#tribal dance and music

[townpostin]

Five-Day Bhumij Dance and Music Workshop Concludes at Tangrain School

Traditional Bhumij dance and music workshop, organized by Tata Steel Foundation and Adivasi Romoz Akhara, successfully concludes. A five-day workshop on Bhumij traditional music and dance, held at the Upgraded Middle School, Tangrain, under the joint initiative of Tata Steel Foundation and Adivasi Romoz Akhara, concluded successfully on August 10, 2024. JAMSHEDPUR – The Upgraded Middle School in…

[dankalbumart]

10.1 Sampler by Ben Sims Theory Recordings 2001 Tribal Techno / Minimal Techno / Techno

[iamlisteningto]

Jon Hopkins’ RITUAL

[randomvarious]

Today's mix:

Nite:Life 04 by Terry Farley 2001 House / Deep House / Tribal House

Well, this probably isn't the greatest commercial mix that legendary house producer-remixer-and-DJ-extraordinaire Terry Farley ever made, but it's still a decent one. Farley was an integral cog in developing Britain's acid house scene into a total fervor during the mid-to-late 80s. He co-launched a fanzine called Boy's Own with the late, great Andrew Weatherall and others, co-hosted and DJ'd at events by that same name, and also co-founded the Boy's Own record label too. And then in 1992, he co-founded the Junior Boy's Own label as well, which ended up with both Underworld and the Chemical Brothers on its roster. And then when you think about how important *those* groups are in particular to the growth and popularity of electronic music writ large, and know that they wouldn't have sprouted up if not for acid house catching fire in the UK in the first place, you realize just how indispensable someone like Terry Farley is when it comes to literally all of this.

But ultimately, I think the thing that mars this mix more than anything else is that Terry really seemed to be partial at the time to these super deep and moody tunes that featured hushed-tone spoken-word monologues from rugged-voiced dudes and I just think a lot of that stuff, especially in retrospect, is pretty damn corny. All you have to do is press play on this mix to get an immediate taste of what I'm talking about here. And then that same voice returns on the "Tom Middleton Cosmos Vocal" mix of The Path's "Praying" too, with sets of lines like the following:

I'm prayin' I'm prayin' for the black I'm prayin' I'm prayin' for the white I'm prayin' I'm prayin' for the straight I'm prayin' I'm prayin' for the gay I'm prayin' I'm prayin' for everybody I'm prayin' I'm prayin' for all the freaks, in the big, dark rooms I'm prayin' I'm prayin' for the children of house

Now, had these super generic lyrics been sung in some sort of way, rather than just delivered in a deep monotone, we may have been able to just overlook their Derek Zoolanderish simplicity and keyed in on the melody instead. But we can't, and as a result, this song and others like it just feel very lame almost a quarter-century later 😒.

But despite all of that, Farley still brought some pretty sweet bangers to this set. "Musica De La Celva," by Hipp-E & Tony (Hipp-E is from the duo of H-Foundation, who mixed the prior installment in this Nite:Life series that I posted about yesterday), has this beeping stab in it that you may not realize is actually a sax at first, until that little note proceeds to expand further into phrases, and then has another bit of sax introduced afterwards to complement it all too. Quite nifty track construction there 👍.

And then for the closer, we get some of that good ol' 90s garage house-disco flavor from longtime diva Linda Clifford, with the Ralphi Rosario mix of her "Changin," which I'm sure particularly lit up a whole bunch of gay dancefloors when it was out and thriving all the way back in 2000. Feels like a really lovely, blissful dance anthem, but it's very different from the much darker mood that coats the entirety of the rest of this mix 🤷‍♂️.

So, given his legacy, I think I was expecting a bit more from Terry Farley here, but even the best don't always end up delivering all the goods that you necessarily seek (see: Paul Oakenfold). Still, though, this thing is definitely solid regardless.

Listen to the full mix here.

And for more on Boy's Own and Junior Boy's Own, check out this dope retrospective that looks back on some of their output from 1988 to 1998, as well as a few tracks that inspired Terry Farley and his pals to start all their ventures in the first place.

