Get Up with It

Miles Davis 1974 isolated
dark fusion experimental jazz-funk
The last transmission before silence: jazz-funk dissolving into dark ambient drones and exhausted, beautiful desolation.

Similar Albums

Grouped by the kind of closeness: sound first, then mood, era, and artistic phase.

Same Artist / Nearby Phase

Useful neighbors inside the same discography, where the artist is moving through adjacent periods.

Closest Sound

Albums with nearby density, space, production feel, vocals, and style.

Same Mood

Albums sharing the emotional palette and thematic atmosphere.

Same Era Feel

Albums close in historical moment or in how they relate to their era.

Same Career Phase

Similar artist-position moments: early statement, breakthrough, reinvention, mature work, or late period.

Acoustic Profile

Density 8 Spatiality 6 Distortion 6 Tempo 4 Rhythm 8 Harmony 6

Production

Method: hybrid
Fidelity: raw
extended drone piecesorgan-driven dark funkwah-wah layeringproto-ambient long-form

Vocal

Approach: instrumental
Lyrical Abstraction:
10/10

Mood & Theme

melancholy paranoia numbness
Territory: darkness-as-texture, exhaustion-as-art, death-meditation
Emotional Arc: slow-descent-into-darkness

Era & Context

Mid-1970s. Davis increasingly reclusive and unwell. The music became darker, denser, and more alienating before his retirement.

Career Phase

Electric Revolution 1969-1975

Radical electrification. Fusion of jazz with rock, funk, and electronic textures. Alienated jazz purists, anticipated ambient and electronic music.

Distant Connections (2)

A second layer for farther resonances: connections that may not sound closest at first, but still point somewhere useful.

Influences