I get the pleasure of seeing Mr. Rathsman tonight at Mighty in San Francisco along with the rest of the French Express label. The label houses some of my favorite funk & disco acts, including my very favorite, the headliner Moon Boots. I’ve been all over Moon Boots for a few years now, but this is my first taste of Rathsman with his ‘Feel What I Feel’ track. I’m sure I’ll be feeling whatever they put on tonight.
I think I’m starting to get the hang of this whole brass classification thing, alright maybe not fully yet. I know this isn’t the sax at least, or at least I’m pretty sure. I should have been a musician so I could have properly learned this musician mumbo jumbo, now I’m just in it purely for the sound.
Grifta’s ‘The Lost’ has got all the emotion I see with any brass infused track with a downtempo Nujabes like find. It’s still puzzling to me how much emotion brass instruments have over all others to me, something only vocals supersede. Can’t wait for Grifta’s next gift.
I can feel jazz creepin up on the electro scene this coming year. I thought it was going to be rap, but a lot more jazz brass has been popping up. And if I have to wait any longer for hip hop’s revival, I don’t mind so much if it’s with jazz.
Space Captain’s ‘Easier’ features vocals by Maralisa and I don’t know who compliments whom better. Space Captain puts on a fine jazzy beat, but these vocals really capture the feeling. I guess what will tell is who can reinterpret their own sound and make it something more beautiful next time. Could happen together again, but it’s much harder the second time.
Last year I heard Insomniac was taking its Wonderland festival and bringing it to The Bay. The thing I remember most when looking into Beyond was that Insomniac was trying to create a festival so visually & audibly stimulating there was no need to rely on ecstasy or LSD. As you can imagine, I was pretty eager to find out how well they pulled it off both personally as well as for other attendees. And as much as I can’t speak for them, though some of the pictures can, I will speak a little on my own account.
Visually, everything was pretty enchanting my two nights there, but during the day the drabness of the Shoreline Amphitheater seeped through. Much of the crowd was dressed in full fantasy and really made the scene more than anything. But where as the visuals were decent, the music faltered.
Some of the night acts, namely Zeds Dead & WhiteNoize, were a helluva time, but the music that played most of the day can best be described by one song, the dirty bit version of ‘Time’ by The Black Eyed Peas. In other words, once the beat dropped everything went to shit […]
‘Control’ starts off like an MGMT tune with vocals blended in well shortly after. The highs do get pitched up a little too high, but I like ’em in their quirky little way. The closer these vocals stay with this producer, the more likely both will succeed — keep up the collaboration, however it may have formed.
I’ve been following Jason Burns for a bit now and when I heard he teamed up with the lovely Jessie Andrews for a Drake retake I knew it had either bad or good written all over it – Drake is usually a big hit or miss for me. Thankfully though Drake has nothing to do with this, except in name and album art. His vocals have been completely removed. However, Sampha’s backup vocals are provided throughout and make this one beautiful deep house melt.
Lee Everall helps push out some of the best deep house, disco shit with his label Never Say Never. And now he treats us to the first of a mixtape series that sports some of its finest and so much more.
Before Luminaire was Luminaire, he teamed up with Everall as Never Say Never. And the duo start this mix off right with their very own, ‘The Half.’ It’s been on repeat for days at this home.
The melody isn’t half bad, the wobbles work well and the girl is good for a few cuts in, but that sax is what carries this tune. My obsession with the saxiness has gone back to one of our very first posts (3 minutes in, woof) and far before that. It’s the only instrument that can consistently replace the vocals as the backbone of a piece. And in ‘Jubel,’ the sax is its stature.
I can’t believe I just posted a song about a glitter emcee, let alone the GlitterEmcee. Girls gotta flow a lot like Doja Cat’s, laid back and not as stale as these male rappers nowadays.
But I wonder how long she can keep my interests, I get bored with these female MC’s fast (males faster). I do appreciate ‘Hellorato’ though, it’s a cold trip with a lovely lyricist.
Attended my first Beyond Wonderland festival in The Bay and as a helluva time as it was the music wasn’t really my thing (it’s about more than just the music). It’s not like they lacked good EDM artists, loved Zeds Dead & WhiteNoize, but the majority of it suffered from the dreaded dead beat (see dirty bit) loved by the Molly driven audience plaguing the EDM scene.
So after the festival was over Saturday night, I wanted to blast a little of my own EDM favs on the ride home. And first to pop in my mind was a newly discovered remix of Whitney Houston’s “It’s Okay” by Arches. It may cop out to sampling some of the finest of the 90’s, but with its deep house depths Whitney has been revived with one helluva banger set for a massive audience. I’d love to see this tried out on a similar audience.