Highlights:

Bernard Leon Howard III feat. 80 - "Mars Carter" Hipp-E & Tony - "Musica De La Celva" Datar - "B (Danny's Space Terrace Mix)" Linda Clifford - "Changin (Ralphie Rosario Mix)"

[balleralbumcovers]

EPIC ALBUM COVER #97

Dead Can Dance - DIONYSUS

Released: 2018 (PIAS)

Tribal ambient, neoclassical new age

[myvinylplaylist]

Madonna: Finally Enough Love! #1’s Remixed (2022)

Target Exclusive Clear Vinyl.

Warner Records

[gotardmusic]

GOTARD - "Destination 2.0" czyli premiera nowego klipu!

Full single (klick)

(Eng) Today is the premiere of the new music video "Destination 2.0". The clip uses videos from my own travels in very high acceleration (timelapse/hyperlapse). Railway tracks symbolically refer to the line of life, which can always be changed, just like the direction of the journey called life. Hence the addition of "2.0" to the song's title. The music clip promotes the single "Destination 2.0", which is also a farewell to the last album "Dharma".

(Pl) Dziś premiera nowego teledysku „Destination 2.0”. W klipie wykorzystano filmy z własnych podróży w bardzo dużym przyspieszeniu (timelapse/hyperlapse). Tory kolejowe symbolicznie nawiązują do linii życia, którą zawsze można zmienić, podobnie jak kierunek podróży zwanej życiem. Stąd dodanie „2.0” do tytułu utworu. Klip promuje singiel „Destination 2.0”, będący jednocześnie pożegnaniem z ostatnią płytą „Dharma”.

[mod-a-day]

2 Unlimited, Deep Bass of Trance-o-Mania "Faces" (669 Remix) No Limits! (1993) Byte Records

[my-chaos-radio]

Release: April 11, 1994

Lyrics:

It's 12 past midnight, don't close your eyes

Your soul's half alive, and I'll be by your side

I've come to take you there, show you how to care

Just be aware, that you'll have to share

I want your love, I want it tonight

I'm taking your heart, so don't you fight

I'll be your answer, I'll be your wish

I'll be your fantasy, your favorite dish

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

You saw a brand new high, thought that you could fly

Did I hear you cry, or did you like the ride?

You call my name again, no it's not a sin

I'll show you how to win, and where I've been

I want your love, I want it tonight

I'm taking your heart, so don't you fight

I'll be your answer, I'll be your wish

I'll be your fantasy, your favorite dish

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

You'll never have to run away

You'll always have a friend to play

You'll never go out on your own

In me you will find a home, home

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

From the back to the middle and around again

I'm gonna be there 'til the end

100% pure love

From the back to the middle and around again

I'm gonna be there 'til the end

Back to the middle and around again

Back to the middle and around again

Back to the middle and

Back to the middle and

Back to the middle and

Back to the middle and

Back to the middle and around again

Back to the middle and

Back to the middle and

Back to the middle and around again

I'm gonna be there 'til the end

Back to the middle and around again

Back to the middle and around again

Back to the middle and

Back to the middle and

Back to the middle and

Back to the middle and

Back to the middle and around again

Back to the middle and

Back to the middle and

Songwriter:

Don't you know it, don't you want it

Don't you know it, don't you want it (I know)

Don't you know it, don't you want it

Don't you know it, don't you want it (I know)

Don't you know it, don't you want it

Don't you know it, don't you want it (I know)

Don't you know it, don't you want it

Don't you know it, don't you want it

Don't you know it, don't you want it

Don't you know it, don't you want it

Don't you know it, don't you want it

Don't you know it, don't you want it

Don't you know it, don't you want it

Don't you know it, don't you want it (I know)

Don't you know it, don't you want it

Don't you know it, don't you want it (I know)

Crystal Waters / Jay A. Steinhour / Theodore Gregory Douglas / Walter Thomas Davis Iii

SongFacts:

👉📖

[awolgina]

juno reactor tokesntunes teahouse drum minute short boomer learning series

juno reactor #tokesntunes teahouse featured in the matrix movie tribal dance scene. it's my fave, plus a quick bowl smoked 18+ on YouTube 🤷‍♀️💚🍯🌬🌬🗣

[mysticalblizzardcolor]

Listen/purchase: Mose & Castello Branco - Bem a Tempo (Yemanjo Remix) by Mose

[katiajewelbox]

Steampunk music for belly dancing! I'm disappointed that steampunk culture isn't as popular as it was a decade ago, but I understand some aspects of it may be seen as cultural appropriation or glorifying colonialism nowadays. I like to view steampunk as alternative history and appreciation of the cultural melting pot Victorian England actually was. The popular aesthetics of that time were heavily influenced by art from Asia and the Middle East, which fits with the feeling of this song.

