The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

I love the vocals, which are right there from the start. The rhythm that’s put underneath is nice and bouncy, and it’s stopped for a moment just after the minute mark, where the vocals are put in the spotlight with only a small percussion element. Then, the rhythm is thrust right back in there, and this time around the vocals are clearer and cleaner, which is a nice effect, a nice change-up for the track. They still are lovely and dreamy though, a bit apathetic, a bit removed; a tone that fits the deepness of especially the synth sound that works in conjunction with the beat. At about the 3:30 mark, again, a short stop, this time accompanied with higher pitched synth sounds, though quickly the deeper ones return to help the transition to the bass and beat again a little while later. Released on the Ghostly International label in America, which says it all, really.

New Jackson gets this one going with a beat to do some of that House club jackin’ to. The atmospherical sounds give it a slower, more melancholic feel, whilst the clean beat design also shows off some of the intricacies in the drum pattern. At 1:40 there’s a wobbly synth sound that arrives in there, though the big shake up comes after the two minute mark, when the bass takes over. The tone of the track stays intact though, even when the talking vocals come in. These are alien, from outer space (or from out-er-that-vocoder-thingy-over-there), and New Jackson subtly shifts in the rhythm department underneath all that talking. It’s a lovely, hypnotic track, of which the original was part of Shit Robot’s What Follows album, which was released earlier this year.

This track, really, has all the hallmarks we have come to know from the band. The somewhat detached vocals, the melancholic sound, and the interplay between the male and female voices. Building up to the chorus though, they bring in the more orchestral, the bigger sounds, with the chorus getting a helping hand from a more punchy, rap like male vocal. The sounds underneath are also a tad trippier than I remember from when I saw them tour their debut album, which seemed to have a more minimalistic approach to it. The core sound though, the essence of the band, that’s still there, and it still has that little something something that made them go from 0 to 100 in 60 seconds.

How about that riffin’ to start this one off nastily, along with the bass and, immediately, the female vocals taking you right into that Disco Queen party. And why not, as we are all disco children, really, aren’t we? And this one gives you the riff, the bass, the percussion, and, of course, those horns (ah, the horns!) to get some dancing done to. With the vocals leading the band, talking about how in the ye olden days she was already imbued by them dancing sounds, and now she’s quite hooked. Given how Sean Sounds picks up that rhythm after she finishes her choruses, no wonder, because that just makes you want to boogie down, now doesn’t it? At the three minute mark we are treated to some percussion and some of that disco innuendo (Take that beat, now, why don’t ya?), after which the horns are put to some good use before la diva returns for the next chapter in her disco origins story. It’s got the disco flavor down pat, and the euphoria is as addictive as the riffs at the start.

Mr. Tophat is about to take you for a ride, giving you those house club sounds with that deep, rich beat as his base for (at least part of) his ten minute extravaganza. To juxtapose that, just listen to those sounds way back in the mix that are there even before he picks up the pace with some extra percussion just after the minute mark. Near the two minute point Robyn comes in for her first set of vocals, which also seems to be the cue for Mr. Tophat to move a bit more into the space territory. At about 3:05, again, a little pick-me-upper in the percussion, with Robyn helping out, her vocals becoming more pronounced and tied in with some disco inspired sounds. And after Robyn and the disco, the space and the deep rhythm sounds come back in, which apparently is so shocking to Robyn she gives out a few good yelps on top of a galloping rhythm that moves into some slick bass action. Mr. Tophat does that so well, keeping it weird and quirky, but also grounded in the origins of the genres on display. The rhythm in there is diverse, but all the transitions work well (although the real shocker at about the six minute mark is another thing yet again), and then there’s Robyn to add some of that typical vocal work that befits the tone of the track. It requires some trust (…), but the result is an eclectic funbox with the first part taking on the classic dancing genres and bringing it home.

SR Edits adds some percussion, adds some drums, though already from the start we hear some of those original sounds right back in the mix, slowly moving forward, waiting until y’all on the dancefloor are ready for it. And a good minute in, they decide you are, as the beat takes over and the horn and piano sounds come in a bit clearer than before, giving you that good ol’ disco feel. At 1:40, the female vocals come in, quickly followed by their counterpart, as they sing about how the other is going To be loo-hoo-hoo-hoo-ne-ly. Just before 2:30, the male vocals, super silky smooth, giving you all that sweet soul and a bit more, giving you that whole Motown thing that Ashford & Simpson are known for (albeit, admittedly, this was a track released after). It’s a sweet soul disco track, and this edit highlights the latter, the dancefloor part, for some of them good times.

