|Redtenbacher's Funkestra / Dr Hypenstein|
|Label:||Wooden Hat Music|
|Add Date:||2015-02-27||Pull Date:||2015-05-01|
|Week Ending:||26 Apr||19 Apr||12 Apr||5 Apr||29 Mar||22 Mar||15 Mar||8 Mar|
|1.||Mar 13, 2021:||Rebroadcast: Music Casserrole |
Right On It
|4.||Jul 27, 2015:||Mix Tape: Alexis de Tocqueville Edition |
|2.||Jan 12, 2020:||Mix Tape |
|5.||Apr 24, 2015:||funk to folk |
|3.||Jan 11, 2020:||Mix Tape |
|6.||Apr 12, 2015:||Wolfe Calls |
- Funky, but experimental. Generally upbeat. Electronic sounds are present here, along with the surprisingly “hard” guitar riff in song 5. Each song pulls itself together very well, functions well on its own, and some give off very clear imagery when listening (as noted for each song). Feels thematic and complete. Can definitely be trippy/psychedelic at times, but in a less self-aware way than in psychedelic electronic music. Opens and closes strong, but I tend to favor the first half of the album because each song feels a bit more unique. |
- Recommendations: try 1, 2, 4, 5, 7, 10.
- FCC: none.
1. Kicks in with a bumping, exciting beat. Quick bass picking and plenty of pleasant flute action here, trades off well with the horns. A fun, playful exchange. Meanders, yet the instrumentation remains cohesive. Recommended.
2. More playful instrumentation here. Occasional interjection of some winding noises that make me feel like I’m in a videogame. Fun, swirling sax scales. Kind of hypnotic. Toward the end of the song, a repeating “wow-wow-wow” sound adds to the trippy vibe. Song empties out toward the end in a sparkling, pleasant manner, sounding like it’s being played through a tin can. Gentle synths hinted at briefly, easy to miss. Many excited, high sounds here. Recommended.
3. Song comes in with a slower, funkier beat than the previous two. Indulgently saxophoney, more focused. Minimal bass and consistent drum, with the occasional sweet drum riff. Less soloing, more consistency. Feels like rollerskating on the moon.
4. The backing beat makes me think of a funky Ratatat. Down-scaling horn section and slower beat makes this a less upbeat song than the others. Skillful bass-picking here toward the end. A mellow break toward the end before the song recaps on itself. Recommended.
5. Immediately very different, comes in with a punkish guitar riff, and loud, stadium-y drum beat. Horns take a backseat here but are still pleasant. Very fusiony. Bass notes are less individually noticeable but add significantly to the heavier atmosphere of the song. Feels like riding on the back of a phoenix. Recommended.
6. Building bass riff makes this song naturally exciting, like you’re waiting for something to happen. Synths that come in briefly toward the end. A noise occasionally comes in that sounds almost like an alarm. Feels like running through an abandoned factory.
7. Heavier bass and driving beat give this song a sense of urgency. Horns are quicker and more staccato here. Swirling bass sticking primarily to one melody with deviation for bridges. Empties out for a section of bass trading riffs toward the end. Drums return to finish the last bit of the song cohesively. Recommended.
8. Long, drawn-out sax gives this song a sexier feel. Bass is given plenty of attention. The horns trade off playfully with another sound (not sure what instrument it would be? Seems kind of electronic?). Killer sax jam toward the end of the song.
9. The bass and the drum beat feel more integrated in this song. The bass riff is very deliberate, exploring gradually but consistently. By halfway through the song, there is quite a bit going on, then it empties out to rebuild with a little sax solo, re-adding the horns, bass, and sharp snare drums.
10. Song enters with a swaggering guitar riff with complementary bass. Horns are used more to enhance here than as instrumentation on their own. High hats very noticeable. Howling, insistent sax in the last half of the song, stealing the show for a good 30 seconds. Pulls everything together and finishes strong. Recommended.
11. Diiirty, dark, invading bass here. Flute makes a comeback, but sounds like it has been fed through something; it feels crunchier compared to the smoother flute earlier in the album. Some pleasant whammying on the guitar here, then quick strumming.
12. Begins on the more minimalistic side. Bass is less present here in many parts, with more focus on the horns and drum sections. Popping snare drums compliment the horn solo near the last third of the song.
13. Quick guitar strumming complimented by vocal bass and drawn-out horns. A great closer, feels like the equivalent of the ending credits to a movie.
|2.||Baby Fat||8.||Right On It|
|6.||Cave Canem||12.||Tower Of Tnt|