[iamlisteningto]

Holy Tongue Meets Shackleton’s The Tumbling Psychic Joy Of Now

[randomvarious]

Today's mix:

Wetmusik - Mix Up Volume 1 - Live @ Storey Hall by Simon Digby & Will E Tell 2000 Techno / Tribal Techno

Big advantage of being producers and record label owners who also happen to be DJs is that you can lace your own sets with all the stuff that you and your roster have been working on and then gauge a crowd's reaction to it all before officially releasing any of it to the public. That whole tedious process of having to send your music to *other* DJs in hopes that they themselves like it enough to play it is completely eliminated, because you're your own DJ in this situation. No middle man, no waiting on the whims of someone else's taste; you have full control from start to finish! 😎

And such was the case with this live recorded set from February of 2000 by Simon Digby & Will E Tell, a pair of techno dudes from Melbourne, Australia who were running a label at the time called Wetmusik, and were plying their appreciative crowd on the campus of the Royal Melbourne Institute of Technology with a blend of a bunch of  ground-pounding heaters of their own that they hadn't released, along with some great stuff from people who weren't on Wetmusik as well.

But be forewarned: this mix really isn't for the faint of heart. It may have some comedown moments that break the tension and serve as a bit of a brief cleanse—only for things to ramp up again—but for the better part of 70+ minutes, this is relentlessly percussive techno that you better have a couple Advil on hand to take once the set's over. Rattlingly primal shit with some touches of dystopian futurism, all soaked in a constant thooming that simultaneously beats against your chest and vibrates the soles of your feet.

And honestly, this type of hyper-intense techno isn't necessarily always my favorite in the world, but if you can handle all this pummeling percussion, you'll find that this is a style that can really end up yielding all kinds of novelly nutty, thick slabs of rhythm, and Simon and Will have a whole lot of it in store here, which ultimately makes this mix worth a listen, even if there's a good chance that you might be seeing stars afterwards 🫨. 

So the best rhythmically unique selections here come courtesy of Will E Tell himself, with his tribally thumping "Teu Teu Haka" as well as "Strange Behaviour," which has manic claps, lots of wood block reverb, and a respirating bit of noise that's hard to describe, but manages to hold it all  together.

Favorite track on here of all, though, is one that's not a Wetmusik original and, therefore, is also far less likely to make you feel like eggs being beaten and whisked around in a bowl: the y2k-era techno standard and masterpiece that is Andrew McLauchlan's "Love Story." Around a quarter-century ago, this Scotsman, who's not really known for much else other than this total bop, managed to catch lightning in a bottle with it. A dusty and obscure 1970s rendition of a Brazilian song gets set to some modern dancefloor techno, and out of that combination comes pure fuckin' magic—a wholly unbeatable tune with a delightfully catchy Portuguese-language chorus that'll linger in your head long after the song itself is over. If you've heard your fair share of early 2000s techno sets, then you're already likely to be familiar with this track, but if that whole era ended up passing you by, you absolutely must listen to this song. One of the greatest pieces of dance music ever made, as far as I'm concerned.

But, yeah, the vast majority of this set from this enterprising Aussie pair still more or less teeters on the edge of my own techno sanity, because of how hard and heavy it tends to be, but the experience can still be a gratifying one if the way I've described it here doesn't actually feel too dissuading to you. Plenty of well-crafted and rhythmically inventive techno to be heard here, but only if you really think you've got the stomach for it.

Listen to the full mix here.

Highlights:

Will E Tell - "Taha Ua Tolu Fa" Ben Long & Umek - "Audio 16" Simon Digby & Will E Tell - "Unfinished Business" Ben Long - "Syndrome" Thomas Schumacher - "Shelford Rd (Devilfish Remix)" Will E Tell - "Teu Teu Haka" Umek - "Lanicor" Simon Digby & Will E Tell - "Moving Wallz" Umek - "Mamomit" Will E Tell - "Strange Behaviour"* Alpharisc - "From Hell" Will E Tell - "Dipped in Pitch" Alpharisc - "Playing With Words" Joel Mull - "The Mole (Ben Sims Remix)" Oliver Ho - "Awakening the Sentient" Andrew McLauchlan - "Love Story"