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Tiger & Woods come out of the gates huffin’ and puffin’ with this one, providing us with a loop again that they create, re-create, and which you come to anticipate. The first recreation comes when they add the vocals and the bass, which give it the rhythm and flavor. At the minute mark, the next instrument comes in, some strummin’ and drummin’, which then gets complemented by the horns a little while later. In the mean time, the main canvas still is in place, with the bass as prime rhythm part. And so, for the remainder of the five minutes, they add and subtract, but with even more eye to momentum than ever before, as witnessed by everything that takes place around the two minute mark. It’s not solely about the hypnosis of the loop, but sometimes they shorten the window of change to get momentous joy in the ranks before resorting back to the main sounds. Awesome track by the duo.

Jeffrey Paradise gets the percussion in there first, slow and steady winning the race there. Then, a nice little guitar riff, one of that tropics kind to go with some of the vibes of the percussion. The bass sound nicely tops that off as well, slowly turning this one into a low-paced disco burner that makes your mind drift to the islands and a little beach party with cocktails and the likes. At about the 2:10 mark we get a bit of that nifty guitar playing coming through there, which then smoothly transitions to the synths. After about three minutes, for the first time, we get some far away vocals, and the instruments that come in after give it a little bit of punch to keep the defense honest. After which that guitar comes in again, and now who doesn’t love a bit of that?

I love the kick to start with, being balanced nicely by the constant synth and the snapping and shaking sounds that give it a bit of that extra percussion. Just before the minute mark the beat gets turned down, the synths take over with the aforementioned other sounds, and then the rhythm is added back with a deep bass. Then, the vocals, singing that they Love you more than before (and now who doesn’t love hearing that?). In the mean time it’s all building up that anticipation for the kick to come back in, and Luvless makes sure to tease before the please, building up that wall of synths until about 2:40 when the drum and everything comes back with a  vengeance, working with the vocals to give you that full house vibe. You get that same turn-it-down-to-build-it-up later on the track as well, still working it’s sweet magic for that dancefloor.

This starts with all the percussion sounds, including some pretty sharp sounding ones at that, which then gets juxtaposed with a little bit of that slappin’ of the snares before the bass rhythm fully comes in there (and with it, some horns to give you a smattering of that extra joy). At 1:20 the track really gets rolling, putting everything on those two instruments, which sets that disco dancefloor alight. Love the sounds at 1:35 or thereabouts, that just is so in tune with the genre. Fouk dials it down slightly a bit later, though they are still keeping it moving. Then it’s snare upon snare, with the drums and bass setting the tone for the horns to come up on over. They even start adding some piano to the proceedings, to really get you that funk and play, the latter which they sure show with the transition at about 3:50 and the subsequent build up. Some of that modern disco for all those pretty dancers to get it going on to.

I love the vocals here, reminds me a bit of that Eighties Madonna action, and the track does have a sort of pop vibe going on as well. Angelica is singing that you are just giving all your love to Take it right back. In the mean time the track is moving forward with some drum, snare, and bass action, the latter especially prevalent in the choruses, where the vocals get some help and echo. At the two minute mark the vocals are given a bit of room, singing that she Will be all right, after which the drums already announce the coming of the chorus. Angelica Bess is also part of Body Language, so you know that was going to be all right from the get go, really.

From the start you know you are getting a bit of that downtown jazz club action, and when they start slapping that bass you know for sure it is in that club where that soul is going to go down. The guitar is helping out a bit, giving you that short riff play before the woman du jour comes in with that glittery long gown soul singer voice, singing that your love brings her through the day as the bass keeps helping this one chug along to shake them shoulders to. Loads of piano action is in there as well, giving that jazz backing band vibe all the way on through. At about the 3:20 minute mark you can hear all those instruments at work very clearly, seconds after which the vocals return for another go around. Another lovely release on that Street Muzik label.

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the Week:  ‘I Gotta Feeling’ by Midnight Magic (Jacques Renault remix)

Jacques Renault and Midnight Magic team up again. Renault already has a beautiful remix to his name of this band’s ‘Beam Me Up’, and this time around he puts the bass and Roth’s vocals to good use for this disco/house stomper. In the background there are all kinds of other elements as well, though it takes up until 1:22 before they even come close to being on the same level as the two aforementioned parts of this track (just to subside in a matter of moments again). It’s definitely the bass providing the dancefloor rhythm, providing the background to the vocals and to the horns that come in after the two minute mark, finally helping out that powerful voice that she’s got, singing that she Feels it coming, coming on. Which must be the horns she’s speaking of (obviously…), or that little bit of extra oomph in the rhythm at about the four minute mark, giving you that final nudge onto the dancefloor if you weren’t there yet (which is unthinkable, surely).

