From the first spin, Waldo Witt‘s “Justine’s” leans into that warm, slightly woozy 70s tone—the kind that feels like it’s been sitting on vinyl for decades, waiting for the right moment to resurface. The funk is subtle but confident, and there’s a light psychedelic touch that never drifts too far out, keeping everything grounded in a groove that’s genuinely hard to resist. I kept thinking of a hint of Supertramp in there, but filtered through something softer, more laid-back, like it’s in no rush to prove itself.
What really got me, though, is how well “Justine’s” is put together. The groove does a lot of the heavy lifting—it’s the backbone—but those small shifts in the chorus? That’s where it clicks. It’s like the verses are setting up a question, and the chorus comes in with just the right answer, without overexplaining. There’s a confidence in that restraint that I always appreciate.
Lyrically and atmospherically, the idea of this surreal, ever-welcoming bar—where the glass is always full and the moment is all that matters—comes through in a way that feels effortless. It taps into nostalgia, but not the usual kind. This is nostalgia for now, which is a tricky thing to pull off, but Waldo Witt manages it without making it feel forced. And the vocals? They sit perfectly in the mix—cool, unfussy, and completely in sync with the track’s mood.
About Waldo Witt:
Behind Waldo Witt is Los Angeles-based John Waldo Wittenmyer, and there’s a clear sense of direction in what he’s building. Drawing from the likes of Paul Simon and Jackson Browne while nodding to the Great American Songbook, he blends those influences with modern production touches that keep everything feeling fresh. With “Justine’s” leading into a string of releases and a full-length album on the horizon, plus a residency at Gold Diggers in LA, it feels like he’s setting the stage for something worth keeping an eye on.
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