One of the most prominent and influential sounds in American music has been soul. It’s been a mainstay in the hearts of listeners for decades now. Soul has a place in most people’s daily listening, whether it’s classic ballads from the Motown era, 80s R&B from Prince or Michael Jackson, or more contemporary soul with modern hip-hop/R&B styling from Frank Ocean or Silk Sonic. Even if you don’t consider yourself someone who listens to very much soul, it’s a style that’s influenced everything in terms of how musicians lay out rhythms and melodies or how vocalists approach more (ahem) soulful singing styles.
This playlist from Imperfect Fifth is a well-curated collection of modern soul from about the past 15 years. It includes soothing soft ballads with light orchestrations, mid-tempo funk with some swinging rap-inspired grooves, or more emotional songs dripping with passion and sentimentality. A lot of it contains modern songs that try to capture the atmosphere and production that classic soul music has, while some of it tries to update it with more contemporary sounds.
Either way, they’re all quality tracks with something unique to offer, featuring songs from artists like Childish Gambino, Steve Lacy, and Leon Bridges. You can check out the playlist in the early morning as the sun is rising, a lazy Sunday while snuggled in bed, or just any moment you want to feel calm and carefree. It’s an easygoing listen of 30 songs that demand nothing but your purest content.
Bernie Worrell is one of many unsung heroes in music history. If you’re unfamiliar with him, he was the keyboardist for the legendary Parliament-Funkadelic collective and played with other artists such as Les Claypool of Primus, rapper Mos Def, and even Talking Heads, appearing in their seminal concert film Stop Making Sense. Not only is he a legend in funk music, but his work as a synth pioneer makes him a godfather of contemporary R&B and hip-hop. Worrell’s funky keyboard playing has been sampled thousands of times and was highly critical in creating the early 90s rap subgenre “G-funk” popularized by Dr. Dre and Snoop Dogg. Recently, Bernie Worrell’s estate announced the release of a posthumous album titled Wave From The WOOniverse, a double album of previously unfinished tracks. A murderer’s row of great talent helped to complete and produce the album, all of which had previously worked with Bernie Worrell. This includes Jerry Harrison of Talking Heads, Fred Schneider of The B-52’s, Will Calhoun of Living Colour, Sean Ono Lennon, and funk legends in their own right like Bootsy Collins and Fred Wesley.
Obviously, you can imagine that the album is filled to the brim with great grooves and danceable funk, and you’d be entirely right. Wave From The WOOniverse functions not only as a loving tribute to one of R&B’s most influential and overlooked personnel but also to a generation of classic funk originators. The love for Worrell’s work and the funk he helped create is always visibly present in each collaborator on the album. Every song is layered with bass, synth, horns, and heavy guitars, yet it’s never sloppily done and always well-calculated. Every instrument is tightly constructed into a well-orchestrated rhythm that flows in perfect harmony with the others. The backing band here is great, and each song has a distinct identity from one another while still focusing on never-ending grooves. WOOniverse’s tracklist has a decent amount of variety, ranging from upbeat party songs (“Distant Star”, “What Have They Done to My Funk”), vintage psychedelic funk (“Soldiers of the Stars”), world music excursions (“Re-Enter Black Light”, “When the Rain Subsides”), and lengthy band jams (“Greenpoint”, “Pedro WOO”).
My favorites included “Soldiers of the Stars”, a wonderful piece of Jimi Hendrix-type acid funk rock that could easily fit as an early Funkadelic song, “The Big WOO”, which is so enjoyably campy with Fred Schneider and a swinging rhythm section, and “When the Rain Subsides”, which features a sunny Afropop-inspired sound with soukous/highlife guitars and warm and lively percussion throughout. I also enjoyed “Heapin’ Bowl of Gumbo”, which has a slower and more controlled funk rhythm but comes out super slinky. Many of the songs appear built out of lengthy band jams with lots of improvisations, which would make sense considering the musical virtuosos involved. However, this leads to most of the songs being at least five minutes, which may not work for more impatient listeners. I like longer funk songs in this mold because it gives the musicians more of a chance to build off rhythms and complement one another, leading to a more satisfying listen. Admittedly, the length can hurt a few songs such as the jazzy noir track “Greenpoint”, which is eight minutes long and doesn’t have enough juice to justify its length. The biggest turnoff for some will definitely be the 18-minute-long penultimate track, titled “Transcendence”. I’m always down for musicians making something willfully self-indulgent, and while this psychedelic multi-part suite has rich production and a full orchestra backing, it never quite comes together. At least, it didn’t for me–perhaps having psychedelics of my own would’ve helped.
Even as overstuffed as it is, Wave From The WOOniverse is a respectfully made posthumous release that carries on the legacy of Bernie Worrell. It’s worth a listen for longtime fans of Parliament-Funkadelic and other classic R&B or even for newcomers in search of some killer funk.
