Tag: Dam-Funk

Bad Dylan is a Montreal-based synth funk/electro pop outfit, comprised of T-Spoon (bass, synth), Jalouse (guitar, synth) and Dr. Fill (drums).  Formed back in 2015, the act has developed a genre-defying take on retro-futuristic funk that draws from the ’70s, the ’80s, the 90s’ and 2000s, synth pop, krautrock, Daft Punk, elevator music, spa music and more. The Montreal-based funk/electro pop outfit starts the new year with Astrology, a public, pre-production exercise in which the trio shares their creative process with their audience while challenging themselves to write, record and release a song every month, revealing both the good ideas and the bad ideas.
They’ll then rework each piece — focusing on the good ideas — and compile the results into the best album they could make. The album will also be accompanied by an art book, done in collaboration with visual artist Alexandra Bilodeau.
Centered around a sinuous bass line, shimmering synth arpeggios, thumping beats and found vocal samples, Astrology‘s latest single “Bourritos” which features additional synths and effects from Gary Cobra, is a slow-burning, strutting pimp walk of a track that brings JOVM mainstay Dam-Funk and others to mind.
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New Video: Vapor Caves’ 80s Inspired Video for Funky, Feminist Anthem “Bitch To The Boys”

With the release of their debut single “The Chase,” which was featured on Comedy Central‘s hit TV show Broad City and its follow-up “Hurry Up & Wait,” which landed on a Spotify‘s Ready for the Day playlist, the rapidly rising Austin, TX-based synth funk act The Vapor Caves — vocalist Yadira Brown and producer BoomBaptist — quickly emerged into the national scene. Deriving their name from a rare, naturally-found phenomenon: an underground cave that billows mineral-rich steam known for its healing properties, the duo pay homage to the phenomenon, by creating sonic medicine for those who enter.

Building upon a growing profile, the duo’s full-length debut, Feel Yourself, saw a limited vinyl-only release earlier this year that quickly sold out. The album further establishes their sound and approach with material that’s simultaneously dance floor friendly, funky and introspective. Interestingly, as a result of their growing profile, the act has opened for JOVM mainstay Dam-Funk.

Feel Yourself’s latest single, the slinky “Bitch To The Boys” is centered round shimmering synth arpeggios, Brown’s sultry and self-assured vocals, a sinuous dance floor friendly groove and an infectious hook, the track sonically reminds me of classic, 80s synth funk like Cherelle, I Feel For You-era Chaka Khan, Prince, etc., and of contemporary purveyors of the dance floor friendly sound like Dam Funk, Boulevards, Bruno Mars and the like. But more importantly, the song is a defiant, sashaying and strutting feminist anthem and tell off to wack ass fuckboys: the song’s narrator pretty much says “I don’t need your corny ass. I do it for myself anyway.” 

Directed and produced by Side Label, the recently released video is a fittingly 80s-inspired romp that features a crew of wack ass fuckboys, who get told off by the video’s protagonist and her crew. Disses are served — hot, cold and 24 hours a day in this one. 

With the release of their debut single “The Chase,” which was featured on Comedy Central‘s hit TV show Broad City and its follow-up “Hurry Up & Wait,” which landed on a Spotify‘s Ready for the Day playlist, the rapidly rising Austin, TX-based synth funk act The Vapor Caves — vocalist Yadira Brown and producer BoomBaptist — quickly emerged into the national scene. Deriving their name from a rare, naturally-found phenomenon: an underground cave that billows mineral-rich steam known for its healing properties, the duo pay homage to the phenomenon, by creating sonic medicine for those who enter.

Building upon a growing profile, the duo’s full-length debut, Feel Yourself, saw a limited vinyl-only release earlier this year that quickly sold out. Interestingly, the album features material that’s simultaneously dance floor friendly and introspective. And as a result of their rapid rise to national acclaim, the act has opened for Dam Funk.

