Flamingosis releases a funky disco balled, ‘Think Back And Remember’

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Flamingosis releases a funky disco balled, ‘Think Back And Remember’Flamingosis

Multi-instrumentalist, Flamingosis has released the third installment off of Sundae Sauuce‘s Chocolate Drizzle funk compilation, “Think Back And Remember.” With a serenading electric guitar laying atop a bed of sultry synths, the the track is carried by a pleasing, jazzy drum arrangement. The hook picks up with a wailing guitar melody and sparkling synths, giving the new tune a venerated, vintage disco aesthetic.

New Jersey-based producer/beatboxer/DJ, Aaron Velasquez, is known for his smooth, crisp production sensibilities, proctoring relaxing, mood boosters that lean on sonic subtleties in their appeal. His sound is heavily influenced by beat makers like J Dilla, Flying Lotus, and Madlib. Reach for “Think Back And Remember” for a cruise with the windows down, or study session buried under headphones and let Flamingosis take you away.

Photo Credit: @flamingosis/Instagram

Chromeo will stream their album launch party from NYC’s Terminal 5 in VR

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At long last, Chromeo have shared their fifth studio album, Head Over HeelsAn ode to all things disco, the album explores the sub-genres of funk — roping in synth pop, sultry R&B, and nu-disco sensibilities into a retro-inspired dance record built for the 21st century dance fan. And while Chromeo have always maintained a creative affinity for vintage stylings, Dave1 and P-Thugg are celebrating their newest release in the most contemporary way. Can’t make it out to New York’s iconic Terminal 5 for the album’s live debut? No problem — cut a rug from the comfort of your own living room.

In conjunction with Oculus Venues, the Funklordz will live stream their performance in VR for fans across the world to enjoy. The show will air tonight (June 15) at 9:30pm EST/6:50pm PST, broadcasting Chromeo’s newest material from Terminal 5, replete with all the visuals, lights, and sounds of a full concert experience. Head Over Heels, the duo’s first full-length project since 2014’s White Womenfeatures contributions from DRAM, The-Dream, French Montana, and more is available now via Big Beat Records.

WATCH: Nile Rodgers & Chic join forces with Mura Masa & Nao on funky new track

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Nile Rodgers has proven his knack for writing hit songs over the past five decades, with collabs from Duran Duran to Daft Punk under his belt. Keeping up with the newest names in funky pop music, Rodgers and Chic have taken to the Jools Holland show on BBC Two with Mura Masa and NAO to premiere their funky new track, “Boogie All Night.”

NAO acts as the main vocalist on the track, pairing her breathy, high-energy vocals with Rodgers’ classic guitar riffs. Mura Masa also takes the stage wielding a guitar, holding his own against the funk and disco legend. With a new album from Nile Rodgers and Chic set to arrive later this year, there is no telling what kind of groovy collaborations will be seen.

Catch a vibe with Colby J’s new ‘Mid Summer Night’s Dream’ mixtape

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Colby J is building a name for himself concocting well-rounded blends of disco, funk, soul, and blog era house, bringing his deep crates together to create a growing series of dynamic mixtapes. While there’s no shortage of LA-based up-and-comers tinkering with 808 drum arrangements and 909 snares, Colby J rather draws his inspiration in the likes of LCD, Soulwax, Tiga, and Holy Ghost, among others, and his indie-dance sensibilities undoubtedly shine in his newest mixtape titled “Mid Summer Night’s Dream.” For those with a sophisticated palate looking for an exceptionally well balance mix, reach for some headphones and turn on Colby J’s newest mixtape.

With a growing list of upcoming shows, and with his debut original material rumored to be in the works, expect Colby J to keep providing soothing sonics all summer long.

