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: ‘Free (From Social Narcotics)’ by VinylAddicted and Sleazy McQueen

VinylAddicted and Sleazy McQueen get the rhythm moving, first arriving with some all too familiar beats and drums, and then throwing in a deliriously delicious bass sound that will get the house a rockin’. The piano enters the fray too, giving you the light next to all the rhythm sounds. At the 1:50 mark we hear a male voice say Free, which is also the cue to go back to the bass and drum sounds that were running the campaign earlier. Then, more vocals, dialling down the volume on all the other sounds so they can be loudly heard exclaiming that, yessir, the most dangerous narcotics are the Social narcotics. In the mean time, this tune is moving like a motherflipper, giving you a lovely smooth rhythm base to keep you riding that horsey. The talking male vocals are a nice counterweight, adding a bit of gritty, a bit of an edge. I’d throw this in a set any time, really, such a smooth ride with plenty of momentum in there to have everyone gobbling it all up for the entire meal.

 ‘Fever’ by Roosevelt

Roosevelt gets the summery synths out, before moving to the steady beat a few minutes in. After that, even more summery synths, giving you that festival vibe. All those good vibrations are shared by the percussion sounds. Roosevelt takes it down just before the minute mark, as he puts the vocals in, giving it this more dreamy air. Funnily enough, the chorus is all about the instrumentals, and not even so much about Roosevelt singing Bring back the fever again. But it’s the uptick in pace and festive tones that really leave an imprint on it all. The song clocks in a little over the four minute mark, giving you a lovely slice of pop for the beach festivals this summer, even giving you a bit of that guitar at the end.

‘Sly’ by Polographia feat. Winston Surfshirt

I love that gentle guitar riff that comes in right at the start, at the same moment the band introduces the drum kick in the back. It’s got a bit of that dream gazer feel to it, though at the minute mark they give it a little bit of an oomph. The vocals remind me a bit of MGMT, singing that they want To funk. Some of the instrumentals give it a slight exotic vibe, whilst the bass and beat keep the song on the straight and narrow. When they dial it down they focus on the vocals, with some beach-y synth sounds in the back. I like the laidback feel of the track, all the while making sure the rhythm doesn’t let up or gets too loose. Naturally, you could’ve known that, if a track features someone called Surfshirt, you’re going to get that Dude kind of vibe going on, on a little bed of rhythm.

‘Don’t Play Games’ by Nite-Funk

I, personally, had loads of fun at the Dam-Funk gig at the Primavera Sound festival this year, and that Nite Jewel record is none too shabby either (definitely have a listen to that one if you haven’t yet). This track, though, goes a bit darker, a bit choppier, and a bit more night-time-in-the-back-alley, turning slightly away from their Soul, House, Synth-Pop type bands to a more dark R&B heavy turn. Especially thanks to the aggressive feel of the drums, contrasting nicely the more soft-spoken vocals by Nite Jewel, whose delivery follows the drum, rubbing some of its aggressiveness off on it. In the mean time there are some synths in the background, giving it a slight spacey feel, though it’s primarily the bass that is doing the works back there. I love the spunk that this track has, and it shows that sometimes when people come together they can really come up with stuff different from their own works.

‘Heavy Danse' by Tom Of Brooklyn

I love how it first gets the percussion going, and then the rhythm, giving you that African flavor with the drums. Then the female vocals come in, singing that they Like it, with the bass then providing some extra rhythm for good measure. Around the minute mark they dial that part down just a tad, just to come back with a little more oomph. Next to all the rhythm elements the percussion plays a big part in the feel of the track as well, not only there to guide the dancers’ motions. At one point other female vocals come in, singing the ooh-hoo-hooo lines even sans the rhythm, though quickly a deeper base drum enters the scene, after a little while accompanied by the whole percussion works. It’s a hypnotic rhythm tune, giving you all the percussion you can handle next to the core dance base that it keeps on handing you as well.

