Good music moves people. It moves people out of their seat and on to the dance floor, and it moves people to reinterpret the world around them. Sometimes it can do both at the same time, which is exactly what Lakuta does with their new single, “Bata Boy,” released by Tru Thoughts.

The nine member group comes from Brighton with members that originate from Kenya, Tanzania, Ghana, Malaysia, Spain, the UK and describe themselves as afro jazz soul funk. The global diversity extends past the genres they cross and members to build a socially conscious message in “Bata Boy.” The song is built around a lively drum beat, noodley guitar riff and saxophone lines that introduce the chorus, “We will not stand for this/We will say yes no more,” and follow it with it's own verse.

The song addresses discrimination against gays to point out its nature as a global problem, Africa, Asia, Europe too/Think that they have a right to/Tell him how to live his life/All this trouble, all this strife/Just because he don't want a wife.” Taking the focus from the global issue of the discrimination of gay people, the song move its attention to the largely Africa-based issue of female genital mutilation, addressing it as something done “All in the name of beauty/All in the name of culture,” before rhetorically asking “Is this what we call civilized?”

“Bata Boy” is certainly not the first song to be political. It's not the first to offer an anthem like message and chorus. What makes it special is that it's one of few that get away with mentioning divisive topics, criticizing cultures all around the world and doing it with a dance beat that can't be refused. The single also includes two remixes, and instrumental and A Capella versions. The name Lakuta comes from Swahili and means “to find, meet, share or feel full,” and “Bata Boy” is a great dance track with an important message that should meet ears and be shared but only leaves a listener hungry for the LP to come.

Beck Raps Circles 'Round Today's Radio Royalty

With so many greats in the world of music passing and so much new talent coming from the Internet for their 15 minutes, it's fair to wonder who will be the ones to adapt to the times and stay around to make a life's worth of music. With much of the 90's crowd broken up, re-branded or withered into obscurity, it may seem like Radiohead is one of the only to continue to put out records whenever they want, using whatever instruments they want and charging what they want. But they wouldn't be alone because Beck has shown that he can go from country, to rock and roll, funk, and create records that ebb and flow with the emotional current of tears.

Breaking out with “Looser,” Beck created an anthem for the disenfranchised youth of suburban America with a catchy chorus, rapped verse and a drum sample from “I Walk on Guilded Splinters,” by Johnny Jenkins. Shortly after “Loser,” his record Odelay would get the Grammy for best alternative music performance and earn him respect that would be sustained when Morning Phase was given Grammy of the Year, despite having the lowest sales numbers of any record in its category. With its soft drums, echo-chamber vocals and atmospheric approach that answered what it would sound like if Cocteau Twins produce an alt-country record, Morning Phase repeated themes from Sea Change but in a way that was new and worked more cohesively song to song.

Since then, Beck has released two singles. In June of 2015, the funky song “Dreams” came out with a sound that caught the drift of MGMT so closely that it would have come off as plagiary if it wasn't such a perfect piece of cotton candy pop. Now, Beck takes on the ubiquitous sound of modern party pop-rap built around a minimal amount of looped samples, rapped verse and enthusiastic chorus. On paper, it sounds as odd and uncharacteristic as “Dreams,” but goddamnit if Beck doesn't show Iggy Azalea, Nikki Manaj and all the other twitter-feuding rap/pop personalities how to do it right.

It's hard to miss Beck's sense of humor when listening to the lyrics of songs in Odelay and Midnight Vultures. Because of that, it's impossible to know if he's seriously interested in making music in different styles or if he's just deconstructions the skeleton of modern sounds to see if he can't build a better one. From the very beginning, a tone that travels like a slide whistle makes a listener wonder if it's Beck or some weird joke. The slide whistle loops, a kick drum comes in and Beck's “Giddy Up, Giddy Up” queues a drum roll and click track beat for the whistle to spin around. Then, Beck starts to rap all over it all: “Wanna move into a fool's gold room/With my pulse on the animal jewels/Of the rules that you choose to use to get loose/With the luminous moves/Bored of these limits, let me get, let me get it like,” before the repeated chorus of: Wow!/It's like right now/It's like wow!”

By the time the second verse/set of bars finish with “Standing on the lawn doin' jiu jitsu/Girl in a bikini with the Lamborghini shih tzu,” it's obvious Beck still has his sense of humor. Soon, the chorus's “it's like wow” becomes the only appropriate reaction to the song itself because you realize Beck's doing what he does best, works around genres, in spite of their limitations and with their clichés, which he includes with an uplifting message that turns the song into summer anthem gold: “It's your life/You gotta try to get it right/Look around, don't forget where you came from/It's just another perfect night/We're gonna take it around the world.”

Is Beck playing with styles that people would never guess interest him for the fun of? Is he focused on creating one summer hit after the other? Is he just seeing if he can change with the times? It's unclear. What is for certain is that Beck doesn't seem to be slowing down and doesn't have any trouble keeping up with the rest of the air waves.

♪ How Do You Solve A Problem Like A Pop Song ♪

In 2012, Beck put out a record in the form of a book filled with sheet music. He may be an eccentric genius.

Beck's done it again. After winning a Grammy that caused a little controversy (Kanyeversy?), Beck decided to take a different approach to music with his new song, "Dreams." While the award winning Moon Phases is somber, moody and borders on depression, Beck decided to come back with a 180° rotation that had  his foot land on the kick drum. It's hard to expect anything from Beck, an artist that has used samples like a hip hop dj (Odelay), country like a boot wearing cowboy, and left field antics like he's Captain Beefheart (Stereopathetic Soulmanure). Expecting what Beck will do next is an exercise in futility. When he released a book of sheet music (Song Reader) for fans to play, he showed his audience that his next album may not even be an album.

While Midnite Vultures was a funk/rock masterpiece that could propel any dance party into 3 a.m., "Dreams" isn't funk as much as pop/disco ala MGMT. This new sound isn't surprising considering he's working with writers and producers that have made careers for themselves writing and producing for Kelly Clarkson and Beyonce. Though this new single is an unabashed, straight-up pop song, it's not as cotton candy as Britney Spears or princess party as Katy Perry. A little shocking upon first listen, it eventually comes off as exactly what you would imagine a pop song by Beck to sound like. With that, I'll leave you to press play and make up your mind.

Here's an interview Billboard did with Beck about his new song and upcoming record: