Premiere: Stimulator Jones illuminates jazz rich beats, with fresh soul

Drawing closer to next year’s release, Jones grants us a new taste of what’s to come

The work of Stimulator Jones (aka Samuel Jones) might have found its way to you through his previous label, the esteemed Stones Throw Records. Look forward to the cutting edge of this constantly evolving artist’s discography however, and you’ll find a fresh connection with Nordic label Mutual Intentions, and the promise of an upcoming sophomore LP.

Jones’s style always arrives smooth and polished, but quite how it’s delivered and where it’s sourced from are aspects far less easy to predict. Tracks have been centered around energy from the hip hop scene, then at other times turned to genres such as blues, or R&B. What tends to remain in play within the artist’s process is a soulful, genuine funk groove.

It’s true to say that vibe is present in the tracks released as a precursor to Stimulator Jones’s next LP, titled ‘La Mano’ and set for release in January 2021. How that feeling is encouraged to grow by Jones calls for a more detailed assessment however. It’s best to listen for yourself but the determination to keep production organic, handmade and personal in ‘La Mano’ shines through.

Today we’re introducing the next track to feature on the LP: ‘Drama Time’. Dynamic percussion and rich basslines take hold.

Support the new album on Bandcamp or stream it on Spotify

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New landscapes with Hologramme’s ‘Alaska’

Hologramme - Alaska Alaska, reflects the passage of time in our lives by its slow and constant movement, so precious, so volatile. A version of oneself in th...

Hologramme released a self-titled album back in 2015, taking to the stage with eight electro-pop tracks splashed with shades of funk, jazz and melodic rock. Brought together by Clément Leduc, the debut album was a collaborative project with fellow artists Rémi Chenette, Laurent Saint-Pierre, and Dominic Lalonde.

The EP was received with positive reviews, earning a nomination for CBC Canada’s album of the year, and managing to earn a place among GAMIQ’s best annual electronic albums.

As the motivating force behind Hologramme, Clément Leduc has since produced a handful of singles, and organised cooperative projects with a variety of artists including La Bronze and the Dead Obies. Leduc has also worked together with Gabriel Gagnon to build up the Homy Studio label, connecting with creators such as Geoffroy, Larry Kidd, and the acclaimed Milk and Bone.

As Hologramme, Leduc released his second LP in 2019. ‘Felicity’ carried South American and African vibes, night time synthwave and subtle beats driven forward by a physical force of organic percussion. Tracks like ‘El Rey’ in particular showcased how valuable creativity can be when creating complex tracks from simple beat manipulation.

The most recent release from Hologramme is ‘Alaska’, shimmering synth interacting with percussive samples; a thoughtful experiment from the Montreal based artist.

Stream the release on Spotify

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Electro - Acoustic Synth funk with Germany's POLY POLY

This is a live session for a track taken from POLY POLY's recent remix project. Instrumentals: Spotify: https://spoti.fi/2JFbJAS iTunes: https://apple.co/2S9A85D Apple Music: https://apple.co/2S9A85D Bandcamp: https://bit.ly/2YPFvcx Soundcloud: https://bit.ly/2Sb2HiW Youtube: https://youtu.be/jSRK1oCDvEg Remixes: Bandcamp: https://bit.ly/2YQ5sIT Soundcloud: https://bit.ly/2G9QlTw Youtube: https://youtu.be/hTvbT4Jc4nQ POLY POLY, while searching for inspiration, stumbled upon the acapella of John Legend's and Al Green's „Stay with me".

With the increasingly blurred lines of today’s musical landscape it’s not easy coming up with something cohesive yet unique. Combining various sounds, styles and techniques while keeping it all honed and definite is all a balancing act rarely realized. But not only does Munich-based musical duo ‘POLY POLY’ achieve these things, they offer it all up in an infectious, groove-rich package that is distinctively their own.

It’s a symbiotic sound that’s taken multi instrumentalist Hans Hu$tle and synth operator Volt Age years to craft. Drawing from a wide variety of genres and styles, the two hand pick elements from funk, hip hop, synthwave and electronica for a result that’ll surely have you hitting ‘replay’. Their recent double release of “Forgotten Remixes from the Future” and “Forgotten Instrumentals from the Future” definitely had that effect on us as they offer up two different styles of some contemporary classic grooves.