With it still being peak summer music season, it’s a perfect time for pop-sensation Kesha to put out a song like “Joyride”, her comeback single released this July 4th. Despite Independence Day being known as a quintessential day for pool parties, barbecues, and American patriotism, Kesha’s choice to release the single then has a deeper meaning to it. “Joyride” is a representation of her own freedom and independence, as she begins a fresh start in her career as an independent artist with her own label and a new management team. This also marks the first release since last year’s settlement of a well-publicized defamation lawsuit with former producer Dr. Luke, a legal battle that took her away from popular music for many years.
The new single is a throwback to her earlier hits, like “Tik Tok” and “Die Young”, with a more anthemic and loose party vibe. It comes as a surprise considering the more introspective direction she has been taking her music recently, as seen in 2017’s “Praying” and last year’s Gag Order album. Still, it’s a welcome return to that sound and recalls 2000s EDM songs by Lady Gaga and Britney Spears, the latter of which also has received support in recent years following legal issues. The track’s production helps this semi-throwback vibe through producer Zhone who also worked on Troye Sivan’s smash dance single “Rush” last year.
Okay, enough background details. Is the song any good? The answer to that is, if you’re a Kesha fan or someone who only knows a few hits, “Joyride” perfectly brings back her original sound while still seeming fresh and exciting in its own right. Describing the song makes it sound like it shouldn’t work—Kesha going back to the intentionally sleazy, attitude-filled style of her early work, but musically with heavy use of polka accordions throughout and dramatic choir singing on the chorus. Really. Yet the campiness and bold sincerity of the track is what’s so appealing about it, even if it might be initially off-putting to some listeners. The house-inspired sound is danceable throughout, with thumping beats and bouncy synths to keep things light and groovy. It has its roots in campy Europop, and it gives off an “ABBA on acid” vibe.
Kesha has described this release as the first time she’s felt free with her career in 20 years, and if this is the unabashedly weird and eclectic direction she wants to go in, I’m all for it. “Joyride” will, hopefully, represent a new era of a pop star who’s ready to reinvent herself in whatever way she pleases.
As a music journalist (at least, until my internship ends), it’s always a delight to write about something super offbeat. Case in point, a weird and entirely distinct artist like DJ Sabrina the Teenage DJ. The pseudonymous London-based producer has an identity entirely their own, with their persona and pixel art imagery based on the late 90s sitcom Sabrina the Teenage Witch. Their musical style has its roots in lo-fi produced outsider house music but with wall-to-wall samples of the sitcom and other music/media sources from the 90s. It’s easily comparable to other house music that’s heavy with samples like Daft Punk and The Avalanches.
While DJ Sabrina has been releasing music since 2017, her breakthrough came with the monumental 3-hour-long album Charmed in 2020. As a pandemic release, its success strangely makes sense: her work has a trippy, transportive sense of nostalgia that whisks you away into a dreamy soundscape, a sentiment that appealed to people stuck in their homes. While her work is currently unknown outside of niche music circles, she’s been slowly but steadily gaining high-profile collaborations such as remixes for Porter Robinson and Nelly, as well as a co-writing credit on the single “Happiness” by The 1975.
This brings me to her newest single, “In Silence”, a teaser for an upcoming album due to be released this summer. Part of the fun of following DJ Sabrina is her wildly consistent work ethic, with a new single(s) per month, an album or two per year with 2-3 hours of quality tracks each, as well as professionally curated DJ mixes online. Yet despite being one of many in an endless sea of songs, “In Silence” still exemplifies DJ Sabrina’s strengths as a house producer who focuses on songs as wide-ranging experiences rather than just individual moments. It functions as a song you can still dance to in a club setting but has its sights on emphasizing feeling, atmosphere, and texture in a way that other house producers don’t aim for.
The cover art and music video have dreamlike imagery with various shades of purple and seems to be a clear reference to Kate Bush’s seminal 1985 album Hounds of Love (aka the one with “Running Up That Hill” from Stranger Things). “In Silence” earns this comparison by functioning in a similar mold as Bush’s work: kaleidoscopic synth-scapes that feel like their own little world. It’s layered with a lush atmosphere from pulsating synthesizers, and despite being entirely electronic, it still feels entirely warm and human. DJ Sabrina has always focused more on vibes and melody over dance beats (though the electro-funk here is still good) in a way that lulls you into the song’s hypnotic sense of surrealism. The vocals and songwriting here are more in a typical songwriting structure, though the sweet but sultry pitch that Sabrina sings at well matches the production.
