Tag Archives: funk

Gabriel Garzon-Montano Show Preview, 5/16

This Tuesday, May 16, Gabriel Garzon-Montano is performing at The Crocodile in Belltown. Gabriel Garzon-Montano’s Jardin, released early this year, intricately melds together notes of soul, pop, hip-hop, and funk, ultimately creating a vibrant sound owned solely by him. Hailing originally from Brooklyn, Garzon-Montano’s interest in music was sparked in childhood by his mother, a musician in the Philip Glass Ensemble during the ‘90s. Though most commonly recognized as the creator of the sample featured in Drake’s Jungle (check out his original Six Eight), Garzon-Montano is so much more than that. Weaving together bright funk notes and unlikely time signatures, Garzon-Montano’s Jardin is a powerful collection of music that insights both introspection and pure dancing fun and will undoubtedly be a memorable experience live.

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– Natalie Lew

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Fis — Fresh EP from CAPYAC

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(Photo from CAPYAC’s Bandcamp site) 

In 2014, someone needed music for a guacamole pool party. It was out of this need that electro-funk dance duo CAPYAC was born. Formed by Delwin Campbell and Eric Peana, CAPYAC’s self-dubbed “balloonwave” sound fits right in with the nu-disco genre, incorporating elements of soul, funk, and utter surreality. The Austin-based group is known in their local music scene for over-the-top performances focused on getting people to move. Last year, they released their debut album Headlunge. Popular single “Speedracer” was the highlight, featuring dreamy-sounding vocals over a groovy beat.   

This year, CAPYAC has already dropped a new EP. Titled Fis, the project consists of four mostly instrumental tracks, incorporating the same funk and electronic influences as Headlunge. My verdict? Meh. While an admirable extension of CAPYAC’s take on French house, Fis did not leave me feeling nearly as impressed as I had hoped to be. The EP began with the 9-minute “No”. It’s decently funky and smooth, but it began to feel repetitive about halfway through. “Bubblegum” fared a little better, introducing energetic female vocals as a contrast to the mellower sounds of “No”. Fis found redemption in its fourth and final song. “Comfort Zone” fades in with CAPYAC’s usual electronic beats before throwing in a sweet (and slightly erratic) saxophone solo. It was a nice surprise, providing a glimpse of the eccentricity I would imagine CAPYAC to embrace in their shows. 

All of the above being said, don’t let my words deter you from supporting this band. Their live performances seem like a blast, and I wholeheartedly recommend that you listen to “Speedracer”.   

More from CAPYAC: Instagram / SoundCloud / Facebook 

Emily Tasaka 

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Passing of a Funk Legend: Junie Morrison

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(From the cover of Morrison’s album Bread Alone)

Funk has lost a legend. Last week, Junie Morrison passed away at the age of 62.

A founding member of Ohio Players and later the musical director for Parliament-Funkadelic, Morrison was a pivotal force behind both 70s funk and modern hip hop movements. Artists like A Tribe Called Quest, J Dilla, De La Soul, and The Roots have all sampled his work. “He was very appreciated,” wrote Solange. “He was the ‘Super Spirit’ indeed.” (You can read Solange’s full post here. Her 2015 song “Junie” was inspired by the late musician.)

Morrison’s mark on music is clear. His contributions on Ohio Players’ “Funky Worm” and Funkadelic’s “One Nation Under a Groove” helped drive both bands toward later successes. In the heavily-sampled “Funky Worm”, Morrison performs his famous Granny voice and worm synth. The storyline, a conversation between Granny and Clarence, is two and a half minutes of disgusting funk and humorous strangeness. It’s so rad.

In addition to his 80s work with P-Funk, Morrison also produced multiple solo albums under several aliases. He continued to write and perform into the 2000s with his own record label, Juniefunk. In 1997, Junie Morrison was inducted into the Rock and Roll Hall of Fame as a member of P-Funk.

Rest in peace, Junie. We’re grooving for you.

“What I mean to say is that the essence of the funk has always had a tendency to speak of bringing people together.”

–Junie Morrison, in a 2015 interview

-Emily Tasaka

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EP Review: Tuxedo’s Fux with the Tux

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PSA for all you dance and disco lovers: last month, Tuxedo quietly released new EP Fux with the Tux. The sharply-dressed duo of soul singer Mayer Hawthorne and Seattle hip hop producer Jake One seems to be riding the wave of 70s/80s revival in pop music. Many artists like Daft Punk and Bruno Marks have struck a balance between retro and fresh, and I think you’ll find that Tuxedo also fits into this category quite nicely. As with many throwback artists, Tuxedo’s long list of influences includes artists like Chic and Cameo, in addition to boogie, hip hop, and electronic music.