Interestingly, the album’s latest single is the slinky, “Bitch To The Boys.” Centered around shimmering synth arpeggios, Brown’s sultry and self-assured vocals, a sinuous dance floor friendly groove and an infectious hook, the track sonically reminds me of classic, 80s synth funk like CherelleI Feel For You-era Chaka Khan, Prince, etc., and of contemporary purveyors of the dance floor friendly sound like Dam Funk, Boulevards, Bruno Mars and the like. But at its core, the song is a sashaying and strutting tell off to wack ass fuckboys.

 

 

 

 

Born in the early 70s, the Pasadena, CA-born, Los Angeles, CA-based multi-instrumentalist, composer, singer/songwriter and producer Damon Garrett Riddick, best known as JOVM mainstay Dam-Funk came of age during the heyday of acts like Uncle Jamm’s Army and Egyptian Lover, two of the area’s pioneers of electro hip-hop and what would become West Coast hip-hop — and of course, the legendary Prince.

Riddick’s parents encouraged and nurtured his interest in music: he learned drums and then drum machine. A chance encounter led to an apprenticeship under funk songwriter/producer Leon Sylvers III, and by the mid-90s, the height of West Coast, G-funk hip-hop, Riddick was a highly-sought, local session musician, playing on tracks by Mack 10 and MC Eiht. “Everybody was trying to do the live instrumentation thing, so then you got cats like me playing on records,” Dam-Funk explained on his Stones Throw Records artist bio.

Sideman status wasn’t enough for him though. While watching gold plaques be handed out to everyone but him, Riddick decided that it was time to go “full-funk” and make a do-or-die try to become an artist on his own terms. In 2006, he and a few friends launched the popular Funkmosphere party. Around then, the Pasadena-born, Los Angeles multi-instrumentalist, composer, singer/songwriter and producer caught the attention of Stones Throw Records. Unsurprisingly, the label related to Riddick’s insistence that funk needed to be saved from cartoonish and devilish caricature — and that funk was a way of life.

Stones Throw Records released his first two full-length albums — 2009’s Toeachizown and 2015’s Invite the Light, as well as a  compilation of his early production, 2010’s Adolescent Funk. 2013 was a big year for the Pasadena-born, Los Angeles-based JOVM mainstay — his collaboration with Steve Arrington Higher was released that year, and he teamed up with Snoop Dogg in the funk and hip-hop act 7 Days of Funk, who also released their debut album that year.

Each of those releases helped to establish Dam-Funk’s signature sound and aesthetic — synth-based funk that draws from G-Funk era hip-hop and 80s synth funk. However, over the past couple of years, Riddick has been experimenting with the warmer sides of deep house and techno with material released through his own imprint Glydezone Recordings while spending time DJ’ing, and working on remixes and mixes.

Slated for release next week through his own label, the Pasadena-born, Los Angeles-based JOVM mainstay’s forthcoming effort STFU II while being a follow-up to last year’s Architecture II is reportedly a gradual return to his old-school funk roots — and a long-awaited sequel to 2015’s free all-instrumental EP STFU. Now, as you may recall, clocking in at over 7 minutes, the EP’s first track, the strutting EP closer “On Code.” Centered by tweeter and woofer rocking beats, layers of arpeggiated bass synths, keytar and atmospheric electronics that gave the affair a subtle cosmic glow.

“Compos Mentis,” the EP’s second and latest single is centered around a lush and jazz-tinged funk arrangement featuring arpeggiated bass synths, atmospheric electronics, tweeter and woofer rocking beats and twinkling keys — and much like its immediate predecessor, the track possesses a similar, subtle cosmic glow and an deep melodic sensibility.

 

 

I wrote quite a bit about  Raleigh, NC-based funk and soul artist and JOVM mainstay Jamil Rashad, best known for his acclaimed solo recording project Boulevards several years ago — and because some time has passed since I’ve personally written about him, I feel that it’s necessary for a bit of a refresher.

