In the sphere of modern funk, the band Vulfpeck, comes up frequently. Vulfpeck is a group of friends and musicians with a love of 1960s funk and rhythm sections and by all means achieve a very similar sound. Initially releasing the track Beastly, featuring Joe Dart playing some rather groovy bass lines. Since their conception in 2011, Vulfpeck has released 4 EPs and 2 LPs, releasing their LP, The Beautiful Game, two months ago. Sadly, The Beautiful Game is what prompted me to write this and what has prompted me to lose respect for Vulfpeck.

1. Developing a Groove

EP 1: Mit Peck (With Peck)

Mit Peck was Vulfpeck’s first studio session with one another, when the fledgling band was developing their sound to encompass their feelings for 1960s funk and rhythm. This album demonstrates Vulf’s prime ability to groove with restraint, never do they muddy up their tight sound, allowing their catchy melodies and slick rhythms to carry the tunes. Joe Dart pushes the band forward with conviction and beautiful bass playing, supported by the rest of the band with Jack grooving on set and Goss filling in the chords with gorgeous Wurlitzer sound. Upon stumbling into this LP, I was enraptured by their minimal, yet locked-in funk. Vulfpeck was now synonymous with a restrained and minimal, but expressive sound.

EP 2: Vollmilch (Whole Milk)

Opening with one of my favorite Vulfpeck songs, Outro, Vollmilch is instantly recognizable. Simple chord progressions and a never-stagnant bass-line accompanying an outstandingly dirty saxophone solo by Joey Dosik, this song is an exercise in holding back while still saying very little. In fact, the entire EP is very careful to allow repetition and space to express itself with the same intensity that a full-blown melody and chorus would. Even though there are moments that are extremely memorable, never is a song maxed out, to Vulfpeck’s benefit. This album further defined Vulfpeck’s sound to that minimal expression I crave.

2. The Refined Groove

EP 3: My First Car

In My First Car, Vulfpeck begins to experiment with more subtle mixing and production in their sounds, which creates an effect of further restraint. However, it doesn’t stop there. Vulfpeck expands their compositional palette to include more space and tighter rhythms, with extreme simplicity and fugue-like movement in voices. This EP takes minimal sounding funk and begins to refine it into something truly unique, and especially memorable. Every single one of these tracks makes me want to dance awkwardly in public. I can’t help it. Wait for the Moment, The Birdwatcher, The Speedwalker, My First Car, Kuhmilch 74 BPM, and It Gets Funkier III are all equally funky tunes with beautifully clean rhythm and groove. Vulf’s sound on this LP is the most mature yet, and is extremely convincing. Vulfpeck’s tight groove has evolved to continue their approach in minimalist funk.

EP 4: Fugue State

Snappy and tight, Fugue State takes the same minimal sounds of My First Car and elaborates on them slightly to bring their retro highlights of imperfection to a tee. All of the history behind Vulfpeck leads up to this EP, the final EP before they truly begin what I call “The Digression.” Fugue State is just as memorable and tenacious as the prior LPs, featuring Antwaun Stanley on another track, 1612, with just as much charm as his previous feature. However, the instrumental for Christmas in L.A. was a sign for what was to come.

3. The Digression

LP 1: Thrill of the Arts

Released a little over a year ago, Thrill of the Arts, is Vulfpeck’s first full-length LP, and the start of an unfortunate lack of focus for the group. A few tracks on this album really stand out. Welcome to Vulf Records, Back Pocket, Funky Duck, and Rango II demonstrate the sound Vulfpeck excels at while remaining fresh. However, the rest of the album is all over the place. Thrill of the Arts is light-hearted and new territory for Vulfpeck, but it demonstrates an immaturity in sound that I don’t look for in Vulfpeck. Their sound becomes blurry again and this lack of focus pulls the band’s formerly masterful groove apart, replacing it with cheesy melodies and some genuine laughs. This digression from tight grooves could be an evolution for Vulfpeck. It could be new ground. It could be a new flavor. Unfortunately, however, that is not apparent.

LP 2: The Beautiful Game

The most recent release, and the catalyst of this essay, The Beautiful Game is a poorly fulfilled album with a distinct potpourri of songs without any thematic continuity. It bounces from funk to bubblegum pop to dream pop, all without any semblance of connection. Although The Beautiful Game features some fantastic chops from Joe Dart, and the same cooperation of the band members, its content is lacking the captivating, tight groove set in the earlier Vulfpeck discography.

4. Implication

Many of these same fans enjoy Vulfpeck for a different reason than I. They seek the simple, fun vibe and aesthetic that Vulfpeck’s recent music exudes (see Animal Spirits, DiMaggio, Back Pocket, and Funky Duck). Vulfpeck is and has always been about enjoying the performance of the music, but it had previously been handled with restraint. It is this lack of nuance that leaves me feeling disappointed with Vulfpeck’s recent work. It is not the aesthetic that makes Vulfpeck enjoyable. It is their control and discipline of the groove.