A young electric bass virtuoso from Memphis – extraordinary chops/hyper lumber.. the name? Dwayne Thomas Jr aka MonoNeon! dry roasting big batches of fissiparous Funk & fusoid Hip-Hop lampoon. Lashings of sumptuously nimble bass-slapping, without shame nor restraint. Majorly awed by Funkadelic, Michael (Fuckin’) Henderson & Prince (MonoNeon was one of the last musicians to collaborate with Prince before the fatal dose) – it has a very specialized retro mannerism & attention to phonetics (larders heaving with Herbie Hancock style synths from the 70’s era) but springs loads of fresh & acutely idiosyncratic rigmaroles. Neon’s exceedingly adept abilities on his instrument are somewhat shredded & scattered by his facetious frolicking, FX fixation & hunger for ever madder modulation & synths. That’s absolutely part of the attraction & individualism of this formidable & flustered cocktail of mad raunch & spazzed jansk. Also employed (& administered entirely by Dwayne himself) are a drum machine & of course his vocals, – more than often that will be daubed or acid-eaten by some abstruse FX warping, supra compression, helium-influx or what not. A master of the guitar as well, you can expect a less assertive augmentation that occasionally flairs into massive soloing & swank. Parody is a convex feature in this work (perhaps crux-component even?), but it’s all executed with such aplomb, & anyhow, what’s wrong with permanently positioned piss-take? It’s for this reason that Neon is regularly referenced as being avant-garde or Avant-Funk. Weather that’s technically accurate, the cat is rocking the dingy, or rocking su’int in the dingy with the greased quickness. Brilliant shit & colossal talent dunked into cult/odd/crazed firma. An inspection is urgently in order.