs that fizz with IDM beats and French house grooves and funk basslines. The Loveliest Time may not be her most consistent, but it’s by far her most surprising.
☆☆☆☆
Right from the start, The Loveliest Time places itself as Carly Rae Jepsen’s strangest album. Far from the anthemic synthpop she usually kicks her albums off with, Anything to Be With You is a dry, playful sunshine pop cut, a honking baritone saxophone and bouncy drum groove opening the album with a lighter atmosphere than ever before. It’s a strange but wonderful way to be introduced to her latest collection of outtakes and B-sides that are much stranger than her offerings from EMOTION or Dedicated, more like the excitement of a fresh start rather than simply more of a good thing. It’s hard to imagine these songs being slotted somewhere on last year’s The Loneliest Time, but all these songs are great regardless, making up her most diverse project yet where synth leads and dance grooves don’t always reign supreme, drifting into the worlds of IDM and funk-pop and expanding her sound without letting go of the bubblegum melodies her voice works best with. It’s more scattered in feeling than her other albums, lacking the thematic cohesion or onslaught of hooks her 2010’s releases prided themselves on, but The Loveliest Time’s slower pace and matured palette plays a different game entirely, seeking to contemplate and fantasize about romance more than it dives head first into it.
The album’s best moments are its most sensitive ones, where the softer beats and lighter instrumentation make way for a new kind of storytelling in her starry-eyed pop. After Last Night’s icy synth leads and scattered drum programming splits the difference between glittery IDM and Jepsen’s moody R&B cuts, Rostam Batmanglij’s sugar-coated production exactly what she needs for this romantic dreaming, while the glossy nu-disco of Shy Boy and Come Over replace her usual yearning with direct calls to action usually reserved for her most intense tracks, the fluttering guitar leads in the latter track the most intense part of the song as she makes her intimate moments as meaningful as the biggest gestures within her songs. It does make the heavier songs on offer feel unusually overpowering - Kamikaze’s fiery synthwave feels especially out of place situated between the breezy opener and After Last Night, and Stadium Love’s throaty belts and noisy synths clash too harshly with the warmth of all eleven tracks that precede it - but The Loveliest Time uses these contrasts to its advantage, expanding on the bits of soft rock and organic ‘90s R&B responsible for some of her last album’s strongest moments with the funk-pop jam Aeroplane or Kollage’s reflective downtempo, working her usual lyrical themes of breakups and hopeless romanticism into instrumentals who don’t require nearly as much intensity to get the same feelings across more effectively than ever before. It won’t knock you off your feet like Cut to the Feeling or sink you into a vibe like Too Much, but The Loveliest Time fully owns its brand of relaxed dance-pop where being a little left-of-center supports her new musical goals.
It does bring to the surface some of the strongest songs in her discography, particularly in the album’s magnificent second half. Psychedelic Switch’s blissed-out French house finds itself right at the heart of a new love Jepsen can’t get enough of, four-on-the-floor kicks and disco strings and flickering guitar loops pushing her music to a hypnotic, full-body high worn beautifully by her lively voice. Put It to Rest makes fantastic use of its darker atmosphere and snaggletoothed breakbeats as Jepsen lets go of situations and people she hadn’t handled with the most grace, taking ownership of what she’d lost and letting grief hang over her music more than ever before, putting the sentimentality of Shadow and After Last Night’s into context as part of Jepsen’s effort to let go of past hangups and push herself back into the light. The Loveliest Time is extroverted and willing to get a little weird with things, handling the artificiality of So Right and Come Over’s shuffling nu-disco with a commitment to her heart that overcomes just how gummy and bright the beats are, never so sweet to where it becomes a purely joyous experience as Jepsen contemplates how always seeking out romance puts her in precarious but wonderful positions, putting solid pop songcraft underneath songs foremost about Jepsen’s honest emotions. Her foundation hasn’t changed, and that’s inarguably a good thing.
While the wide range of feelings and production styles make it a little too clear it’s a collection of outtakes at times, the strength of The Loveliest Time’s songs nonetheless prevails. She scales every feeling here from sheer ecstasy to romantic defeat with the same confidence as usual, the flexibility of this being an outtakes album allowing her to add in new ideas and sounds without bending them to whatever the feel of her latest album is, The Loveliest Time going from careful and introspective to maddeningly euphoric in the blink of an eye and all the better for it. It’s easily her best B-side collection yet, matching the highs of EMOTION: SIDE B and the surprise left turns of Dedicated Side B and adding some new flavors of bubbly dance pop along the way. The Loveliest Time may be the strangest album she’s put out to date, and just through that it becomes one of her most thrilling and dynamic listens, promising even more electrifying anthems and oddball electropop with the same level of ingenuity and sincerity she’s always had. It may surprise more than usual, but Carly Rae Jepsen is as lovely to listen to as ever.
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haveyouheardthisband · 2 months
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Tracklist:
Set Me Free • Moonlight Sunrise • Got The Thrills • Blame It On Me • Wallflower • Crazy Stupid Love • Set Me Free (English)
Spotify ♪ YouTube
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nineteenfiftysix · 6 months
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Yuju - 따라랏 (DALALA) (DALALA - Single, 2023)
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ithisatanytime · 7 months
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(Montaime)
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funkypatoche · 1 year
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(That's Not An Edit)
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