Tyson
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Tyson – After You're Gone - (Legowelt Remix)
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There is more than one artist that goes by the name Tyson:
1) British electro-funk performer.
In 2011, after a lukewarm attempt at a solo career, London’s Ali Love somehow became the male vocalist in house circles: he was versatile enough to feature on top of the spewed electro of Justice’s Civilization or the chilled nu-Balearica of Luca C & Brigante’s “Different Morals,” and he featured, most prominently, on that unescapable half-disco, half-house gem by Hot Natured (“Forward Motion”). If there is one thing you could reproach, however, it’s Love’s singing, its overall self-restraint, its under-the-top-ness.
Enter Tyson, another Londoner with the same knack for Italo-tinged pop, who works with the same label (Back Yard Recordings), and the same studio collaborator (Martin Dubka, of indie-dance hopefuls Cazals), but with a totally different approach to self-characterization. On the basis of his Die on the Dancefloor long-player, it wouldn’t be surprising to see this young newcomer ubiquitously occupy in 2012 the same ground Love did last year. Except Tyson is, at heart, a more theatrical vocalist in the diva house tradition. (Think Robert Owens meets Billie Ray Martin meets Chelonis R. Jones meets Hard Ton.) The campy attitude he displays on the ten tracks on offer might be too much of an acquired taste, but there is also a commanding posture at work here that makes his music definitely stand out.
Aesthetically speaking, Die on the Dancefloor is pretty much in synch with what you’d expect post-disco resurgence dance pop to be like.
1) British electro-funk performer.
In 2011, after a lukewarm attempt at a solo career, London’s Ali Love somehow became the male vocalist in house circles: he was versatile enough to feature on top of the spewed electro of Justice’s Civilization or the chilled nu-Balearica of Luca C & Brigante’s “Different Morals,” and he featured, most prominently, on that unescapable half-disco, half-house gem by Hot Natured (“Forward Motion”). If there is one thing you could reproach, however, it’s Love’s singing, its overall self-restraint, its under-the-top-ness.
Enter Tyson, another Londoner with the same knack for Italo-tinged pop, who works with the same label (Back Yard Recordings), and the same studio collaborator (Martin Dubka, of indie-dance hopefuls Cazals), but with a totally different approach to self-characterization. On the basis of his Die on the Dancefloor long-player, it wouldn’t be surprising to see this young newcomer ubiquitously occupy in 2012 the same ground Love did last year. Except Tyson is, at heart, a more theatrical vocalist in the diva house tradition. (Think Robert Owens meets Billie Ray Martin meets Chelonis R. Jones meets Hard Ton.) The campy attitude he displays on the ten tracks on offer might be too much of an acquired taste, but there is also a commanding posture at work here that makes his music definitely stand out.
Aesthetically speaking, Die on the Dancefloor is pretty much in synch with what you’d expect post-disco resurgence dance pop to be like.
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Die On The Dancefloor
934 listeners10 tracks
Released:
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After You're Gone
908 listeners7 tracks
Released:
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Public Service Announcement
1,825 listeners15 tracks
Released:
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Ghetto Messiah
1,460 listeners15 tracks
Released:
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