“In Silence” isn’t one of her very best singles, and I would recommend listening to something from Charmed as an introduction to her work for newcomers. However, it’s still a memorable slice of danceable psychedelia from one of music’s most offbeat but original rising producers. With her upcoming album likely being very eclectic, based on every single released so far, it makes DJ Sabrina the Teenage DJ worth having a close eye on.
Nashville-based singer and songwriter Meg Elsier has released her new album spittake and it is no joke! Recently making her debut in 2023, spittake is an album she describes as an ‘introduction to herself’ as an up-and-coming indie-rock artist. The album consists of 11 songs and was made in collaboration with Ryan McFadden, a fellow Nashville-based producer. A fun fact is that most of the titles are uncapitalized with no spaces to stay true to their original demo names!
Elsier’s haunting voice is a wonderful contrast to the electric guitar and drums that build up her sordid lyrics. If her sickeningly sweet melodies don’t make you feel melancholy, then her messages will. Most of her songs are a self-reflection of her poor thoughts and actions, usually with a partner in mind.
My personal favorite of the album is “forlyleinsanfransico”. In this song, Elsier rambles on about how she is the perfect fit for a guy (or girl) and vice versa. However, Elsier admits that she is only human and has flaws that may affect their potential relationship. My favorite verse is:
I’d be your good girl But I do bad things And I talk dirty But I keep the house clean And I’d be funny But you’d be funnier And I don’t mind it I like second seat
My take on the whole song is that Elsier’s self-hatred and selfishness is preventing her from committing to a healthy relationship. As a sad girl myself, her lyrics are very relatable!
A handful of her songs are accompanied by music videos, all viewable on Youtube. In her last song “LA”, she is depicted as a white angel on an empty black stage. Other angels identical to her appear and a confrontation ensues. The song is a musing of her life if she ever moved from Nashville to LA. Elsier acknowledges that she wouldn’t trust the lack of cold weather, the high living costs, or how emotionally distant the LA people are. According to her, the harshest reality to accept would be that there are many artists just like her, implying she would lose her authenticity and ultimately herself if she ever moved to LA.
spittake can be listened to on all streaming platforms. You can also follow Elsier on social media. As for the rest of the year, Elsier is touring in her hometown Nashville Tennessee, and all along the East Coast– in Ontario & Montreal as well.
Mike Campbell is a classic rock veteran who’s never really gotten his due, at least in the eyes of the public. His musical track record is all over the map, as a founding member of the legendary Tom Petty & The Heartbreakers and a collaborator of other household names like Stevie Nicks, Bob Dylan, and Don Henley. This sort of throwback retro-rock sound pervades all throughout Vagabonds, Virgins, & Misfits, the third album of Campbell and his band, The Dirty Knobs. The band, composed of former Heartbreakers/Don Henley collaborators Steve Ferrone (drums), Chris Holt (guitar), and Lance Morrison (bass), began as a side project in 2000 for Campbell but became a full-time project from the dissolution of The Heartbreakers following Petty’s death. This is their third album after 2020’s Wreckless Abandon and 2022’s External Combustion.
Vagabonds, Virgins, & Misfits is musically defined by many of the same textures that defined the Heartbreakers’ sound: blues, rootsy country, and occasionally some hard-edged rock & roll. The album’s vintage vibes never attempt to reinvent the wheel, but that’s missing the point. Mike Campbell & The Dirty Knobs’ appeal is hearing a band of energized veteran musicians play the music they love without a care in the world, and it’s why the album succeeds on its own merits. Even if part of one’s affection towards the band may come from their own nostalgia towards the Heartbreakers and classic rock in general, it’s still a well-crafted piece of retro rock with consistently killer performances.
The best songs on the album are the ones where the band is firing on all cylinders, such as the loose and fast-paced rock-n-rollers “Shake These Blues”, “So Alive”, and “Don’t Wait Up”. They each have an irresistible groove with amazing guitar playing, and the band’s chemistry and individual talents all get to appear. Many tracks also feature a sound closer to the heartland rock played in the Heartbreakers, such as “Angel of Mercy” and “Innocent Man” and succeed as feel-good breezy songs that still have grit and muscle in their tone. I was even digging some 60s-inspired country songs that intermittently appeared, such as “Hell or High Water” and “My Old Friends”. Both provide enough changes in instrumentation (through a string section, harmonica, horns, and Americana staple steel pedal guitar) to work just as well as the more conventional rock songs. While Campbell’s age can show in some of his singing, it’s always off-put by the love and enthusiasm always shown for his work. The vocals are also helped by guest stars on the album, such as contemporary country star Chris Stapleton, fellow heartbreaker Benmont Tench, and Gen-X/boomer music maestros like Graham Nash and Lucinda Williams.
Again, some of the album can depend on your own feelings for classic rock and you may be more inclined just to relisten to Full Moon Fever instead. But even as an act that prides itself on older musicians and styles, Vagabonds, Virgins, & Misfits is an effortlessly enjoyable ride that’s built on a strong love for rock music.