Fux with the Tux packs plenty of funk in only 10 minutes. The EP kicks off with its title track, jumping straight into a catchy beat and groovy synths. This song plays off of vocals from both Mayer Hawthorne and Jake One. Although a bit repetitive, it’s still a well-done cross between old-school funk and newer hip hop.

“Special” rolls in with more prominent percussion than the previous track. I love the bass in this song, and the vocal harmonies are a great highlight. If you liked Bruno Mars’ “Chunky", you’ll like this one. (I would also make the claim that “Special” is perhaps a classier(?) take on Mars’ message in “Chunky”.)

In its final song, the EP winds down with smooth slow jam “July”. The horns in the chorus are a great touch, and the background female vocals nicely accent Mayer Hawthorne’s crooning words.

Tuxedo is expected to release a full-length album later this year. Keep an eye out.

Emily Tasaka

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Gabriel Garzón-Montano Injects France and Colombia into American Neo-Soul

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You might not know his name, but it is likely that you will recognize Gabriel Garzón-Montano’s voice. Garzón-Montano was pulled into the spotlight after Drake sampled his track “6 8". But he is determined not to let that define him. “I don’t want to be that guy that got sampled on ‘Jungle’,” he said, “I don’t want that to give me my value”.

I think those concerns have been effectively erased with the release of his full-length debut Jardín. As the primary vocalist, instrumentalist, and composer for Jardín, there is no doubt left about this man’s talent.

Music became part of Garzón-Montano’s life from an early age. Gaining the foundations of classical training from his mother, he learned violin as a child before moving on to guitar, drums, bass, and piano. His resulting musical career has incorporated his experiences with urban electronic and hip-hop, as well as influences from his French-Colombian heritage.

It’s actually quite a feat to locate Garzón-Montano’s sound on the wide map of his influences. I would place it somewhere between chill funk and neo-soul, balanced with a touch of psychedelia and a hard penchant for groove. On Jardín, this has culminated in a luxurious ode to life, beauty, and romance. The layered vocals and lush instrumentals across each track are irresistible.

Opening with “Trial”, Jardín eases the listener in with soft harmonies laid across a restrained string performance. The next few tracks build up to soulful vocals from Garzón-Montano, punctuated by the funky rhythms of “The Game” and “Crawl”. From this point onward, Jardín somehow feels like its own microcosm. It’s minimalistic at times, yet eerily moody in a world that seems very much separate from ours. Garzón-Montano is quite aware of this. He closes the album with the gentle, soothing melody of “Lullaby”, perhaps as if to delicately deposit the listener back into reality.

I’m very impressed with this release. The intricacies and details in Jardín seem to indicate that we can expect more great things from Garzón-Montano. He is certainly surpassing his time in the spotlight as “the guy that got sampled on ‘Jungle’”. He is making his own name for himself, and I look forward to what he will bring us in the future, perhaps with a bit more polish if nothing else.

Excellent for fans of: Jordan Rakei, Hiatus Kaiyote, The Internet, D’Angelo

More from Gabriel Garzón-Montano: SoundCloud / Bandcamp / Facebook / Twitter

-Emily Tasaka

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Feeling funky? You Might Need Some Jungle Fire

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(Photo from KCRW)

Hey y’all. It’s a new year, which means we should be pumped about all the new music headed our way in the coming months. I welcomed 2017 in search of some seriously gritty, deliciously zesty funk, and I set out to see what I could uncover from the Internet troves. Not too far in, I discovered a band called Jungle Fire. And let me tell you: these guys have probably the most fitting name ever. Eleven members strong, Jungle Fire fuse Afrobeat and Latin elements with their LA funk roots. The result is red-hot and explosive and so, so funky. It’s the kind of music that gets you moving wherever you are.

The group was originally founded as a one-off project for a festival in LA’s Chinatown. That was six years ago. Since then, the band has released one full-length album, Tropicoso. “Comencemos”, a cover of Fela Kuti’s “Let’s Start” and the record’s second track, gives a nod to the band’s Afro-funk influences. Bold horns and a punchy rhythm section pull together a raw, cumbia interpretation of Fela’s original. The rest of the album expands on this beat-driven sound, drawing on Afro-Caribbean percussion instruments. My personal favorite is the title track, “Tropicoso”. The baritone sax in this is great. (Apparently this guy can also play the flute?!)