As the son of renowned jazz radio DJ, Rashad grew up in a musical household in which a passionate interest in music was fostered and encouraged. Unsurprisingly, a young Rashad listened to a wide variety of music including jazz, blues, R&B and funk. When the Raleigh-based JOVM mainstay was in his teens, he became a self-confessed “scene kid” and got into punk, hardcore and metal, which he admitted later influenced his solo production work.

After attending art school and playing in a couple of local bands, Rashad wound up returning to the sounds that first captured his heart and imagination — funk. Rashad began writing and recording what he has described as “party funk jams for the heart and soul to make you move.,” developing a reputation for a sound that’s heavily indebted to 70s and 80s funk that has helped add his name to a growing list of artists in a contemporary neo-disco/neo-funk movement that includes acts like Dam-Funk, Escort, Mark Ronson, and others through the release of two full-length albums — 2016’s Groove and 2017’s Hurttown, USA.

Slated for a June release, Rashad’s forthcoming, third Boulevards album YADIG! is reportedly a world-building effort that paints aural portraits of love found on the dance floor, nights you hope will never end and the adrenaline-meets-sleep-deprived in-betweens as the sun is rising. The album’s latest single “Take It To The Top” is a funky strut centered by a sinuous bass line, scorching blasts of psych rock meets Prince-like guitars, thumping beats and Rashad’s self-assured yet sultry crooning that sonically brings Rick James, Prince and others to mind.

 

 

 

 

Born in the early 70s, the Pasadena, CA-born, Los Angeles, CA-based multi-instrumentalist, composer, singer/songwriter and producer Damon Garrett Riddick, best known as JOVM mainstay Dam-Funk came of age during the heyday of acts like Uncle Jamm’s Army and Egyptian Lover, two of the area’s pioneers of electro hip-hop and what would become West Coast hip-hop — and of course, the legendary Prince.

Riddick’s parents encouraged and nurtured his interest in music: he learned drums and then drum machine. A chance encounter led to an apprenticeship under funk songwriter/producer Leon Sylvers III, and by the mid-90s, the height of West Coast, G-funk hip-hop, Riddick was a highly-sought, local session musician, playing on tracks by Mack 10 and MC Eiht. “Everybody was trying to do the live instrumentation thing, so then you got cats like me playing on records,” Dam explained on his Stones Throw Records artist bio.

Sideman status wasn’t enough for him though. While watching gold plaques be handed out to everyone but him, Riddick decided that it was time to go “full-funk” and make a do-or-die try to become an artist on his own terms. In 2006, he and a few friends launched the popular Funkmosphere party. Around then, the Pasadena-born, Los Angeles multi-instrumentalist, composer, singer/songwriter and producer caught the attention of Stones Throw Records. Unsurprisingly, the label related to Riddick’s insistence that funk needed to be saved from cartoonish and devilish caricature — and that funk was a way of life.

Stones Throw Records released his two full-length albums — 2009’s Toeachizown and 2015’s Invite the Light, a compilation of his early production, 2010’s Adolescent Funk. 2013 was a big year for the Pasadena-born, Los Angeles-based JOVM mainstay — his collaboration with Steve Arrington Higher was released that year, and he teamed up with Snoop Dogg in the funk and hip-hop act 7 Days of Funk, who also released their debut album that year. Each of those early releases helped to establish Dam-Funk’s signature sound and aesthetic — synth-based funk that draws from G-Funk era hip-hop and 80s synth funk. However, Riddick has spent the past couple of years experimenting with the warmer sides of deep house and techno with material released through his own imprint Glydezone Recordings while spending time DJ’ing, and working on remixes and mixes.

Slated for a May 17, 2019 release through his own label, Dam-Funk’s forthcoming effort STFU II reportedly is a gradual return to his old-school funk roots while serving as a both a follow up to last year’s Architecture II EP and along-awaited sequel to 2015’s free, all-instrumental EP STFU. Continuing in the vein of its sonic predecessor, the EP’s first track, the strutting EP closer “On Code” clocks in at just under seven minutes and is centered by thumping, tweeter and woofer rocking beats, layers of arpeggiated bass synths and keytar and atmospheric electronics. And although the material is lovingly indebted to the period that influenced it, the song possesses a subtle cosmic glow — all while reminding the listener of Dam-Funk’s innate melodicism.