‘I Am A Joker’ by BEA1991 (Nick Monaco retouch)

Nick Monaco gets that piano riff in there from the get go, with the drum providing the rhythm line, though he’s even keeping that one light. Shortly after that, the female vocals come in, and after their first verse there is a short oomph, which continues when the vocals return. In the mean time the piano is still the one strutting its stuff, though it gets taken out and, after a minute, gets replaced by a more bass sound. Though, as main sounds tend to do, it comes back after a short minute or so, getting multiple layers in as well. Then Monaco returns the favor, showcasing that piano in a short solo bid before the kick comes in again to guide this one to its end. The combination of the dreamy vocals, the light percussion, and the piano give it a sort of elegance for the dancefloor.

 ‘Can You Please Crawl Out Your Window’ by Bob Dylan (Slow Hands cover)

So what happens when you win the Nobel Prize (whether you want to or not, apparently)? Why, you get covered by Slow Hands of course. They start it out in a very understated manner, giving it a bit of that jazzy class next to some electro fiddling. Then, the vocals come in, slightly hazy, with the clear and clean guitar sound cutting right through that. At 1:50 the song gets a little push, a little pace, through bass and drums, with the guitar still the main attraction right there. In the mean time, the vocals sing that You can go back any time that you want to (so how can he haunt you?), after which, again, that guitar comes back in for a little solo. Slow Hands show their musicality here once again, this time giving you a little bit of that Nobel class for all y’all to enjoy.

 ‘Peace And Love’ by Tall Black Guy feat. Masego & Rommel Donald

May there be peace and love, that’s the plea this one starts with (and surely, there can’t be enough people spreading that message around). After that, we get that slow jam beat going, with some female vocals and a bit of that gui-tar to bring that Let’s all love each other vibe right on in there. Just before the two minute mark the instrumentals are brought way back, with the male vocals coming in repeating that he wishes you Peace and love. Then, when the female voice comes in to repeat that wish right up until it gets granted, first that little beat comes back in, soon followed by that guitar yet again. The three minute mark is the cue for some of those horns to arrive, which are always a welcome sight. For the final minute and a half they bring it way down, going for a bit of spoken word starting a train analogy that gets mimicked in both word and sound, ending the journey with a bit of that gospel to bring that peace message back on home.

 ‘In Love With’ by Funkformer x Starving Yet Full (DBNN acoustic interpretation)

There’s nothing wrong with a bit of that acoustic sound going on, and from the get go it’s obvious that’s what you’re in for. Then, the half-speaking-half-singing vocals come in, giving you that Shakespearian ode to love talking about that Beautiful scar on your chest. Eventually coming to the conclusion that, yes, I’m in love with you, a line that gets continued into the chorus where some additional vocals are brought in to make sure the message comes through loud and clear. The second time the chorus comes around the extra vocals sing you the lines, with the main voice giving you that soul rendition of it. An acoustic ode to the one you love (or to the one that you left behind), we can never really have enough of those, can we?

 ‘Love Machine’ by Tempst Trio (SanFranDisko re-edit)

SanFranDisko gets the percussion to work, putting that pace in from the get go. Then, the bass, providing a slightly more steady rhythm. Soon after, the guitar riff, a very festive sounding one at that, with the strings only adding to this. The vocals soon come in, with them asking Let me be your love machine, turn me on, see what I mean (you go girl!). Just before the two minute mark the verse comes in as well, accompanied by a nice bass to make sure you can boogie down to this not only in the bedroom, but on that disco dancefloor as well. And it’s got all that Seventies goodness to make those dancers get down, with a handclap interlude around 3:20 to boot. After that he ups the funk, with the strings bringing you back to that disco sound. Put on this tune if you want to bring some sexy into your night out (and really, who doesn’t want a bit of that, let’s be honest now).

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the Week: ‘You’re So Special’ by Chesus (Jacques Renault edit)

From the start this one gets the festive tones in, with a right amount of house as its base and the disco sounds running right on through it all. At about the thirty seconds mark there are the vocals for the first time, though at that point still slightly muffled. The sound cleans up though, getting a clear drum in with some of them horn sounds, and the classical tones of the original that we know so well. Renault keeps it running though, just looping the vocal line mentioning that you are a Very special lady, but not ready to cash in on the big kahuna just yet. Instead, at 2:30, he moves to a deeper beat, with the original sounds hidden deep and far underneath that blanket, giving himself some time to crawl out from under that one again. Which, about a minute later, happens, with the clarity returning in the drum and other instrumentals. Around the five minute mark, near its end, the track goes back to the deeper bass, moving this lovely dance tune to its close.