Next week, keep your ears peeled. Jungle Fire is dropping a new album, Jambu, on February 3rd. If you’re looking for more fireball funk, then this is for you. If you’re not, check it out anyway. I highly recommend.

Find Jungle Fire here: Facebook / Bandcamp / SoundCloud

-Emily Tasaka

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Five Artists to Watch in 2017

A new year means another year of new music and breakout artists. Last year was a monumental year for music, bringing both major album releases and newcomers to the forefront. That being said, here are five artists that are sure to impress this year.

Smino

The St. Louis, Missouri native has already gained a following with the release of two EPs and as an opening act on Mick Jenkins’ recent tour. Now Smino is prepared to enter the spotlight with the release of his debut album blkswn early this year. Though a release date hasn’t been announced yet, Smino has been teasing its release with snippets of new songs on his snapchat as well as a new single, taking the same name as the album. Expect the album to be packed full of bars and smooth production, both staples of Smino’s craft. Listen to “blkswn.”

Ravyn Lanae

Ravyn Lanae has slowly made her mark through features with notable rappers, including Mick Jenkins, Noname, and Saba. Her debut EP, Moon Shoes, established her as a strong solo act, making effective use of her angelic voice and versatility to create songs that can be both groovy or moody. Her busy year has already begun, opening for Noname on tour (in Seattle February 15) and hard at work on her debut album, which is set to drop sometime this year. Be on the lookout for Lanae to drop new music soon and possibly perform in a city near you. Go hit up Moon Shoes.

Aminé

Hailing from Portland, Oregon, Aminé has already made a name for himself with the smash hit “Caroline”. His performance last year on Late Night with Jimmy Fallon further elevated him status when he added an additional verse to the song, addressing the recent presidential election and his disapproval of its unfortunate results. His unique style and upbeat flow are a joy to listen and dance to, even though his library of work is relatively small (he has two singles on Spotify and one album on Soundcloud). Although he has yet to announce an album release this year, more new music is expected to come from the young star, so make sure to stay alert. Watch Aminé’s performance on Late Night with Jimmy Fallon.

Kaiydo

Florida has recently become one of the hottest spots for new artists, introducing the likes of Denzel Curry, Kodak Black, Twelve’len, and Marcellus Juvann. Kaiydo is another one to add to the group. His typically bouncy songs have caught fire in the hip-hop community. My personal favorite, “Arcade”, has an incredibly bangin’ beat paired with a catchy hook. Kaiydo’s library only includes a few singles, but he told the music blog Pigeons and Planes that his debut mixtape Kartoons is on the way. Hopefully his mixtape includes the same catchy songs that he has released so far. Be sure to listen to “Arcade.”

Khalid

Khalid uniquely fuses electronic and R&B to create a genre all his own. His breakout single “Location” has already amassed over 30 million plays on Spotify, and his performance at ComplexCon has helped him gain national attention. He recently kicked off a tour to promote his debut album, releasing March 3. Khalid manages to create diverse music, as is evident on the song “Coaster”, a piano-driven ballad, and “Hopeless”, a song that sounds like an ode to 80s electronic music. Make sure to give Khalid’s album a listen when it releases, as it is sure to blow up in the weeks following its release. Definitely check out “Location.”

-Archie O’Dell

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The Bad Plus The Neptune Theater: Live Show Review

This past Thursday night I had the honor of seeing, The Bad Plus, at The Neptune Theater in what turned out to be an incredible performance. I have been a fan of The Neptune Theater ever since my first show there which was Snarky Puppy. I think the venue is an excellent size, and usually has pretty good sound as well. Upon arriving Thursday night, I was surprised to find seats on the floor right in front of the stage. This was my first concert at The Neptune that has been seated, but looking back on the performance it fit the atmosphere very well.

Having no opener for them, The Bad Plus came out on stage and instantly started burning on a tune I didn’t recognize, and eventually morphed into a roaring chart titled “My Friend Metatron”. Instantly blown away, I knew the entire performance was going to contain the highest level of musicianship. It was after this tune that bassist Reid Anderson finally addressed the crowd. Showing a remarkably dry sense of humor throughout the performance, Anderson welcomed us all to the show and made everyone chuckle before the lads brought down the energy with a sensitive cover of “Time After Time” by Cyndi Lauper.

