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Thundercat ·· Apocalypse

A sentimental kind of soul

From the first two tracks I’ve listened to of Thundercat’s, thanks to Flying Lotus’ Brainfeeder label, it’s plain to see he brings a vocal sentiment to his funky bass guitar jams. I haven’t heard the rest of Thundercat’s Apocalypse album yet, but I hope it keeps up the consistency that I heard on “Heartbreaks + Setbacks” & ‘Oh Sheit It’s X.’ Still in much demand for soulful vocals like Stephen “Thundercat” Brunner’s.

Apocalypse is set to release June 4. In the meantime, check out Thundercat’s catalogue.

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Max Frost and his Funkyass Jives

A memory with his music

There’s alotta music that sounds good, but few become all that memorable. To have a sound you know you’ll be listening to for a good long while, as sparing as that while may be, is what we all look for in music.

I first caught wind of Max Frost with his ‘White Lies’ track that’s topping the charts on the Hype Machine right now. And as memorable as ‘White Lies’ may be, what I didn’t expect was to find a bunch more memorables.

Frost’s SoundCloud is littered with funky hick jives that are all single worthy in their own right. His 50’s bebop style with Black Keys like vocals could only be topped off right with such memorable chorus lines. I’m looking with a keen eye on this guy, not a mediocre track to his name, yet.

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Coyote Kisses ·· Thundercolor

It's like electro music went earthly

Coyote Kisses were right there when I got into the EDM, bass-driven scene just a few years back. They’ve always been there when my electro dance appeal’s been waning and bring the fresh electro charm to play. Compared to their last EP, I can tell the chomp has been lost in Thundercolor, but still brings the charm.

I didn’t appreciate Thundercolor the first time through simply because I didn’t expect it. Now that I’ve listened to it a few times through, it’s clear that the synth melody is still signed in, but doesn’t have the usual chomp Coyote Kisses mouth off. But no longer will I wear my bass-driven depends for these two. I’d much rather see them stretch their stylistic seams into beauty such as this than listen to the usual bullshit I love.

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Madeaux EP

Some steamy seduction in her'

A few years back, a respected blogger of mine told me that if you don’t have anything to say about a song, it’s not worth posting. But for me, sometimes the music is all I have to say. I can usually wrap a story around a song or at least put some entertainment with it, but sometimes I haven’t had enough time with the music and it’s just too hot to sit on.

Well, I’ve been sitting on Madeaux’s EP for far too long now. The first two tracks are especially worth looking into, with Madeaux’s usual piano playing in full melodic dress. See, not all that much to say, but if you take a look at the two you’ll understand why I couldn’t wait any longer.

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Know Good Indie Labels, 2013

12 independent record labels with a well imagined roster

Independent record labels are sprouting up all over the place in location & style. And the ones that are doing it right not only have a choice selection in catalogue, but also take the time to artfully craft their image as they do their artists.

Each of these 12 labels sport some of the most well respected producers & musicians that belong on this blog and create a culture with style around their music. On here I may point out a few that lack in proper online presence, but they are all doing it right when it comes to the perception of this era’s evolution in music labels.

Check out the Top 12 Labels »

Daft Punk · Get Lucky

with Pharrell Williams & Nile Rodgers

I remember telling a friend of mine that Daft Punk’s SNL sample was better than most music. Unfortunately, it’s also better than the final version of ‘Get Lucky.’ It’s not that the final with Pharrell on vocals is all that bad, even though I hear far too many criticize it to be, it’s just the sample outweighs the master and far better represents Daft Punk’s mystique & image.

The biggest issue on ‘Get Lucky’ goes to Pharrell. As much as I love the catch in his chorus, his intro (and really everything but the chorus) is outright amateur sounding. I usually criticize a song for not getting to the good stuff fast enough, but this should’ve road the beat out a bit longer, it deserves the solo time. In fact, that Nile Rodgers’ guitar strum is the only thing that’ll be remembered in the long run. Take a look at a few examples of this amazing sample in use and wait for more things to come from this simple guitar strum.

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