T R A C K L I S T

1. Shock Machine – “Open Up The Sky” (Soulwax Remix)
2. Mura Masa – “Love$ick” ft. A$AP Rocky (Four Tet Remix)
3. Robert Palmer – “Every Kind Of People” (JN Multicultural Multitrack Mix)
4. My Neighbor Is – “Little Freak”
5. Sadevillain – “Hold On Vaughn”
6. RockNRolla Soundsystem – “Morganton North Carolina”
7. Led Zeppelin – “Whole Lotta Love”
8. Adrian Gurvitz – “New World”
9. Mary Wilson – “Red Hot” (NY Edit)
10. Minako Yoshida – “Black Moon”
11. Devandra Banhart – “Santa Maria de Feira”
12. Cerrone – “Hooked” (Kon Remix)
13. JKriv – “The Queen On Her Throne”
14. J.M. Black – “Lipstick” (Shout)
15. Jean Guy Ruff – “Covergirl”
16. Paul Rudder/Tete De La Course – “Makin’ The Magic”
17. Stephene Deschezeaux – “On The Line”
18. Dimitri From Paris – “Flight To Jamaica”
19. Felix Leifur – “Berg Toppur” (Hidden Spheres Rocky Top Remix)
20. The Revenge – “Conkers”
21. Sharpio – “Dance Drone (We Can Make Your Body Move)”
22. Oliver Boogie – “Can’t Get Away”
23. Blutch – “Time After Time”

 

6.2 – The Echoplex (Silverlake)b2b Rambo w/ Darius, Kartell (Live)
6.20 – Friends w/ Benefits @ The Friend Bar w/ Adam After Hours
7.21 – The Saguaro (Palm Springs)w/ Sabio

Carl Cox & Eric Powell become ‘MD Funk Connection,’ share stories of their roots [Q&A]

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Legends Carl Cox and Eric Powell remain heroes in the house and techno sphere. Despite clocking in three decades each behind the decks, their passion for their craft and drive to continually move forward musically allows them an endurance that has stood the test of time. Paired with this endurance is a profound connection with their dance genres of choice, stemming largely in part from their roots.

Jazz, soul, funk, and disco are as deeply embedded in house and techno as they are in Cox and Powell’s musical backgrounds. Both their parents exposed them at a young age; Carl, for example, recalls a childhood playing classic records at family gatherings. Similarly, Eric’s hunger for jazz and funk led to him sneaking out of school to ravishly consume new albums. Hearing of their pasts greatly clarifies the present — it seems as though curating and purveying these soulful sounds that moved them so much, in one form or another, was a path they were both meant to travel down.

Three decades after earning their stripes on the DJ circuit, it’s time for Powell and Cox to pay respect, and revive the jazz/disco/funk side of them. Their evolution subtly made its introduction a decade ago, when the two began throwing their Mobile Disco (MD) parties across Australia. Throwing events simply wasn’t enough, however; there was a desire for something deeper, more tangible. Thus, both icons converged their talents and creative vision into a brand new project based around the Mobile Disco brand: MD Funk Connection.

The main M.O. of the project aside from its event arm is to gather new and old live artists currently upholding the music that is the backbone of Cox & Powell’s existences, and output music alongside them. Based off the first single, what we have is a refreshing endeavor that elicits an organic, empathetic response in its listeners. They’ve taken Mass Production’s classic “Shante,” and remastered it with a bit more of a modern flair that preserves the original’s integrity. In the future, more original works are expected.

Curious as ever, Dancing Astronaut flagged down MD Funk Connection to spill some details on the project’s inspiration, the profound influence their roots have played in their dance careers, future plans, and more.


Obviously both of you are very familiar with just how much funk, disco, & jazz have influenced/helped the birth of dance music. We’d love to hear you guys give us a history of this influence in your own words!
We both have West Indian heritage – Carl’s parents are from Barbados and Eric’s dad is from St Kitts, Carl grew up in the south of England and Eric grew up in the north of England, listening to soul, bluebeat, reggae, funk and jazz.

In our teens we went to All Dayers – Caister/Blackpool Mecca – great times and great music. Amazing self contained bands – Slave, Mass Production, early Jeff Lorber Fusion, Funkadelic, Parliament, Maze, Brass Construction, Eric says he always thought he was a rebel sneaking off from school to listen to new jazz/funk albums. A ten year old Carl Cox would play records at his dad house parties. Spending your last five pounds on an album, having to walk home because you had spent your bus fare on records. When we old enough to go out, it was at the end of disco for some people, but looking back it was the start of house music, with the benefit of hindsight you can see the musical progression.

What is it about jazz and funk that make them such soulful and timeless genres, in your opinions?
The musicians, the singers – gospel vocals mixed with experimentation of jazz and the locked down groove of funk – the perfect storm allowed the genre to grow and develop.

