So like I always do, I made up my own lyrics to Moon Boots’ Love Strong song or at least parts of it. But when I tried to figure out the actual lyrics, I couldn’t. The weird thing is that these vocals sound so familiar. I thought a simple Google search or a SHAZAM! would do it, but no such luck.
This is why credits need to be given with a simple search.. or simpler. For the first time we have the ability to properly store extensive song data, yet there’s still no widely-known & used service that gives musicians this ability, easily. This has been brought up at a few SF MusicTech discussions I’ve listened to and I’m sure it will be again, but hopefully with someone who has a promising demo to show off this time around. [Dreams]
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French Express is once again staying consistent in their choice selection of music with Isaac Tichauer’s funk slice of house, Take Over You. The EP’s cut up into five solid states (tracks), but other than the lead single the four others are simply meant for passive rather than active listening. The four others just aren’t supported with vocals like on ‘Take Over You,’ one’s that carry the song the whole way through rather than just becoming an instrument of it.
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This is such a powerful song, but first I need to get to more pressing matters on my mind. The lone trumpet or brass instrument playing throughout Joywave’s ‘Dying Well’ sure as hell reminded me of Homeland’s opening credits – well, up until I rewatched them. It may not remind me of the credits anymore, but there’s gotta be something Homelandish about that damn thing — thoughts
Now back to the actual song, ‘Dying Well’ has one sensual lead vocals that carry well with none other than that lonely brasstrument (hate that thing). This whole piece carries pretty damn well in fact, yet unfortunately the rest of Joywave’s 88888 mixtape does not. I didn’t find anything else on there that stuck in my head quite like ‘Dying Well.’ I may not understand all the lyrics in it yet, but I get the message clear.
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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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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 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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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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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.
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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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I don’t know if the people of Rio have caught on to this shining tribute to their city yet, but I sure as hell would love to be the one to bring it to them. I’ve never been, but Theo’s Rio has given me a clear picture of how pleasant it must be.
Every time I listen to it, it’s like daydreaming back to that 1950’s Rio or some Hunter S. Thompson tropic stupor. Either way, Theophilus London and his Menahan Street Band have made me dream in Rio. I can’t wait for the sunny day where I play this for the first time there. Shit’s national anthem status.
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