Needed to take a little hiatus, but Too Funk Tuesday is back and in full effect! Time to get over your Monday blues and wake up with some jamz that will get you ready for Humpday and the weekend. Sit back, relax, and take an aural ride!
Brothertiger — Lovers
Shout out to the OG, Spaceman, for this one. Like him, this track is a little old, but it definitely hasn’t lost a step. The vibe that truly kicked off the entire chillwave scene a few years back, “Lovers,” is a romantic side-step into the world of indie house and sensual synth-pop.
John Newman ft. Charlie Wilson — Tiring Game (Jean Tonique Remix)
Don’t believe the rumors: Nu Disco is not dead. This is living proof. From the magical fingertips of TFT-favorite Jean Tonique, the track is a full blast into the early 2000s where the likes of Breakbot, Yuksek, and others were dropping beauties like this every day.
ROBOSONIC & PURPLE DISCO MACHINE – Viel Fein
This may be 3rd on the list, but this is easily the number one track on my playlist today. Before hitting play, turn your subs on, dim the lights, and get ready because this song is a funkified BANGER (haven’t used this term in years). “Veil Fein” is German for very fine and this track is fucking fine. Bass heavy and seriously groovy, it hits all the right parts.
Gallant — Weight in Gold (Zimmer Remix)
This is for all Yuccies, waiting for that ‘new new’ to drop on the latest Too Funk Tuesday. Zimmer is my dude – I wish I knew him – and his latest mix is a barn-burner for sure with its tropical vibes, deep bass, and soulful vocals. Each drop in this song has a head shaking feel that just makes you want to lose yourself.
MIX OF THE WEEK: Armand Van Helden – Rise Vol. 1
I count AVH as one of my heroes, not only in musical genius, but in style, suave, and swagger. This mix was made in 1993 and is evidence of a rawer, earthier house music scene that is unfounded in the perfectly-produced dance genre we have today. This is dance.
Here’s the tracklist:
00:00 Mood II Swing – I Need Your Luv (Right Now) (Lem’s Church Mix)
03:23 MAW & Company feat. Xaviera Gold – Gonna Get Back To You (Mood II Swing “Big Thick” Dub)
06:40 Sultans Of Swing – Move It To The Left (3rd Level Banji Mix)
10:58 The S.O.U.L. S.Y.S.T.E.M. – It’s Gonna Be A Lovely Day (Palladium House Anthem)
18:43 Happy Mondays – Stinkin Thinkin (Junior Style)
22:21 Jazzy -Lonely (Underground Goodie Mix)
24:50 Cajmere feat. Dajae – Brighter Days (Underground Goodie Mix)
27:04 Robin S. – Show Me Love (Stonebridge Club Mix)
32:56 Nightcrawlers – Push The Feeling (The Dub Of Doom)
37:10 T.M.V.S. – Don’t Be Shy
38:39 unknown – unknown
41:22 Martha Wash – Carry On (Masters at Work Dub Mix)
43:31 Martha Wash – Carry On (Tee’s Dub)
48:23 Happyhead – Digital Love Thing (Underground MK Mix)
50:23 Armand Van Helden – Te-Quiero (Casa Cabesa Mix)
54:53 unknown – unknown
57:44 J. – Keep The Promise (MK Deep Dub)
59:14 Kenny “Dope” Gonzales – All I’m Askin’ (Roger S. Remix)
1:01:30 House Of Gypsies – Samba
1:03:40 Frank Ski – Whores In This House
1:05:07 Uncanny Alliance – I Got My Education (Kenlou Mix)
1:09:58 Trey Lorenz – Photograph Of Mary (MAW Dub)
1:13:06 Aly-Us – Follow Me (Club Mix)
1:16:37 unknown – unknown
1:18:22 Karen Pollack – You Can’t Touch Me (Murk Remix)
1:21:51 Liberty City – Some Lovin’
1:24:21 Coral Way Chiefs – Release Myself
Enough has been said about Duke Dumont‘s rise to DJ stardom over the duration of 2014 and 2015. At this point, he’s become as synonymous with mainstream dance music as artists like Skrillex, Daft Punk, or Calvin Harris and he does what he does well; as far as repackaging your inspirations into easily digestible house treats, Duke Dumont doesn’t normally stray away from his tried and true neo-house structure. Pop, after all, is what pays the bills and what keeps the ADD-riddled generation of 20-somethings interested in your brand.
In this sense, his latest EP Blasé Boys Club Pt. I is more of the same from the English producer: a series of tracks that draw from a colorful palette of influences ranging from 90′s vocal house like Robin S to the downtempo 2-step patterns utilized by Duke Dumont’s peers Disclosure. This gives the tracks on his new EP an odd feeling of patchwork. It is as if he stitched his favorite pieces from the past 25 years of dance music into a quilt that’s supposed to pay homage to his heroes. He succeeds, but at the cost of leaving us suspecting like we’ve been here before.
