2012 is wrappin up quick and there’s still so much music I need to get out before the end, most notably right now Mean Lady’s ‘Bop Bop.’ The tracks a blend of pop, soul & psychedelic sounds that I can’t quite clearly define. Its steadily uplifting pace helps these somber vocals shine at the right times. I’m obsessing over Katie Dill’s voice right now and I hope to hear a whole lot more of it in 2013.
I was first introduced to Eat More Cake with their remix of The Other Tribe’s ‘Skirts’ and now they’re up to nogood on APDW’s ‘The Love Inside of You.’ The song features Candi Staton who’s got one hell of a voice and is further proven with EMC’s eerily funkster beat. Make sure to take a close listen in, there’s a few electro treats in there.
Solidisco continues to push out nothing but the best in this nu era of disco. ‘Gotta Have It’ offers up the usual catchy, soulful vocals with funky-ass beats to get groovy to. However, the one thing I’m not feelin is the electro-house-like edits made to the track, but what’s nu disco if not house goin back to its disco roots. Plus, I have nothing “real” to complain about so I’m just searching for something.
Seamonster needs to cover ‘Fu-gee-la,’ because this song (for some reason) keeps reminding me of it — and I think they could really pull off the cover. Actually, every time I put this on, at some parts (I’m not gonna get to which) I starting “singing” the lyrics to ‘Fu-gee-La.’
But beyond my foolish ideas for Seasmonster, their ‘Crystal Tear’ song is one delight for this (not too) cold-ass winter in The Bay. Definitely rockin’ this around Christmas time into the New Year.
The Dubstep Queen gets another healthy dose of dub smeared all over one of her latest, ‘Hanging On.’ Thankfully, Wonk went with the more melodic side of this bass driven style, because I’m getting sick as shit of the mindless mess dubstep’s drops are going through right now. Still not feelin Tinie Tempah’s feature towards the end, but Wonk put enough bass in to keep me occupied.
Few producers can do the trick without vocals, but AnagramNorton’s ‘Bombshell’ is of the few that pulled it off this year. Alotta electro run dry & boring without the needed vocal input, but ‘Bombshell’ keeps up the momentum with a few interesting flavors along the way. The sound reminds me of Daft Punk, but that’s like saying any pop rocker reminds me of The Beatles.
I thought I heard something about a Big Gigantic // GRiZ collaboration. Weren’t they callin themselves Big Griz or Grizantics or some shit like that? Whatever they’re goin by, their first single is one step up for this power-house duo. ‘Power’ is an anthem of a song with an electro-funky, industrious style. But the best part of all, that Gigantic of a sax solo, I gotta thing for the brass.
I could count the times on my toes where someone made a mix with as much soul as this. And to top it off, this Never Say Never label has all these acts in the bag, signed. There are many nu disco flavors on this Morning After mix, all with some sort of funk charm thrown in, but one sticks out over many other solid tracks. I’ve been putting ‘Alright with Me’ on heavy repeat and I can stop playing it…and I like it!
This is one slick rick song. It’s got a lasso for a melody fused with all sorts of electro madness. And vocals are spot on with the beat. It’s actually got me seriously considering compiling a “songs to get in a gun fight to” — think it could work?
I’ve been sittin’ on Restoring Poetry in Music’s Kingdom of Fireflies for too long, so I thought I’d at least share a piece for now. The thing is, it’s not that easy for me to do a write up on a full album, it’s hard enough to do just a song. More importantly though, this is a band that’s so special to us. RPM’s second album, Pyramids in Moscow, was one of the main reasons this blog ever came about — it’s still one of our best finds!
So instead of halfassing a write up on Kingdom of Fireflies, I thought I’d just throw y’all a taste. ‘Catfish Blues’ is definitely the track that takes me back to what I originally loved most in RPM. Raw Poetic’s heavy flow always seems to flow smoothly on top these trip-tronic tracks.