Who were your favourite musicians growing up that have played the most influence in your sound?
Nile Rodgers, George Clinton, Ronnie Laws, Randy Muller, all grooved based producer musicians and all little bit different – Nile Rodgers and Chic was disco with soul, George Clinton the ultimate funk producer, Ronnie Laws, including his sisters and brother Hubert Laws, Debra Laws, Eloise Laws, Randy Muller and Brass Construction almost rock but never with out his unique brand of funk, probably our favourite producer was Jimmy Douglas – he was so young when he produced “Slave” Eric Powell thinks those albums were his heaviest influence especially “Snap Shot”.

Carl’s favourite “Slave” album is “Just A Touch of Love”

On that note, did you two have any specific songs, artists or eras within funk/jazz/disco in mind to emulate while writing ‘Shante?’
Shante is a version of Mass Productions “Shante”, its a track we had been playing at our Soul and Funk parties, other tracks are “Welcome Aboard” – Webster Lewis, “Lovers Holiday” – Change, P-Funk All Stars – Hydraulic Pump

Who are your favorite acts in jazz and funk at the moment? Dream collaborators for future tracks?
We have a house/disco collaboration with Nile Rodgers that we are working on, we would love to work with Jimmy Douglas, on the U.K. side we are also hoping to do something with the Incognito guys and we are really excited about a revisit of a George Clinton classic – we got access to the original twenty four track tape.

We read that MD Funk Connection arose from your Mobile Disco parties that you’d throw in Australia. Any plans to bring those parties out to an international setting?
We are just about to do a “Mobile Disco” party in Bali, the location is off the hook – Ulu Cliffhouse, absolutely amazing venue, Both of us are looking forward to doing something in Europe and the States in the near future.

Tell us more about the decision to create a whole project around Mobile Disco in general. Why is now the right time to unleash it, and was there a particular moment that made you want to evolve the project past simple parties in your localities?
We have been doing our soul, funk and disco parties for ten years now, after seeing the response to some of those classics and the hard to find tracks we personally thought we were at a stage were we could re-imagine some of the tracks, write some originals, we have got a fantastic producer/engineer in “Joe Roberts” in the U.K. and Chris Coe in Australia plus an amazing array of musicians in both Australia and the U.K. – the timing was just right for us and we think that we could do justice to the soul funk disco genres.

What is your methodology for recording music under the MD Funk Connection project? Do you employ live instrumentation? Do you write through jam sessions and edit on the computer, or are all your sounds synthesised already and you mostly produce as you would a usual track?
So far all the tracks have been live musicians, We have a brain storm, talk to Joe and Chris, work out if we can find the right musicians and vocalists, then off we go – it is really exciting, its a different way of working than when you are solo in front of the computer. We are still into writing tracks in front of the computer but this gives us a slightly different creative outlet.

Which record stores are your favourite for finding jazz & funk records for your collection? What other places do you go to to search for records?
We both have extensive record collections, its more about disappearing sorting through our vinyl, coming up with tracks and artists that we forgot about. A track might come to mind then its scouring online retailers rather than going to record shops, we don’t live that close to any vinyl stores.

When did you two first start building your collection of jazz and funk records? Carl, I believe I read you began during your childhood?
We both started as kids – very young around nine years old could have even been younger, its amazing how similar, both of us would ask for albums for birthdays and Christmas.

If someone wanted to know more about jazz and funk, which tracks would you tell them to start out with?
Expansions by Lonnie Liston Smith, Jazz Carnival – Azymuth.

What other plans and ideas do you have in store for MD Funk connection in the future?
Its pretty organic project – no rush, enjoying ourselves in the studio, working with live musicians – we are finishing of a reggae track at the moment, the next track will be on a latin tip maybe.

#End.

Order a copy of ‘Shante’ here

Feature Image found on: joy.org

Exclusive: Mind Enterprises – S.H.A.K.E (Breakbot Remix)

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Breakbot

Mind Enterprises served up a heavy dose of funk in his recent single, “S.H.A.K.E.” Now, he’s passed his tune off to French electro icon Breakbot to cast it in a brand new light.

The original’s high nostalgia levels are kept in place in Breakbot’s remolding; however, the Ed Banger signee decides to conjure this sentiment by way of disco grooves. It’s a subtle, yet effective change, and this new canvas Breakbot’s put in place works well when dressed with “S.H.A.K.E’s” distinctive bass guitar riffs and lo-fi vocal samples.


