Gov’t Majik’s new release, The Bass Age, opens with a percolating keyboard riff amid the relentlessly funky bass work of the band’s leader, New Orleans music scene veteran Bru Bruser. Nigerian superstar Fela Kuti and Afrobeat, the genre he personified, was the standard to which this band initially aspired, but the group has moved beyond its early influences.

The title cut that opens the effort explores many of the same musical themes as Kuti—such as a female chorus and a horn section (featuring the cream of the crop of local players—too many to mention by name—including longtime Parliament/Funkadelic alto saxophonist Greg Thomas), it also utilizes a New Orleans-style groove as the musicians and the vocal chorus echo each other back and forth. The singers intone, “We are living the bass age,” and the band makes that statement an emphatic fact.

On all the cuts, keyboardist Eduardo Tozzatto makes the most of his contributions, adding 1970s-inspired fills and pushing the psychedelic nature of this music onto the dance floor. Guitarists Danny Abel and Raja Kassis play just behind as Bruser, trap set drummer Jermal Watson and percussionist Luke Quaranta, maintain a consistently persistent groove in the mix.

The third cut, “Come See,” digs deep into George Clinton’s musical innovations with a mid tempo beat amid spiritual lyrical incantations. Spiraling vocals set atop a jazzy horn section part make this one of the more inspirational cuts on the album.

The two final cuts put the listener right back on the dance floor. Translating music that is designed to get people moving to a record is a challenge for any band. Gov’t Majik has created something that sounds as good on your stereo as it does when you’re shaking your booty.