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As the tune progressed, The Bad Plus continued to expand our understanding of the song by adding dissonant harmonies and convoluting the pulse more and more. Following up the cover came an Ornette Coleman tune entitled “Law Years”. The juxtaposition of these two songs one right after the other perfectly highlighted that, The Bad Plus, are not only musicians that know what the crowd likes to hear, but are also heavy jazz players that love to venture off into the realm of free improvisation as they abandoned tonal center and traditional rhythm. The Ornette Coleman tune found The Bad Plus experimenting with textures and harsh timbres that any free jazz fanatic would have been impressed by. What followed for the next hour came an inspiring mix of both pop and heavy jazz tunes that shifted along the spectrum from the most “out” to the most “in”, inciting cheers and immense applause from the audience countless times.

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Over all, The Bad Plus demonstrated an ability to combine the familiar with the unknown, all the while remaining tasteful. Not a single note or idea was played that the music didn’t call for, which showed that pianist Ethan Iverson, bassist Reid Anderson, and drummer David King poses an immense sense of maturity and trust in each other as musicians. I would recommend seeing The Bad Plus to anyone who is a fan of music and can appreciate witnessing the experience and comfortability of three killin’ musicians who have spent the last 17 years shedding and making music together.

– DJ sneak peaks (Gabe)

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24k Magic: A Pop Star’s Tribute to Funk

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I am not much of a Bruno Mars fan. He is an undeniably talented, versatile artist, and I won’t deny that his pop career has seen huge success. I have just never felt compelled by his music. But in 2014, he surprised me. “Uptown Funk” was unexpectedly groovy, and I couldn’t help getting hooked on its vocal bass line and slick horns. Now, two years later, it’s safe to say that “Uptown Funk” established the retro groundwork for Mars’ newest release, 24k Magic. This album is basically Bruno Mars as a walking throwback, blending pop, funk, and R&B with surprising taste.

Early on, 24k Magic introduces “Chunky”, a synth serenade to “the girls that pay their rent on time”, before changing the pace with “Versace on the Floor”. The latter is a sultry R&B slow-jam that belongs next to a crackling bedroom fireplace sometime in the ‘90s. Mars reincarnates James Brown in “Perm, while “Finesse” oozes with the cocky swagger that brought us “Uptown Funk”.

I would argue that this is his most redeeming album yet, although I likely only hold that opinion because of my soft spot for funk. 24k Magic is a trim, tight project, clocking in at just 33 minutes for 9 tracks. Mars more or less spends the whole time fixated on sex. The result is a mix of fun-sounding songs, but this leaves quite a bit of potential for some more inspired lyrics. I also have yet to be completely won over by his contemporary take on old-school funk, though his attempt is valiant nonetheless. That being said, I expect a handful of these songs to be in my rotation for a little longer. I have high hopes for this new-old direction for Bruno Mars, and I look forward to hearing some more throwbacks from him in the near future.

Watch “Chunky” performed on SNL:

Stream 24k Magic here.

Keep up with Bruno Mars: Facebook / Twitter / Instagram

Emily Tasaka

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Donald Glover, I Want to be You (A Review of Childish Gambino’s New Single)

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If I was superstitious, I’d bet money that Donald Glover
sold his soul to the devil. It’s unfair that one man can have so much talent.
Comedic genius, fire rapper, distinct actor, and now the mastermind behind that
beautiful new TV Show Atlanta. Goddamn, man. You’re making everybody else look
bad. I’m so jealous of you, Donald Glover. Why is everything you do amazing?

I’m here today to talk about Childish Gambino’s new song. His
last album, Because the Internet, was
in my top albums of 2013 list. I still bump it. I own it on vinyl. Yo, I don’t
even own a record player. What even is rationality?

This latest single, wittily titled Me and Your Mama, sounds nothing like the last album. Not the least bit surprising. This new single showcases a totally evolved sound, and is more funk than
hip hop. That said, it’s amazing. The angelic crooning on the intro plays as a
wonderful contrast to Childish’s hoarse, desperate singing throughout. The
production is simultaneously smooth and violent. Guitar riffs. It’s Gambino like you’ve never
heard him before.

His new album Awaken,
My Love
is out December 2nd. I, for one, am hyped beyond hyped.

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