The Indian dialect is one of the very few outside the US that I actually enjoy listening to musically. I guess it comes down to the beat and how they flow to it that gives ’em their charm.
In Bobby C Sound TV’s latest, ‘Yogi Fire’ has that Indian-style finesse with the ghetto bass Bobby C helped make so popular, at least on here. And although the vocals on the track may remind me too much of the Bollywood stereotyped song & dance, once that bass kicks in, all things go good!
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Most of the time I’m spouting off about a track’s vocals and declaring that 99% of producers can’t pull it off without ’em. Well, Madeaux is of that very few that can, and even though there is a bit of chorus transcendence in ‘Circe,’ the beat could sure as hell carry itself alone. I also gotta point out my appreciation for the change up in style Madeaux put on here. Going for a midtempo, kick bass heavy beat, ‘Circe’ is a slight enough shift in style to keep Madeaux fresh. + I love the slight touch of brass.
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Late Nite Tuff Guy’s smooth soul reinterpretation of the Jackson 5’s ‘Never Can Say Goodbye’ starts off with a slow buildup seen in so many downtempo tracks. But unlike most, this buildup doesn’t stretch out too long and brings in MJ’s vocals at times quite nice. Things start to pick up around two minutes in, but it really gets good at just after the three minute mark. What’s really nice about this is to hear Michael Jackson’s voice at a more youthful time. I sometimes forget how different his younger year’s voice brings out a whole different set of emotions along with it.
I should point out that LNTG retitled this remix ‘Don’t Wanna Let U Go [LNTG Interpretation]’ without any reference to Jackson 5 in his SoundCloud. I believe this is so it doesn’t get taken down by those pesky copyright bots scouring SoundCloud to fuck over the remix community.
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Funk Ferret is known ’round these parts for his dirty bass ghetto funk and his new edit for Sisi’s ‘Stay’ does not disappoint. FF does lay off the dirty bass a lil’ and goes for more of a brass funkiness. All & all, it’s just nice to hear from this dude again, it’s been too long.
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This may have just been shy of making our Hottest Nu-Disco in the Funkin World, but it still deserves its own feature. And once again it’s the vocals that steal the show.
Moon Boots sure is making some of the most magical nu-disco on the block, but not even he can outshine Violetness in ‘Running From.’ I know I go on & on & on & on about vocalists in just about every post I make, but tell me she doesn’t just capture you right away. Well, she didn’t capture me right away, but once I felt her tender lips all up in my aura, I was smitten beyond belief ;)
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Running through Channel Orange over, I can’t stop going back to ‘Lost.’ I mean, I connect with a few of the others, mostly which were already released, but I just can’t get away from that melody in ‘Lost.’ The lyrics haven’t really hit me like a few of his others have, but I’m never one to look into lyrics all that much – ’cause usually when I do, some ass has to correct me, and usually they’re right. Or it could be the words and I just don’t know it, yet. Wish I could get a little more lost in life, physically – got the mental down.
[audio:Lost.mp3|titles=Lost]
Last year when I was writing up a piece on the best ghetto funk of 2011, I thought that ghetto funk would be the next biggest thing in emerging music – well, I more hoped it would be. The sub-genre just doesn’t have enough traction with producers and listeners to be the next big thing. However, I do know what’s about to tear up this next progression in music and this time it’s not just wishful thinking.
Our last major mix of music was comprised of the next stylings in R&B. With the likes of Frank Ocean & The Weeknd, soul music is back, but that’s only one half of the equation. Where this hipster R&B is our new music to make love to, nu-disco is where it’s at to get down and dirty on the dance floor […]
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I’ve heard a few dubsteppers use old school singers in their set, but none have pulled it off like The McMash Clan. Taking Julie London’s classic ‘Sway’ and speeding it up just a touch (right on the border of that chipmunk sound), the trio puts a heavy load on London’s classic voice, updating it into this glorified dubstep era.My only issue with the song is that they hit a little too hard after London’s intro. But, from then on this shit sails over her voice in a glitch infested, bass possesed hell of a song.
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‘Sweet LIFE’ is the latest single off Frank O’s Channel Orange. Co-produced by Pharrell Williams, ‘Sweet LIFE’ changes gears from his last single, ‘Pyramids,’ with a simply smooth, jazzy vibe. Frank lays down those ever lucid lines and reminisces about high society’s secluded life of luxury. Effortlessly lovely as always, Frank.
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Wildcat! Wildcat! just released their third single “The Chief” and it may just be my favorite one of all. The tune has the usual infectious falsetto chorus, but what sets it apart, as it usually does, is that sexy ass sax. Played by William May, the solo piggybacks off the increasing buildup to the song and puts one sexy ass cherry on top.
Make sure to check out their first single, ‘Mr. Quiche,’ if you enjoy this electro-indie-pop’o’rama. It may not have the sax, but that chorus is just as catchy, if not more. I’m expecting big things from these guys.
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