Retro-Contemporary: Nite-Funk Gets Physical

I’m unofficially the ’80s funk guy here at Andresmusictalk, but occasionally I also like to post about new music that’s in my wheelhouse. And for almost the last decade, one of the more reliable purveyors of contemporary ’80s-style funk (i.e., a big ol’ part of my wheelhouse) has been the Los Angeles-based keyboardist, vocalist, and producer known as DāM-FunK. His latest project, Nite-Funk, is a collaboration with another retro-minded independent artist from L.A., Nite Jewel; and I think it’s safe to say that, if you’re a fan of either artist or their shared pool of musical influences–Prince, SOLAR Records, and the recently-departed Kashif, to name a few–it’s well worth a listen.

Nite-Funk’s self-titled EP has actually been streaming since early July, but the record really got my attention when I heard about the limited vinyl release that’s scheduled to come out later this month. I mean, look at this thing: it’s gorgeous, with some clever visual references to Prince’s debut album For You, from the font on the cover to the peach-on-black design motif to the fact that Side 2 is called “the Other Side.” It isn’t often that I can be persuaded to drop $18 on a record (an EP, no less!) that I can already listen to for free; Nite-Funk, however, pushes my physical-medium-fetishist buttons in just the right way. I’ve already preordered a copy.

Of course, even the nicest artwork can’t make a record worth buying if the music isn’t up to snuff, but Nite-Funk excels on that level, too. DāM-FunK’s synths are as sonically lush as ever, sounding for all the world like they’re being piped in direct from 1983; and Nite Jewel’s vocals and keyboards both add a layer of icy cool to tracks like “Don’t Play Games” and “U Can Make Me.” The best thing about both of these artists is that, while their aesthetic sensibilities (DāM’s in particular) are definably “retro,” they’re also timeless. Nite-Funk doesn’t play “’80s music” so much as they play contemporary music on ’80s-vintage equipment; and I don’t think you’d have to be at a “retro night” to pack the dancefloor with a song as hot as “Let Me Be Me.”

Nite-Funk releases in physical form on October 25; the pressing is limited to 500 copies, but at least as of this writing, there are still some available. If you like what you heard above, think about preordering a copy of your own. Music this good deserves to be on your turntable and on your smartphone.

Anatomy of THE Groove: “Bibi The Dog” by M83

Generally speaking I wouldn’t qualify myself as a “buy it for the cover” type when it comes to approach new music. But while browsing the new release rack at Bull Moose Books & Music last weekend,I came across one particular CD that did catch my eye. It featured 1980’s pop culture inspired artwork-including characters usually associated with McDonald’s. Luckily the store has a listening station where you can scan a CD and preview the contents. This doesn’t often work with new release music. But in some cases,such as this,it does. And the music was impressive enough where it caught my attention. On the other hand,I didn’t know anything about the group who made it.

M83 are actually an electronica group out of Antibes,France.It was started by singer/songwriter Anthony Gonzalez. And since than it’s membership has had a pretty consistent revolving door of personnel coming in and out. This new album of theirs I speak of is entitled Junk. It’s their seventh full length release and features guest musicians ranging from Beck Hanson to an uncredited appearance by Steve Vai. Gonzalez and M83 profile their music as celebrating the melodic and rhythmic approach of 80’s synth/electro instrumentation. The song that struck my particular musical ear the most on this overall strong album was called “Bibi The Dog”.

Starting off with a brittle 808 style drum machine stomp,the groove starts right out a stomping synth bass and wavering,orchestral lead line. By the time lead singer Mai Lan Chapiron begins rapping in French,the orchestration takes a total backseat for heavier percussive effects-including electronic ones. On the first chorus,she is singing with another vocoderized voice a very big band jazz phrased melody. On the second and third repeating of this chorus,horn charts accent this main melody. In between that,a sped up voice sings the lyric of the chorus in a Chipmunk-like tone before a chorus led by the wavering synth tones and horns lead the track to it’s sudden conclusion.

This groove is an excellent example of contemporary electro/boogie revival. It has a strong sense of song construction with a pronounced Parisian cabaret jazz flavor. Most important though is how well the musicians involved understand the importance of keeping the funk percolating within the groove. Bassist Justin Meldal-Johnsen actually provides a thick, almost boppish electric bass line filled with fast paced chord fills.The horns and percussion play that vital call and response with the electronic orchestrations on this song. The strong rhythmic foundation of this electronic groove make it (to my ears anyway) one of the funkiest to emerge from this genre so far in 2016.