For starters, “Won’t Look Back,” is not just an older track, but one that was previously released on Duke Dumont’s EP 1 less than a year ago making its inclusion welcome, but redundant. As for new material, “Robert Owens Talking,” while it shines in its ability to repurpose the the pure energy of the warehouse circa 1980′s Chicago, ultimately feels too much like Daft Punk’s “Giorgio by Moroder” on 2013′s Random Access Memories as Owens discusses Chicago with the same glimmer that Moroder had when he discussed disco. As far as structure goes, the focus of disco and funk as the backbone for classic house makes for an entertaining affair when the Duke is in charge. It shows a fun side to Duke Dumont that is often seen in his sets, but rarely put on display as a producer. Ultimately, however, it’s a case of too similar, too soon given Daft Punk’s “Moroder” is barely 2 years old.
“Melt,” the other track making its debut on this EP release, is on a whole new wavelength altogether. Starting off with a shuffling 2-step rhythm reminiscent of the loungier side of Disclosure’s Settle - the track “Second Chance” comes to mind – “Melt” subsides into a sultry plea for intimacy as the vocals beg for closeness and kisses in an eargasmic pool of lush soundscapes. This is the Duke Dumont that breaches past pop music formula to create something approachable for the masses while maintaining the elegance and deep feels that got him here to begin with; just look at “The Giver” for reference. This is also a major feature on “Ocean Drive,” a track that asks us to reevaluate our rapport with 80′s synthpop for the first time since Kavinsky’s “Nightcall” over 4 years ago. These two tracks are the crown jewels of the EP: shining examples of how to pay tribute to your peers and your guilty pleasures without feeling cheap or evil.
Despite it’s unevenness, Duke Dumont’s Blasé Boys Club premiere is an enjoyable romp and hopefully a glimpse as to where he wants to take his career – as long as his trajectory doesn’t stray too far into novelty, kitsch, or unnecessary detours into waters already traveled.
Blasé Boys Club, Pt. I is now available on all digital marketplaces.
This duo out of London has been putting in work, with releases on labels such as CUFF, Simma Black, House of Hustle, and many more. This time though they have one they released independently for free! “This Far” has a snappy, raw bass line with some percussion that almost gives it a bit of a breaks feel. Make sure you grab it from the link on their Soundcloud, and check out their page for a ton more freebies.
It’s safe to assume that sunny aesthetics are here to stay in dance music. As artists like Sam Feldt and Robin Schulz continue to pave the way on Top 40 radio, shifting the dance music game away from big room, electro, and trap, the sax-mellow guitar trend is becoming more and more noticeable as frat brothers begin trading in their tribal pattern tank tops for Hawaiian shirts.
But while this particular subgenre of dance furthers its reach, there are some producers who are keeping it rootsy and tropical without going full on pop. Nicolas Haelg‘s recent original, “Mind Games,” is tropical, sweet, summery, pleasurable, but it never strays into the cliché territory of slammers like “Prayer in C.” This is due in part mostly to the choice of vocals for the track: Haelg forgoes ambient or sultry and instead ventures into gospel which gives the track an energetic lift and more of a house feel than the countless other tropical tracks which have debuted in the last few months (“Show Me Love,” as gorgeous as it is, still comes to mind). Combined with a bass that slaps harder than the sound of a fat man belly-flopping into a swimming pool, the track as a whole is proper house with elements of island vibes; this is not the kind of tropical house that’ll give you sunburn just from listening.
Listen to Nicolas Haelg’s “Mind Games” below and pick it up for a free download.
Whitney Houston’s voice, like Loleatta Holloway or Robin S, is going to become a house music standard over the course of the next few years or so. It’s inevitable. And nobody knows the standards and respects them more in D.C.’s underground scene than our own Phillip Hafner – otherwise known to mere mortals as Philco.
His latest remix, which recently debuted on London’s Lipstick Disco as an exclusive, is transfixed on Houston’s legacy as a soulful crooner by layering her vocals over classic four-on-the-floor rhythms and a rolling bassline with a dynamic spring like a young rabbit in an English garden. Overall, the piece feels like a contemporary classic that belongs in the same field as Masters at Work or Derrick Carter as it carries a tech groove to its most rhapsodic extreme; it’s a blend of tech and deep house that is expertly balanced and presented with a sweet, mellow touch not unlike the tenderness and vulnerability which made Whitney Houston’s voice so wonderful. This is a mood setter and head bopper from start to finish.
Listen to Philco’s remix of Whitney Houston’s “Fine” below.