I’m not gonna make this a bigger deal than it is, we’re not here for the imagery, but Spook Black did a piss poor job on his visuals (mostly video). His voice, however, has something I’ve only heard from a few others in the last decade – the first I can remember from our very own The Weeknd back in 2010. Though The Weeknd went the elusive route in the beginning, something Spooky should have considered.
We did save him for our one-thousandth post, so hopefully that’ll show our appreciation for his potential.
So I’ve got a running playlist of what I want to talk about next on here and these three tracks were coincidentally placed one after the other on it. All of which subtly use “baby” beautifully. They’re all good individually, but better as our baby trio.
The vocals on ‘Givin It Up’ was what first caught my attention, especially the switch up half way through, but the video deserves much more praise. The lyrics like in any song are up to interpretation, but the video solidifies the story with a well-played twist.
Also, thanks goes to Lancelot for the crafty piano work. Another song to add to our playlist of 2014′s piano players (should be out soon).
Electronic is overtaking the industry and has done the same on this blog more & more each year. Our list of electronic music is so massive this year we split it in two.
First up is our best electro soul of 2013 that ranges from funk & jazz to R&B & dubstep (melodic dubstep). We weren’t sure if we wanted to include the remixes from our last list, 2013’s Top Remixes, but there is just as much soul in the remixes as any of the originals. Make sure to play through all 25, it’s got a good ebb and flow to it.
Also, stay tuned for our next list in electro: electronic dance music – and not that bullshit shit.
I may only love about a minute of this song, but I’ve been playing it not stop for the last two days. The build on ‘My Love’ lasts about 30 seconds and is an anthem in its own right, but the breakdown like Panda’s “In Your Eyes” lacks in such inspiration. The deep house interludes are just too sedating for such an upbeat vibe brought on by Jess Glynne. I need a radio edit or something.
I thought Shy Girls would’ve had girls in it, but his voice is lovely enough. Plus, I’ve had my fair share of females this year, as you’ll soon see (best of 2013 list).
For the remix, Saux gets on this, making ‘When I Say I Love U’ feel like a symbolic day dream you can only picture in the movies. Really brings out those MJ highs Shy Girls breathe out.
Panda’s new delight is a big house beat that brings one of the best builds of the year. So good the drop couldn’t keep up. Unlike their ‘Eighty Nine‘ track, which was done so damn different. Both tracks are recommended with headphones, as per usual, but more especially.
Love it when a good remix introduces me to a good original. Cherokee makes a smooth house mix with Darianna and FKJ tops it off subtly with an abstract, tuned up remix. Both are a pleasure to listen to simply because of Darianna’s voice. Once again I hope a vocalist like her keeps with the pace in pairing up with producers like these two.
Well if I do say so myself Sam Smith almost sounds as pretty as Prince. And along with Disclosure’s unconventional electro wobbles, this makes for some progressive electro soul music. Not only that but Nile Rodgers features on the track and damn does his melody run through. ‘Together’ might come in a little short at just over two minutes, but a whole lotta different styles of soul are packed in.
I just caught Rolling Stones ‘Rocker vs DJ’ short (seen below) and as true as mainstream EDM may be “shooting shit into our eardrums,” there’s no doubt electronic is the future. Electro music is as much a genre as it is an expansion of what constitutes music, for better or worse. But like I’ve said before, anything emerging is gonna have its over flow of shit. It’s up to music influencers to set the tide straight.
Joel Compass’ ‘Run’ is a thing of the past, it sounds right from the 90′s. But Joel has a way with the chorus and Armeria mixes it into a groove pop beat that many would call house or whatever subgenre. Labels are a tainted bitch, but serve their purpose.