‘People On The High Line’ by New Order (LNTG Can’t Get Any Higher remix)

New Order’s people called Late Nite Tuff Guy asking if he could do a remix of ‘People On The High Line’, the new single by the iconic band. It takes LNTG about sixteen seconds to get the main beat in, adding the bass at about the half minute mark. This combines with the lighter percussion sounds, that are there from the get go and get more and more company from deeper rhythm sounds as time goes by. At about the minute mark we hear the vocals for the first time, courtesy of Elly Jackson of La Roux fame. At 1:40 LNTG ticks the track more to his signature sound, and at the two minute mark he goes for that festive dance feel that he always does so well. At 2:40 we go a bit piano house, letting the keys do most of the work on top of a minimal beat, with the deeper sounds (including the bass) coming back shortly after to accompany that piano sound (that will be ditched moments later). Like LNTG is prone to do, it’s super smooth, with a lovely rhythm, and if I have one minor thingamajig, then it’s the addition of the male vocals. I mean, I know it’s New Order, but this track would’ve been served better with just Elly’s vocals in my opinion. Other then that, lovely jam to do some dancing to for sure.

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: ‘Be A Better Man’ by Situation (Greg Wilson & Derek Kaye remix)

This one starts with a nice synth and a mid-paced beat to get it all going on. Soon, though, we get a little riff in there— which sounds amazing— and the cymbals also do their work. Then, more keys, on top of more guitar, and then a bass sound is added for some extra rhythm. Greg Wilson and Derek Kaye really build this deeper disco sound out nicely, giving something extra every so often to keep it wheeling and dealing, and then, at 1:50, the flush, with the vocals coming in, saying they Go down anywhere you are. I love the vocals, so lush, and the transition from with vocals to without is superb, hitting the right tone with the instruments right there. When the vocals come in, they come in with a little bit of immediacy, adding some momentum to the track. I love the rocky edge the boys give this tune a little bit later in this track, which is the sound they work as they fade out the rhythm for a moment before, obviously, working that one right back in there at 5:20 (doing it with the bass, let me tell ya). Just a real dancefloor corker by the two veterans who just know about how to do all this.

‘My Own Throne’ by Pat Lok feat. Claire Mortifee

I love the secondary sound next to the thudding beat, that vocal line of dah-dah-da-da, a bit higher pitched to juxtapose the other sound at the start (aka , the beat) nicely. After that, some actual singing, saying that she will claim her throne, which is then helped out by a synth sound. After the first verse ends we go a bit glitchy with all the sounds, though that gets balanced out by that same vocal line as at the start (which is a find, let me tell ya). At about the 1:45 mark Pat Lok dials down the beat, going for the vocals and a more gentle percussion sound. At 2:30, after a short build-up, again primarily the vocals, though after that one the main sounds of the song start up again to do some dancing to. The vocals by Claire Mortifee really make this one gel together, not just with the singing, but especially the more rhythm lines she produces, which keeps intact that delicate balance.

‘Atmo’ by Nicholas feat. Paul Cut

I love Nicholas’s dancing chops, and here he starts out by a nice, galloping sound produced by a percussion that helps out the beat. Then, more dancing perc sounds. Whilst all that is going on we hear The People talk and jive and stuff as, just before the 1:30 mark, Nicholas turns up the beat once more, this time getting some of those piano sounds in as well. And, at 2:15, he really gets jazzed up, putting the piano as primary marker, and even continuing the solo as the dance beat returns. Around 3:30 we get the bass that starts plugging along, paving the way for another turn up of both the beat and the piano sounds. It’s just another House music stomper by Nicholas, who just knows how to get them people moving. You can slide this one in on any set, really, helping to keep the big Mo alive.

‘Am I Wrong’ by Anderson Paak (Sammy Bananas Bootleg)

Love how the looping starts, the cymbals and beat laying down the groundwork on top of which the same sound repeats itself at the same moment. Then, at about the forty second mark, the deeper drum, and also already a semblance of vocals, which first audibly come through at about the minute mark with a well placed Well I … Then a subtle, jazzy bass comes in, giving it this nice R&B vibe. The vocals, subdued-yet-soulful, start getting in more lines, now a Only one at a time, which then gets repeated a few times before a little break that is the prelude for a little riff and, especially, a little bit of them horns. Those work up to a return of the bass and the other rhythm sounds, bringing back the vocals as well.  That break-n-horns thing gets repeated a little bit later on, but then the return sees even more horns and even more of that part of the vibe, aside from the rhythm instruments. It’s a lovely slow burner, intricate and one to dream away to at that beach fest as the sun shines.