 

 

 

 

 

F

Best known as a founding member of hip-hop collective Odd Future and the Grammy-nominated, soul pop act The Internet, Matt Martians, a sometimes vocalist and producer released his critically-applauded debut, 2017’s The Drum Chord Theory, which was hailed by Rolling Stone as “pleasingly eccentric.”

Slated for an April 26, 2019 release through 3qtr Records, Martians’ sophomore album The Last Party was written and recorded as a way to heal himself after going through one of the most difficult times of his life. And while doing so, he reportedly found that you have to truly love yourself before you can sincerely give it back. Featuring guest spots from Mac DeMarco and Steve Lacy, the album’s overall sound blends modern funk, soul and electro pop. Serving as a perfect taste of what you’d expect from the new album, the sultry yet playful “Knock Knock” brings Quiet Storm-era soul, Thundercat and Dam-Funk, within a lysergic song structure full of weird time and tempo changes.

Martians will be spending the next few months touring with The Internet, and it includes a stop at Governors Ball in May. Check out the tour dates below.

Live Dates With The Internet

4/27 – Niceto Club, Buenos Aires

4/30 – Circo Voador, Rio de Janeiro

5/1 – Audio, Sao Paolo

5/4 – Campo Abierto Festival, Santiago 

5/31 – Governors Ball, NYC 

6/15 – Smoking Grooves, Long Beach

7/11 – Summerset House, London

7/12 – North Sea Jazz, Rotterdam Netherands

7/13 – Dour Festival, Dour Belgium

 

New Audio: Introducing the Synth-Led Funk of Sydney’s Winston Surfshirt

With the release of their full-length debut Sponge Cake, which featured their recently gold-certified debut single “Be About You,” the Sydney, Australia-based sextet Winston Surfshirt was championed by Beats 1 Radio host Zane Lowe, KRCW’s Jason Bentley, BBC Radio 1’s Huw Stephens and Phil Taggart, BBC Radio 6’s Lauren Laverne and Elton John, thanks in part to a Australian sextet’s unique and slickly produced blend of synth funk, soul and hip-hop. Adding to a growing profile, Sponge Cake was named a Triple J feature album. 

Building upon a growing national and international profile, the up-and-coming Sydney-based act end 2018 with a new track, the chilled out yet swaggering funky synth-led “For The Record,” which pairs a sleek hip hop-tinged production of thumping beats, arpeggiated synths, crooning horns and neo-soul like vocals. Sonically, the song brings a number of different artists — Thundercat, Timbaland and Dam-Funk immediately come to mind. “‘For The Record’ is a song written for anyone from the perspective of their loved ones, family or friends,” the members of the band explain in press notes. “When you’re feeling down there’s always people who love you and would do anything to make you feel better and be there when you’re in a bad headspace.”

New Audio: Finnish Pop Trio Beverly Girl Returns with a Sleek and Sultry Cover of 80s Hit

Now, if you’ve been frequenting this site over the course of the past year or so, you may recall that with the release of “Contagious” the Helsinki, Finland-based trio  Beverly Girl received national and international attention for a 80s-inspired synth funk/electro pop/electro pop/R&B sound reminiscent of I Feel For You-era Chaka Khan, Cherrelle, The Gap Band, Cameo, Atlantic Starr and a lengthy list of others, but with a highly contemporary take that brings the likes of  Rush Midnight, St. Lucia, Dam-Funk and others to mind.

Interestingly, the Finnish trio’s latest single is a cover of Millie Scott’s “Automatic,”  and while their version is fairly straightforward, retaining the original’s swooning sultriness, it possesses a heftier bass line and sharper, arpeggiated synths, all of which will further the act’s growing reputation for crafting sleek, dance floor friendly tunes.