• Funky as it gets!
• Ranging from four-on-four beats to graceful compositions
• A delectable deference to Disco and its newer junctions
Riding the new wave of re-integration of Funk in mainstream electronic and pop, British hotshot SG Lewis is pioneering a signature sound unfailingly recognizable; having its enrapturing foundations in center of Disco. While he has offered numerous other singles, last Friday saw the first official compilation “times” from the mentioned act. There’s forty minutes of unadulterated swanky four-on-four beat-work and more, so I will write over a brief summary, also naming the compositions that fascinated me in the process.
Rocking an impressive repertoire, the Reading, England native musician has worked with notable names like Khalid and Dua Lipa. I wasn’t aware of his discography until late last year until when “Chemicals” got revealed (more about it in the following paragraph). In the process of writing, my admiration grows greater as I divulge more; while it could be debated that Lewis’ genre of choice are commonplace in R&B/Pop, his recent records are a love-letter to Disco in its different shades. “times” freely ranges from softer and graceful to full on lusty and dreamy palettes, showing the diverse tastes and inspiration from the best and endeared retro soundscapes that ruled yesterday’s dancefloors.
Don’t get it wrong, there is fair share of modernization in these songs, but a creative homage that doesn’t plagiarizes or sound boilerplate. “Chemicals” is the opener (chronologically) for the bespoke album, setting the mood and giving a plenty of notion about what entails: psychedelic, shifting and glimmering backdrop with muted lead synths and teasing guitar riffs, accentuated smoothly by the smoothly wavering vocals. Picking up the pace from here (and sharing parallels with one talked before), “One More” features the iconic guitarist and Chic’s founder Nile Rodgers, who adds his specialty with playful and catchy performance involving the stringed instrument. “Back To Earth” embeds a jazzy ensemble consisting of flute and subtle percussion, leaning more towards funkier House structure. Getting more sublime with “Heartbreak On The Floor” (featuring songstress Frances), the post-Disco styled ballad aches with sentiments and revolves around a sensual 909 cowbell based cadence. “Rosner’s Interlude” is a brief sermon on importance of harmony, as demonstrated by the following “Impact” (featuring Robyn & Channel Tres). This instrumental introduces fat and offbeat dosage of stabbing vintage low-end synths and fluent rap in-betweens, hypnotically led by the starring performances; backed by shimmering and filtered tonalities.
While I may have taken the liberty of choosing my preferences, “times” stretched the time required to finalize my decision of which to acknowledge specifically. A centerpiece of SG Lewis’ career, this collection of self-produced and collaborations is utterly delightful, radiant and easy to get lost into entirely once played on an appreciable volume.
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