‘Strong Feeling’ by Superprince

How about immediately starting with that super catchy guitar riff, with the bass working underneath to keep this one moving forward. It immediately sets the tone and pace for this one, which is only added to by the horns that come on, adding the funk, adding the dancefloor soul. Then, the old school vocals, with the gentlemen singing Carry on, as everything keeps Rolling, rolling on. Then, after the unison, the individual vocals, with one man stepping forward and giving you that slick-interpersed-with-a-little-growl-now-and-again vocal turn. When he is done we get the boogie guitar, as the bass sound is still providing the groundworks on which one can dance to. And they sure know how to keep that funky business high up there, not letting up and not letting go of that what gets people on the floor. High paced, high energy, and people can be working up a sweat for sure on this catchy little tune right there.

‘Brick House’ by The Commodores (A Young Pulse Friendly Re-Work)

Young Pulse takes on that old school Commodores sound, giving you all of the good ol’ disco dancefloor stuff that you can handle. Obviously with the drum and bass sound as prime sounds to keep that rhythm right. But also, the horns and the vocals, singing that she is a Brick (horns) house. I love the multiple horn layers in the verses, and then all that funk in the chorus, with that lovely bass second to none. When Young Pulse moves into that chorus, such a smooth endeavor how they funk that up. During the interlude at 2:50 there are some woodwork percussion sounds, then those big, bold sounds we feel we remember those times by, and then, for a moment, they dial it back with just the higher pitched sounds there before the bass re-enters moments later, with the big brass section to help them out. One of those instantly recognisable tracks where Young Pulse makes sure that it brings the funk and the fun for all ages, really.

For your entertainment during another working week here's five more hand-picked delights from the Scruff Of The Neck stable.

Semantics – 'Ocean'

Kicking things off this week are Birmingham-based post-punks Semantics.Taken from the band's recent debut EP, 'Ocean' throbs with an understated menace typical of the genre; a rumbling bass and baritone vocal only adding to the track's ever-increasing sense of menace. Darkness never sounded so good.

Aurora Macabre – 'Anchor'

“It seems like everyone is more and more intent on skipping stones, but I'm making waves” croons Aurora Macabre vocalist Nick Hibbert on 'Anchor'. It's a telling lyric. Hailing from Sheffield the band are immersed in a scene that largely rests on its laurels, yet Aurora Macabre instead create a brand of hazy and wistful indie-pop that sets them apart from their contemporaries.

Cessna Deathwish – 'The Bends'

Arguably Brighton's answer to Death Cab For Cutie, Cessna Deathwish subscribe to a brand of transatlantic indie that's a far cry from the working-class colloquialism of the distinctly more British equivalent. 'The Bends' is both self-deprecating and simultaneously uplifting while bringing to mind the likes of Manchester Orchestra in its use of dynamics and melodic meandering. Exquisite.

We Came From Wolves – 'Cope'

It wouldn't be a Top 5 of late without the inclusion of a Scottish band, but Perth's We Came From Wolves are far from a token inclusion. 'Cope' is the title-track from the band's latest EP, and is nearly six minutes of anthemic alt-rock. Staggering in its ambition and surprisingly tender despite a tour de force delivery, 'Cope' is just one example of why We Came From Wolves are going places.

The Society – 'Begging'

Arguably the poppiest track featured this week, 'Begging' comes from Manchester four piece The Society. Tropi-pop guitars run riot while an almost club-like synth and bass drum provide a frenetic and upbeat melody. Though little else is available online currently, one track's all it needed for a buzz to mount.

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: ‘Augustine’ by Blood Orange

Blood Orange is back, and we can rejoice. I’ve become a convert ever since seeing him doing an amazing live show at Primavera Sound a while back, and can’t wait to repeat a visit whenever he’s gonna be close by. This track starts slow and like a ballad, but then the quick turn around, the beat and bass combo providing the funk, which then gets the extra flavour from his guitarmanship. Then, after about 1 1/2 minute, the piano and the vocals coming in, first doing the talking, and then, when the chorus comes in, showing off the pretty, higher pitched vocals. Almost choir like here, interspersed with deeper talking. At one point we just get some (ace) vocals, and then the drumpad charges back in to provide us with some rhythm. A real ace track, can’t wait to listen to the entire album.