Order a copy of Breakbot’s ‘S.H.A.K.E’ here

Chromeo and D.R.A.M. are a match made in funk heaven on ‘Must’ve Been’

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Chromeo‘s music is like fine wine. The longer Dave1 and P-Thugg carry the funk torch, the tastier their music seems to become, and by the sound of it, their upcoming Head Over Heels LP, might be the duo’s finest vintage yet. Joining forces with D.R.A.M. and renown Prince and D’angelo collaborator Jesse Johnson for “Must’ve Been,” Chromeo offer up their characteristically groovy sing along-primed funk along and a charming stroll down memory lane with the accompanying Dugan O’neal-directed music video.

D.R.A.M.’s fun-first writing style meshes with Chromeo’s aesthetic so perfectly he could be the third member of their band and their chemistry plays through brilliantly on “Must’ve Been.” It’s an instant bop headed for heavy radio play — expect this summer to be sountracked by the tune’s infectious bongo rhythm and plunky guitar licks. Best of all, Chromeo will be bringing their new live show on the road this summer leading up to Head Over Heels‘ June 15 release date.

Gramatik announces highly anticipated return to Red Rocks with Gryffin, Haywyre, and Ramzoid

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Gramatik_symbiosis

Gramatik has been situating himself as a cutting-edge headlining act over the past few years. When the former Pretty Lights Music signee isn’t busy pioneering the way in crypto-currency culture, Denis Jašarević has been hard at work with his new Re:Coil Part 1 EP project in addition to some monstrous collaborations with GRiZ on “As We Proceed” and Ramzoid on a remix of Flume’s track “Wall Fuck.”

Having just embarked on his album-supporting Re:Coil tour this past December, Gramatik has just announced he will be capping the year’s festival season with his annual return to the legendary Colorado venue Red Rocks Amphitheater. The Lowtemp Records boss will be joined by fellow NYC producer and multi-instrumentalist Gryffin, Monstercat favorite Haywyre, Canadian future bass beat- maker Ramzoid, and recent Lowtemp-signee Balkan Bump, who has just released his debut EP and will be joining Gramatik on stage during the main act. The live event is set to take place Sept. 1, 2018.

General on-sale begins Friday, March 16. More information can be found here.

Exclusive Q&A: Break Science on how Brooklyn influenced their sound, working with Pretty Lights, and their newest LP, ‘Grid of Souls’

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grid of souls-break science

Raised in the cultural hotbed of New York City, Break Science‘s Adam Deitch and Borahm Lee have long brought their city’s rich musical history in jazz, funk, and soul directly into their catalog. As two essential members of Pretty Lights Live, Deitch (also of Lettuce) comes armed with his thunderous breakbeat style on the drums, while Lee brings a seasoned trip-hop/dub aesthetic on keyboards and laptop. As Break Science, the Denver-based electronic duo combine their respective styles into a perfectly interwoven sonic treatise of thought-provoking, highly-textured, bass-pumping songs.

The C3-represented artists do not release new projects often, given their busy schedules with touring and their other acts. So when they do, it’s an easy bet that the project is fresh and soulful, expertly polished, and, above all else, extremely danceable. Break Science’s debut EP, Further Than Our Eyes Can See, for instance, included verses from some of today’s most conscious vocalists — including Brooklyn’s Talib Kweli and Jahdan Blakkamoore, Sierra Leone’s Bajah, and India’s Falu. Now in the midst of their 5-date US tour, the electro-soul duo is releasing their first LP in almost five years, Grid of Souls. The eclectic 10-track album showcases their diverse sonic range and deeply rooted beliefs in interconnectedness and consciousness in such a way that is bound to make a mark on the modern musical landscape.

Kicking off the album with powerful vocals of Raquel Rodriguez on the synth-driven “Cruise Control,” Break Science fuse generations of New York’s rich musical legacy with their own deep-rooted connection to hip-hop heritage. Other highlights include “Guiding Light,” where the duo puts their heavier bass and trap vibes on full display, along with a more rhythmic offering on “Light Shine Down,” a track tinged by influences from 80s electronica and synthwave sounds.

