The 21st century funk mothership has landed, and this time it’s not good ol’ Parliament. Cory Wythe, otherwise known as Marvel Years – the young guitarist and producer from Manchester, New Hampshire – has been making some heavy waves in the electro-funk and glitch-hop realms, and audiences and artists alike have been taking note of this funky homo sapien by the truckload.
Soaked in shredding funk guitar, brass to keep James Brown smiling ear to ear, and enough glitched out percussion to get a monk tearing it up on the dance floor – this young producer is on the cusp of breaking out and becoming one of the next big electro-funk acts in the United States.
As with many of today’s upcoming electronic artists, the push to include traditional instrumentation is immediately evident in Marvel Years’ music. Bridging the divide and pushing the boundaries of what traditional music and electronic music truly is, he’s one of the many forces in the world defining what the future holds for music.
It’s funky, it’s bassy as hell, and it’s dancy as all get out.
Produced in the vein of GRiZ, Pretty Lights, Manic Focus, and the like, expect to see this guy on the rise as he keeps touring coast-to-coast, busting out new tunes all the while.
Young in the game, Wythe embarked on his first national tour just last year.
Since then, he’s been making moves and putting in some serious miles on the road, playing venues from Boston to Chicago to Colorado and further in support of acts like Pretty Lights, Griz, Gramatik, Break Science, Exmag, Manic Focus, and The Floozies in addition to a countless slew of other big names.
So how’s his live game, you ask? Well, here’s just one example: at The House of Blues in Chicago this year he played an original Marvel Years set, only to follow that up by closing the night with a second set as the guitarist in the Manic Focus’ live band debut. That my friends, is musicianship, and we respect the hell out of it.
In addition to his other talents Marvel Years can add remix master to his resume in big, bold letters.
Absolutely destroying rehashes, rebuilds, and remixes, he’s touched on a diverse group of classics ranging from The Rolling Stones and B.B. King to Biggie and even Earth, Wind, and Fire.
The funk is most certainly strong in this one.
So, catch this producer on the cheap while you can. As he keeps moving up in the music world, one track at a time, one can be assured that ticket prices will only go up. But that’s not a bad thing, either.
As artists grow into their own and start getting paid for their craft, it gives them nothing but more time to devote to their art.
It allows them to put more emphasis on the tunes that they create and the performances that they deliver, increasing the overall experience for everyone involved.
To put it another way: seeing Bassnectar live on a tiny PA and with a minimal lightshow is still Nectar, and it’d be awesome, but we damn well know that we prefer him with 300,000 watts and a light show that drives air traffic controllers crazy.
See what we’re getting at?
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