‘Life is Good’ by Get Down Edits

Get Down Edits start of with the disco sounds, but soon the heavy bass comes in to make it work and to get the whole thing really going on. Then the piano comes in, the little riff, bringing you way back down into that New York scene right there. The heavy bass keeps it modern though, even when the vocals come in for the first time, first doing a Hmmm-hmmm-hm to get acquainted, though slowly but surely they really start coming in with the help of some male vocals there in the background. They make sure you understand that, you know, it’s a Good life, and that Love is shining. And even moreso when you get the jiggy on with this one (As she is doing what you want her to do). At about the four minute mark they dial it down, giving the vocals all the time and all the space to get you on board, and I love that they first bring in the percussion on top of the deeper vocals singing Good life, then the piano, all before they really bring it all back in again. Some tuneage for the dancefloor, bringing the diva vocals, the disco sounds, but also deep bass sound to make sure no one has to miss a beat.

‘Oh Honey’ by Delegation (Poolside edit)

This one starts slow and sultry, bringing the warm tones first. Then, just before the minute mark, the slow bass comes in as the synthesizer and horns give you the exotic, really getting that cocktail and Poolside (…) vibe going. Then, the vocals, singing that They know where to go, as she is their Inspiration. It’s got those amazing, old school soul group vocals, those four boys doing that one mic thing. In the mean time the bass keeps the slow-to-mid paced rhythm burning, with the higher key sides giving the holiday vibes. Then, the solo male vocals, making it work for a minute, before bringing it back down with the bass and the group coming in, doing their Ooooooohhhh, honey to great effect. It is a lovely slow burner, ideal for some beach side consumption I reckon.

‘Flee’ by Crayon feat. Ann Shirley

You get the irregular beat going, doing that R&B thing over the Ann Shirley vocals, which coincidentally are also doing that R&B thing. So that vibe is set from the get go, for getting up close and dirty around midnight. I love her voice, singing You’re so cold when we are apart, giving it a fitting turn for this kind of track. In the mean time Crayon knows when to dial it down and dial it up, putting in a nice deeper bass sound as well to contrast the harsher ones. It is a nice, three minute piece where Crayon rightfully called in the Ann Shirley help, giving it that little something something that is a good fit for the track.

‘Way Back Home’ by Kraak & Smaak feat. Ivar (Tiger & Woods remix)

I love the percussion that comes in at about the ten minute mark, giving it this nice vibe as it contrasts with the more mechanical sounds in the back. Then, more rhythm sounds come in, with at the minute mark the bass barging forward full throttle when it enters the scene. They build it up nicely, always seeming to add one more thing to keep that forward momentum going as they loop the mainstay for a while (like Tiger & Woods always do so masterfully). At the two minute mark the track opens up a bit when the piano sounds come in, taking it away from the more club heavy feel of the rest of the instruments, and the lads make sure that this sound, too, gets some of the rhythm right. At the three minute mark, for the first time, the vocals, nice and soulful, singing that he hopes You understand. And those vocals won’t let up from that point on, even if it sometimes slides back a bit in favor of some of the other instruments. It’s got a real festive tone this one, a track I see doing well in festival sets because it mixes the more club elements with some of the more open, poppy sounds without replacing the former.

‘Satin Kimono’ by The Beat Broker

The Beat Broker gets a nice, funky loop going, also courtesy of that guitar sound, adding some disco sounds and the soul vocals even before the clock strikes a minute. In the mean time, in the background, the rhythm keeps rolling on, with some of those drums, a slow bass sound, all culminating in a good canvas for the vocals and that guitar to keep running on. At the two minute mark he dials it down a bit in the loop, letting the vocals do some of the work, but soon the bass comes back in to make sure the rhythm and the funk don’t get completely lost. Against the canvas The Beat Broker starts working some more sounds now, making sure to add some variety as, as far as looping goes, you do have some of that necessary repetition going on, obviously. Next to these new touches, the ongoing vocals (that aren’t repeated in that same vein) make sure you’re never going to find a dull moment. At the 4:20 mark some of that funky business in the solo instrument right there, perhaps providing a perfect summation of what this track is all about.