A deep-rooted sense of groove runs through Stone Cold Sober, the latest release from The Hypnotiks featuring Wolfgang Valbrun, and it reveals itself almost immediately—unforced, confident, and steeped in a tradition that feels both preserved and reimagined. This Paris-based collective has built a reputation around its devotion to classic soul and funk, yet what stands out here is not mere revivalism, but a lived-in, muscular interpretation that carries its own identity.
From a rhythmic standpoint, the track leans into a tight, unrelenting pocket. Noé Benita’s drumming anchors the entire composition with a crisp, almost conversational cadence, while Xavier Desjours’ percussion adds a subtle but essential layer of syncopation. The groove doesn’t rush; it settles, breathes, and then insists. Gérard Berruet’s bassline deserves particular attention—it walks a fine line between restraint and flair, weaving through the beat with a fluidity that recalls vintage funk recordings without sounding derivative. It’s the kind of low-end presence that doesn’t dominate but quietly dictates the track’s movement.
The interplay between rhythm and melody becomes more apparent as the arrangement unfolds. Anthony Honnet’s keyboard work, especially the use of analog-style synth textures, injects warmth and dimension into the soundscape. Rather than overwhelming the mix, the synth elements feel carefully placed—sometimes shimmering in the background, other times stepping forward with a slightly gritty tone that complements the track’s overall aesthetic. The choice of timbre is deliberate, evoking a retro sensibility while maintaining clarity and modern polish.
Guitarist James Startt contributes with a disciplined approach, favoring tight, rhythmic chops over expansive solos. His playing locks in with the groove, reinforcing the track’s sense of cohesion. Meanwhile, the brass section—Valentin Couineau on trombone and Paul de Rémusat on sax—adds a layer of dynamic punctuation. Their lines are not constant, but when they appear, they bring a sense of lift and emphasis, almost like exclamation points within the arrangement.
At the center of it all is Wolfgang Valbrun’s vocal performance, which carries both weight and nuance. His delivery feels grounded, slightly raw, and emotionally direct without veering into excess. There’s a certain grain in his voice that suits the track’s atmosphere perfectly—soulful, but not overly polished. He navigates the melodic lines with ease, allowing small imperfections and tonal shifts to remain intact, which ultimately enhances the authenticity of the performance. The phrasing is particularly effective, often stretching just behind the beat, reinforcing the laid-back yet deliberate groove.
Atmospherically, Stone Cold Sober operates in a space that feels intimate yet expansive. The production avoids unnecessary embellishments, focusing instead on clarity and balance. Each instrument has room to exist, and that spatial awareness contributes to the track’s immersive quality. It doesn’t aim to overwhelm; rather, it invites repeated listening, revealing subtle details with each pass.
What makes this release especially compelling is its coherence. Every element—from rhythm section to horns, from synth textures to vocals—serves a unified vision. The Hypnotiks demonstrate a deep understanding of the genre’s foundations while allowing themselves enough flexibility to avoid stagnation. This is not nostalgia for its own sake; it’s a continuation of a musical language that still has plenty to say.
As a webzine, we are genuinely pleased to host and review a release of this caliber. Stone Cold Sober stands as a testament to the enduring power of groove-driven music when handled with care, intention, and a clear artistic voice. It doesn’t shout for attention, but it holds it—firmly, steadily, and with undeniable style.