‘The Spell’ by David August

David August starts this one by providing us with some atmosphere, with the deep synth that comes in at about the twenty second mark doubling in function as both aiding the aforementioned and a working as a sort of riff. Then the drums come in, taking over the role of the deep sound with the synth moving to a more lighter tone. At the 1:30 mark they strip it all out, just putting the atmospheric synths in again and what sounds like some vocal work. Then, a more rhythmic drum line, indicating the start of the second part of this track. If you just listen to something like at 2:40, where basically all the additional sounds also give off a kind of broody vibe whilst not disturbing the momentum of the drums until these are taken out completely yet again, that kind of exemplifies this track nicely. This time around, there’s a long interlude, that first sees some spoken word before it moves to the piano. It’s a track that moves you through a couple of phases, all building blocks to the overall atmosphere, which seems to complement the SoundCloud picture next to the track quite well I’d say.

‘Off The Wall’ by Michael Jackson (Young Pulse rework)

This has just about got to be one of my favorite albums, such an unmitigated joy runs through it. And Young Pulse takes on the title track, giving you the vocals first, then putting a deep bass underneath that becomes more and more prominent before the actual funk comes in just before the minute mark. That funk is driven, amongst others, by the steady pace of the drum, and the little guitar riff running right on through it. And Jackson, in the mean time, sings that Tonight, just enjoy yourself (a sound advise for all y’all across the world, I’d say). In the mean time, all the rhythm parts keep on working, the horns come in to get it going on as well, and Jackson is talking about Boogie down, which one certainly should have the intention of doing when having this song on. It’s a fab track, and the rework keeps all them dancers doing their thang on this ol’ classic.

‘World Turning’ by Fleetwood Mac (Ray Mang edit)

Ray Mang opens with some spoken word about expression through music and stuff, taking about until the thirty second mark before the almost country sounding guitar riff comes in with the piano basically dictating the pace. The minute mark sees the growly male vocals enter, singing about The world turning, and how they need to get their Feet back on the ground. Ray Mang has a nice piano momentum working there, giving you that hypnotic loop but without any of the “normal” rhythm instruments until after the two minute mark, when the drum kick comes in to help out all that country&western that’s going on. At the three minute mark he mixes it up a bit again, and the guitar is let loose some as well, giving you a bit of that solo work on top of a fairly minimal base almost solely consisting of those drums. This until some extra percussion is added after four minutes have gone by, drumming their way to the end of this rework of some old Seventies Fleetwood Mac.

‘Sleepwalkin’’ by Cheryl Lynn (Doctorsoul Wake Me Up Dub Rework)

Doctorsoul is giving you the dancefloor vibes with that kind of drum, adding the deep bassline to put Cheryl Lynn’s tune to. Those are the main elements to get that mid-paced funk moving, really bringing those vibes with the guitar riff and the more Caribbean sounding percussion as the track moves closer and closer to putting those vocals in. In the mean time he keeps running with the deep bass, giving that some extended focus in this dub. Just after the three minute mark Doctorsoul lightens up the mood a bit, moving slightly away from the deeper bass to get the guitar sounds in a bit more, and then finally adding the vocals with Cheryl Lynn singing that she wants you to Wake me up with your love. With, at this point, you getting the full goodness of the 1982 track. And after such patience, Doctorsoul is relishing having her in now, adding the echoes to the vocals to prolong the goodness and savor the flavor of this funky little number.

‘Key To Life’ by Kauf

Kauf starts with some guitar, building a melancholic nighttime sound around it with a bit of a grainy growl in the bass. This is juxtaposed by the relatively higher pitched vocals, which give you that distanced, alienated vibe on top of the more angelic “aaah-haaa” chorus line that sometimes double the main voice. The drum and bass are there to provide the deep canvas, with primarily the guitar that keeps cutting through it, almost as a mediator to the vocals and the rhythm sounds. As soon as Kauf mentions the Key to Life the grainy bass gets back before the drum kicks up the pace a bit and whilst the guitar keeps moving through it, giving you that Darkside feel a bit, that nice mixture of a hypnotic, melancholic dance sound with the guitar lines cutting right on through all of that. Especially nearing the last minute there is a part where the layers build up, though never making it too muddled, but instead creating a unison that fits the atmosphere he has set out from the get go. A lovely cut from the upcoming album (early 2017 it’s saying at the minute).