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
It’s Bootsy, baby! If you don’t know who Bootsy Collins is, you absolutely need to get the funk out of this site and do your research. (Actually, stay to read the review, then do some listening.) Funk legend, bass player extraordinaire, fashion icon, and outrageous personality Bootsy Collins has just released a new single, the title track of his upcoming 23rd LP, Album of the Year #1 Funkateer. As you can tell, I’m a huge fan of Bootsy’s work, from his time in the Parliament-Funkadelic collective during the 70s, his solo career, and his contributions to The J.B.’s, the backing band of funk godfather James Brown. Yet despite his six-decade-long career, he’s still collaborated with newer artists inspired by his work, such as Silk Sonic (Bruno Mars and Anderson .Paak), Childish Gambino, and Kali Uchis.
Admittedly, I had some reservations about going into the new single. Many legacy artists, when releasing a new project, get cold feet about their current abilities and try too hard to update their sound. Whether it’s through auto-tune or trying too hard to capture a more modern style out of their comfort zone, there are lots of pitfalls that many older musicians willingly jump into when recording new material. Thankfully, I could rest assured as soon as the song started, as it led into a funk jam worthy of anything from the genre’s golden age. Musically, it fit right into the same sort of P-Funk bangers that made albums like Mothership Connection so tight.
All great funk depends on the band’s chemistry in keeping the groove and rhythm going. Obviously, Bootsy would know this as a genre pioneer, and the new single totally exemplifies this idea. The bass playing is squelchy and wobbly in a way that keeps the music bouncing, and the horn section is killer throughout. Admittedly, the production can have a bit too much of a pop-music sheen to it, and it prevents the synthesizers from getting freaky in a way that Parliament’s synth solos did, but it’s only a mere nitpick. I’m glad that Bootsy himself doesn’t sound too overproduced, with some minor polishes to his voice. His infectious personality still gets to shine through. However, he takes a backseat to let the backing vocalists and musicians shine, and the song is all the better for it. I especially liked guest vocalist Myra Washington, with her voice and personality bringing up memories of classic female funk vocalists like Betty Davis or Chaka Khan.
If you have the slightest bit of a taste for classic funk, this single is a total no-brainer. Bootsy Collins shows that, even at 72, he can still bring down the house with a funky jam like “Album of the Year #1 Funkateer”. Even if the upcoming LP isn’t our “album of the year”, he remains one of the most legendary funkateers. Album of the Year #1 Funkateer is out Oct. 25 via Bootzilla Records/Equity Distribution.
Ohio-bred indie folk outfit Oliver Hazard swooped through Kansas City last night, lighting up the stage at recordBar — quite literally, with their backdrop and Edison bulbs. The trio brought their melodic magic to a captivated crowd.
To note, it was an audience of mostly Gen Z, carrying Nikon point-and-shoot cameras to capture their memories in a wholesome, “old-fashioned” way. It was a delightful way to spend an otherwise uncomfortably warm Wednesday evening, as the band rolled through their catalog and spoke of singing the national anthem at a Royals MLB game. (You know, as one does.)
Catch Oliver Hazard on one of the upcoming tour dates!
Oliver Hazard Tour Dates: Headline dates June 27 – St. Louis, MO – Blueberry Hill Jul 26 – Jul 28, 2024 – Newport Folk Festival* August 2 – Bozeman, MT – Sweet Pea Festival* August 16 – Huber Heights, OH – Rose Music Center^ Aug 17 – Waterville, OH – Oliver Hazard Day*
w/the 502s Sept 3 – Burlington, VT – Higher Ground Sept 5 – Huntington, NY – The Paramount Sept 6 – Portland, ME – Aura Sept 7 – Baltimore, MD – Baltimore Soundstage Sept 8 – Cleveland, OH – House of Blues Sept 10 – Louisville, KY – Mercury Ballroom Sept 14 – Charleston, SC – The Riviera Theater Sept 15 – Charleston, SC – The Riviera Theater Sept 16 – Asheville, NC – The Orange Peel Sept 18 – Athens, GA – 40 Watt Club Sept 19 – Raleigh, NC – The Ritz
Headline dates Oct 16 – Toronto, ON – Horseshoe Tavern Oct 17 – Syracuse, NY – Funk ‘n Waffles Oct 18 – Concord, NH – Sound and Color Festival* Oct 19 – Hamden, CT – Space Ballroom Oct 20 – Cambridge, MA – The Sinclair Oct 22 – Philadelphia, PA – World Cafe Live Oct 23 – Brooklyn, NY – Music Hall of Williamsburg Oct 24 – Washington, DC – Union Stage Oct 26 – Lexington, KY – The Burl
