I’d like to begin this by personally thanking everyone who has supported Henrique and myself by reading Anatomy of THE Groove during its initial month. This weekly segment was born of Henrique’s concept and inspiration. And at least on my end, it really helped this new collaborative blog from being all dressed up with nowhere to go. He has bought his wealth of musical experiences from Oakland,the second city of the funk to his song reviews in this particular column. And I have added the outsider-looking-in perspective that hopefully makes for a broad perspective. Please enjoy this weeks edition of this. And I strongly encourage you recruit friends and members of your family to read these. Or anyone else in your district. Support Andresmusictalk and its Anatomy of THE Groove column. Not with your money, but with your eyes and ears. Thank you!
It was my cousin Pip Hall,a fairly recent addition to my extended family, who introduced me to the musical joys of Metronomy. Hailing from Tontes,Devon,England this band has continued to pioneer a stripped down approach to new wave style electronica that,while maintaining a strong dance and pop music ethic has also proven expansive enough to incorporate elements of psychedelia and European classic music as well. Being able to maintain such eclecticism within the confines of such a stripped down sound is no simple task,and is a testement to the talents within this band that they pull it off so well. Operating under the genre of electronica with multi instrumentals Joseph Mount,Oscar Cash,Anna Prior and the Nigerian born bassist/vocalist Olugbenga Adelekan,their most recent album Love Letters contains a short instrumental that caught my ear in particular entitled “Boy Racers”.
Starting off with Anna Prior’s high hat heavy funky drumming,the main instrumental theme of the songs starts up in earnest-a bass synthesizer line playing a deceptively simple melodic line throughout the song with Adelekan’s electric bass popping right along with it in perfect unison so it sounds. This melody manages has a strong groove to the nature of the playing,yet at the same time has a classical flavor about it at the same time. There is a refrain to the song that repeats itself once. Its the same bass synthesizer riff scaling upward with a strong popping sound effect and a bouncing ball high synthesizer line that is somewhat of a cross between David Bowie’s “Ashes To Ashes” and Hot Butter’s “Popcorn”. All of this fades out as the song draws to a close-not ubruptly but in an extended instrumental cool down where Prior’s drumming which started the song concludes it in the same manner.
One of the things that came to mind instantly about this song was how strongly it was connected to the fact that,in the UK disco-dance culture received little to no backlash in the early 1980’s and evolved into new wave,house and the electronica genre. And it is that last mentioned one which acts as something of a banner genre to a lot of music that is actually new wave,house and synthesized boogie funk. That comes out in this song because,rhythmically it comes directly from the post disco dance music genre. Yet at the same time the musical sound of it and the melody itself intersect the lines that many have drawn between minimalist EDM,low fi indie pop and rhythmic funk/soul music. And that mixture also brings out it’s new wave aspect-of course a genre heavily based in disco/funk itself. So this song grooves down to the bare bones by its near endless variations on musical hybridizing.
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