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.
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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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Half of what a producer does is finding the right vocals. Vocals are what carry a track forward and if they fall short, everything else will crumble. TIP may be onto some next level lovestep, but the vocals he provides are even one step higher.
I first fell for TIP in his remix of Birdy’s ‘People Help The People’ (with a passion) and now I’m struck by ‘Moon Struck.’ It’s just that organic lovestep is so.damn.charming. It really is far beyond where most music is at today. I do wish he would provide where he got the vocals from, though…
Every time I hear a Viceroy production, it always reminds me of how much I gotta get out of the house! As you can imagine, I’m one who dwells in a cellar for weeks on end, but at least I’m starting to realize my foolish ways. And hopefully Viceroy’s latest will break me of this dreaded curse! (though, probably not)
‘Chase Us Around’ is another Viceroy attempt at the Caribbean steel drum style with a wee bit of the dirty bass and highs that’ll make the best of beach jams. And of course we can’t forget the fun loving vocals by Madi Diaz. I can’t say I’m the biggest fan of her sound, she’s almost too fun loving for me, but they fit this Viceroy jam like a glove.
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DLG’s summer 2012 sampler sports all sorts of disco, funk and grimey lazer. Two of the tracks feature classic soulful vocals from… god knows who, since these darn SoundClouders never credit their singers, but they’re lovely as hell nonetheless. Can’t say this is worth the $7.47 price tag, but the amount of funk-filled disco is well worth a single purchase, if not a rockout stream to the whole damn thang.
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Voodoo Farm is my main man for those raunchy dubstep remixes and now we get ’em all packed up neat in his official VOODOO FARM REMIXTAPE. With newly-mastered versions of 15 remixes + 7 unreleased ones, you’d think we have some new shit to romp around to for at least a few weeks, but the only way it falls short is in bringing anything fresh.
Voodoo’s included all the remixes that made him so special to me, but all the new shit is small compared to this behemoth of a mixtape. Still, this is a collection definitely worth keeping.
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Starfucker brings back Josh Hodges’ tribute to the hits, Sexton Blake Plays the Hits, from 2007. It’s very Starfucker demo like – Starfucker without most of the electro frills – which was refreshing at times while seeming to lack at others.
Hodges starts it off right, though, with a cover of Bruce Springteen’s ‘Hungry Heart.’ Of all the songs, I never would’ve thought he could pull off The Boss’s, but somehow he does with that light-hearted, raspy ‘lectro guitar that bleeds well with his voice.
The rest of the tracks, while pleasantly sedating, don’t make the cut worth keeping. Still worth a go around, especially if you’re a fan of this gut punched, electro seducing indie moosic.
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