Evolution of the Groove - Miracle track rewview

Year : 2018
Genre :Funk Rock
Origin : United States
Where to check it out: > - here - <

This review starts off with an informative snippet about the origins of the band, taken directly from the official SoundCloud of the ensemble.

Funk, rock, R&B, Hip-hop, soul, gospel, jazz: These are the elements that have molded and shaped the core sound, as well as, the overall experience that is Evolution of The Groove. Originally founded in 2010 by Steven Cunningham and Chris Sclafani, the band focused on combining the elements of each member’s background to create a new and unique sound that would emphasize the preservation of the ever lasting “Evolution” and “Groove” that is music, which is demonstrated by their brand new sound with everything from high energy, in-your-face jams, to soothing meaningful beats, featuring emotional lyrics as well as invigorating instrumentals.

"Miracle" is an excellent example of straight-to-the-point funk-pulsation, heightened by a rock heft, yet tamed with firm hands amidst the fields of slick melodic sensuality, courtesy of a wise-, yet soberly traditional choice of harmonics. One area in which the song immediately emerges to distinguish itself from the fray, is the excellent vocal performance of the female lead, periodically supported by a decently performed male counterpart, a sound/narration that is fortunately wise enough as to not attempt to challenge the female principle, it instead chooses to submit to it, thereby showcasing the former in its optimal sonic volumetrics. 

A stone traditional, yet very efficient verse is traded for a surprisingly effective chorus structure, in which the band declares complete freedom to express the best inventions they have happened to sculpt into audible stimulus, and this climax certainly does not disappoint, supplying enough interest to keep the keenest of ears occupied. One relative hindrance is, that once the particularly interesting chorus reaches its conclusion, the re-occurring verse structure can't help but reveal its less challenging appeals. Yet, one can be sure that the chorus will re-surface, and the excitement factor regarding this anticipation won't really dissipate into nothingness during the entirety of the track.

"Miracle" is doubtless a quite solid effort, and one has a hunch that this ensemble has all the chance in the world to open up a hatch or two directly into Funk-Sezame in the future, a happenstance likely to be realized as soon as they decide to invite a little bit more experimental spirit into their craft, of which they already exercise a solid command and a sober understanding.

Check out the song here.

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Phantom Pop - BETA review

Year : 2016
Genre : Massively Instrumental Jazz/Funk Fusion
Origin : United States
Official site : > - here - <

The music contained on the latest-to-date Phantom Pop full length does not bow down to the curteous routine of assuaging your everyday/average funk/jazz craving along tropes you are embarrassed to pretend you know nothing about - instead, the release delivers the funk/jazz fusion goods with such an undeniably intoxicating command of the notoriously whimsical genre, that you won't likely be given any room to be cynical in towards the stimuli upon a submissive listen, nor when you execute max-level inspection paua' towards this supersexy, all-muscle effort.

The album is massive both in its scope and in its hyper-optimized ambition - the latter being an inescapable result - almost a happy accident - of the unconditional love towards the genre which is simultaneously worshipped and insatiably exploited by the ensemble throughout this exquisite audio adventure. Read on to know more, because the cat knows where you live.

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Teni - AfroDisiac review

Year : 2013
Genre : Reggae Funk with Jungle Jazz affections
Origin : United Kingdom
Official site : > - here - <

London resident Teni is one contemporary representative of the timeless exotic/afro musical vibes skillfully established and expressed by such artists as Shade in the '80s. Remember the song "Smooth Operator?" Teni surely does, and I suspect it is one of her all time favorites - I might be wrong, of course. (I don't particularly think Shade had any other songs, anyway.)

Nevertheless, Teni elegantly relies on efficient tonalities revolving around the exotic African - tautology? - scale. Africa is only exotic if you are not there. Your host, Teni takes you there, AND back. If you'd prefer to stick around, there is no power preventing you from submitting to the music on a rince and repeat basis, IF you are Tiga' on AfroDisiac enough for that. Luckily, the urge to conform to the suspected expectational tendencies of the Western listener, is almost non-existent on Teni's record, thereby claiming and radiating a legitimate identity. African Gods & Co. save us from Western pop music with exotic mannerisms - this release does not commit such sonic atrocities at all. The first thing you need to get rid of, is your ingrained beliefs about how the exotic music should sound like, and don't you worry (all that much) that the stimulus sounds quite similarly to the conventions you were willing to sacrifice into private oblivion - the data sticks to you with increased efficiency upon multiple listens, and there is just enough movement in the songs to keep you situated between Afro Nirvana and very much physical palm trees with rascal monkeys on it.

Teni does what she is capable of, - which always is the optimum - yet does this with zero doubt in her singing abilities. This is a good thing, that conveys a sense of self confidence to her overall performance, and even while she explores her current limitations, she remains enthusiastic. A pleasure to behold such precedent. The music has a relative willingness to revolve around its own axis as Teni showcases her favorite note selections of the African scale - and her taste/musical vision doubtless reflects the primordial wilderness with metaphysical efficiency - she, nevertheless, at this point in her career is suspect to overdo some particular tonalities, even though this effect is only observable when you give the album a full facetime. Only 100 times you can slide into an "F" from an "F sharp" without the audience finally noticing it. Read on to know more about this.

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