James Murphy, the pleasantly plump lead singer of electro-rock band LCD Soundsystem, and his drummer Pat Mahoney have been throwing these not-so-secret disco DJ parties at hip new spots like APT and Santos. But now they're taking their semi-speakeasy parties international with a three-month tour. They'll play a residency at Santos on Aug. 13, Aug. 27, Sept. 10, Sept. 24, Oct. 8 and Oct. 22. and criss-cross around America and over the pond to London and Tokyo, among other tour spots.

They're calling it "Special Disco Version," the moldy term for a remix.

"People hear that word disco, and they see bellbottoms and 'That '70s Show.' No, no, no," Mr. Murphy said in a press statement.  read more »

In 1992, Moby was among the bristling avant garde of dance music, at a time when that genre seemed poised to break through to the mainstream in a big way. It was with him that it did break, just a few years later. 1999’s Play, mainly a roster of scratchy blues and gospel samples layered over languid, housey tracks, sold nine million copies worldwide, spawned a series of hits, and introduced us to the ubiquity principle, whereby artists and their albums’ success can be measured by the fact that you hear them everywhere. He was Feist before Feist, “Young Folks” and “Crazy” all rolled into one, somehow pumping out of speakers at the Gap, the Duane Reade, your doctor’s office, your best friend’s cocktail party, and all those Silicon Alley startup parties. Every single track on Play was licensed for commercial use. The future was then.

Like the era of "irrational exuberance" that produced it, that album is likely to be the achievement for which Moby is best remembered, though he recently remarked that “in hindsight, it wasn't fun being the crucified poster child for selling out.”  read more »