After the release of their debut album last year, the producer duo decided to move in a slightly different direction searching out new sounds and influences. But it wasn’t until they stumbled upon the acapella of John Legend’s and Al Green’s “Stay with me“ that the creative lightbulb went off and the studio whirred into action. Taking some of their favourite soulful melodies and offering their own interpretation on the tracks resulted in a refreshed workflow and revitalized perspective on the creative process. With 5 tracks, ranging from funk and soul to downtempo and hip hop, the duo offers tasteful remixes highlighted with soaring synths, saturated drums and slinking basslines.

Grab the albums here
Forgotten Remixes from the Future
Forgotten Instrumentals from the Future

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Do something Reckless this summer with Miami Horror

Summer is an exciting time of year. The intensity of life comes full force, encouraging us to feel first and think later. It’s intoxicating, irresistible, and energizing, so it’s no wonder that some of our strongest feelings of nostalgia are linked to this season. And just in time to feel the heat, Australian synth-pop group and summer festival staples Miami Horror have dropped a brand new single that is perfectly poised to capture everything that summer represents, entitled “Restless”

Funk guitars, warm synths, and syncopated drums open the track in familiar Miami Horror style, recalling their early days during the heyday of french electro and blog house, but soon we’re treated to guest vocalist Kevin Lavitt’s soft voice that instantly places the song within the realm of more contemporary artists working with 70s and 80s aesthetics. It’s a real testament to founding member Benjamin Plant’s ability to remain relevant to current trends without jettisoning the core of Miami Horror’s oeuvre. Lyrically, Lavitt ruminates on a feeling that we have all felt before: do they like me? Like, really like me? Of course it’s a bit cheesy, but say anything in the right voice and it goes from cheesy to romantic. And if indulging in your emotions isn’t a quintessential aspect of summer, then I don’t know what is.

Check out the full-on 70s inspired video for “Restless” above, and get yourself ready for some of that summer love.

— review by Autonomy

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Nikitch & Kuna Maze mix genres masterfully for their 'Mush EP'

You would be forgiven for thinking, upon first hearing Nikitch & Kuna Maze’s ‘JPS’, that the duo hailed from the PNW; indeed, the track begins with a taste of that easy rolling house sound that’s become a signature of the area. But no sooner than when you start to get comfortable with that opening, the French duo flips the script and break the track wide open with a bright, syncopated synth line that propels you in new energetic directions, ultimately culminating into a satisfying downtempo crescendo.

But give the rest of the EP a listen, titled ‘Mush’, and you’ll see that switching things up is less a surprise than a central theme for these artists. No two tracks have the same tempo, the genre influences are blurry and indistinct. There’s a seamless blend of syncopated instrumentation, beautiful synth programming, and crisp polyrhythmic beats; and yet, each track is also undeniably equal parts jazz, funk, and soul. It’s no wonder, then, that acid jazz pioneer Gilles Peterson has already been supporting this release. It catches the spirit of acid jazz, and places it squarely in a context that could only exist right now. Stream JPS above, and you’ll see why.

You can find the entirety of Nikitch & Kuna Maze’s Mush EP on Bandcamp, as well as on Tru Thoughts Records.

— review by autonomy

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DIY HIFI brings the funk with 'Feels'

This track is sort of deep, with an interesting melodic bassline. It's minimal but builds to a pretty melodic jazzy guitar part. Also sampled vibrophone. Enjoy!

Vancouver musician and producer Ian Bevis, formerly of the band ‘Bear Mountain"‘, starts our 2019 off on the good foot with the laid back, funky swinger that is ‘Feels’. No stranger to big stage indie sounds, Bevis and Bear Mountain have toured as direct support to Bloc Party, Cut Copy, and Hot Chip playing festivals such as Lollapalooza, Osheaga and Austin City Limits.

Compared to the more indie pop sensibilities of ‘Bear Mountain’ DIY HIFI feels a bit more like a disco house party. A groovy bassline leads the track through a number of cleverly assembled verses and choruses. With rich bubbling synths accenting the groove, and even a very recognizable bit of sampling on the breakdown, ‘Feels’ is an infectious tune that makes it very hard to stand still. The track exquisitely captures the ‘Do It Yourself’ spirit while never sacrificing pitch-perfect musicality or high quality production.

Grab the track on Bandcamp

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