Deitch and Lee took time out of their busy touring schedule to answer a few questions with Dancing Astronaut on Grid of Souls, speaking to the album’s underlying messages and driving stylistic components, along with their time in Pretty Lights, how working with Derek Vincent Smith has influenced their own individual sounds, and their US tour with the groundbreaking lighting talents of Lazer Shark.

 


It’s been five years since your last LP release. Why have you waited so long?

B: Shit it’s been 5 years? I thought it was only 4.. I guess we were waiting till we we had something good to say. Well we got a few things we wanna talk about now and we plan on releasing more music this year.

A: To get it right! To get all the fine tuning, mixing, mastering takes time, especially with our touring schedules. Glad we waited until it was right!

What do you feel the album is attempting to say?

A: The album is a musically psychedelic trip into interconnectivity that is undeniably danceable and also can make one think.

B: Understanding the beauty in the diversity of life and seeing the unbreakable wires which bond us all together.

Stylistically, the LP is a beautiful blend of melodic and glitchy synth-laden funk, soul, and jazz. How do you feel your musical styles have evolved since your Seven Bridges LP in 2013 and what does Grid of Souls bring to the table that’s fresh and new?

B: We like bringing different styles together to create something new, but also like to stay anchored in the music that we came from. We continue to push this concept on this record.

A: The technology has evolved, our musical minds have evolved, our lives and musical styles/tastes as well. Borahm and I have met in the middle with our musical influences and styles to create a unique piece of art that will hopefully stand the test of time.

Tell us about working with Lazer Shark on the new music video. Will he be joining you guys on tour?

B: Its always incredible to work with our friend Lazer Shark. He has already joined us for some dates this year with more on the horizon. He never ceases to inspire us and furthers his extension of expression with his video for our single.

A: As one of the most profound, creative and risk taking lighting and content designers in the modern era, Lazer Shark has taken our visual game to the next level with his video for “Cruise Control” and our live show.

Both of you are essential members of Pretty Lights, and it seems the album’s major theme embodies some of the beliefs that run deep in the PLF: interconnectedness, consciousness raising, new age spiritualism. How has that influenced the new LP? In subtle or overt ways?

B: D is a long time friend and collaborator and we all work together because there’s a likemindedness there, which shows in many ways.

A: As we move closer to a collective consciousness as a species, every piece of art that directs people’s energies in that direction is extremely needed and necessary. We are inspired by artists of all genres and mediums from Alex Grey to Kamasi Washington that have deeply spiritual vibes embedded in their art.

Describe the album in just a few words.

B: An extrasensory musical excursion thru emotionally charged atmospheres

A: A journey into the future of electronic/analog music that can lift the spirit, move your body and spark one’s mind. 

 

Exclusive: SoDown unleashes aggressive new anthem, ‘Kill Em’ ft Kyral x Banko

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So Down - Kill Em Album Art for Web High Size

The saxophone playing, bass music producing, adventure fiend from Colorado, SoDown, is stirring up a frenzy in the dance music world for his wickedly unique productions that effortlessly blend a range of genres. The man behind the sax, Ehren Wright, returns to DA for an exclusive debut of his brand new single, “Kill Em,” on which he’s enlisted the help of Denver-based producer duo, Kyral x Banko.
SoDown’s newest single puts Wright’s immense versatility and range on full display. Whereas most of Wright’s past discography begins light-hearted and funky, slowly building to a cleverly deployed — and fearsome — bass drop, “Kill Em” begins with the full force of that same ferocity. Wright utilizes the ominous intros of early US dubstep, complete with dark synths and grimey bass lines, offering a glimpse into the more sinister side of SoDown’s musical package. When Wright introduces deep horns to the mix, the result is a riveting track that sits between heavy head banging music and funky groove appeal.

“Kill em started in a green room at an after party in Denver. Before long it had taken on a life of its own, morphing into an epic full on banger sent from the depths of the earth. We hope you enjoy listening to it as much as we enjoyed making it,” Wright tells DA of the track.

One thing that is the result of SoDown’s uniquely style of bass music and his keen ear for sound design: this is one producer to watch out for over the coming years. With sold out shows in Denver’s most popular venues, to opening at Red Rocks, Wright may be the next big thing to come out of Colorado. SoDown brings his live show back on March 3, 2018 to headline The Ogden Theatre (Denver, CO) with support from Buku, ProbCause and Homemade Spaceship.