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: ‘The Way That You Do It’ by Caserta
There’s no mistaking its dancefloor intent with the harsh, sharp beat at the start. Never a big fan of those, but slowly it starts veering away from that, and at about the three quarter minute mark you get into the disco groove with all those characteristic sounds, especially that guitar that is thrown in there. So suddenly we’ve got ourselves a funky little number here, especially when those vocals come in, which assure us that It is not what you do, but it’s just the way that you do it. I love the moment at about 2:45 when the kind of multiple vocal chorus comes in, that’s just so old school right there, and then he slides the track into this all out funk phase before he starts the vocals up again. If, at this point, you’re not dancing yet, you’re probably not in a funky kind of mood. Though, with that beat in the back to hold onto, you don’t necessarily have to be in order to be staying on the dancefloor. But Caserta has got the mood down pat, making this a pleasurable one for some dancing, especially if, like me, you don’t mind a bit of old school popping up every now and again (at about 4:45 that chorus comes in again, and again it’s just bliss). That piano at about 5:45 is another fine example of that.
‘Private Practice’ by Nick Monaco
The start certainly is an attention grabber, with two ways of vocals coming your way (one heavily distorted and seemingly munching). After that you get the drums, and then yet another vocal layer, which I just love. I love vocals, and this certainly has got it in abundance. And it does still have some rhythm, also with the drums. Still needs to be made into a track though, and you get a deep synth sound that for a minute glues the layers together before, at about 1:40, the munchy vocals run away with the track, and its runaway bride is a deep bass sound that gives it some nasty. At 2:20 the nastiness is replaced by higher pitched vocals and a smithering of piano, and about half a minute later these parts get reunited with the drums and the munchy vocal line. At 3:25 though the deep bass returns. So it is a track of layers and of switch-ups, giving it this experimental feel that definitely puts it left field of what you’ll normally be hearing. Not to mention that it ends with a bit of classic house percussion, so it’s all good.
‘Aller Vers Le Soleil’ by Sebastien Tellier (Hercules And Love Affair remix)
Last week the Hercules and Love Affair gang had the track of the week slot, and here they come with another remix (also, they came with a new, conceptual clip for the brilliant ‘My Offence’ of off their latest album, so check that out as well). In last week’s write-up I already mentioned that in many of their remixes they tend to veer to the colder beats, and here too that’s certainly how it starts until that bass sound comes in. It’s quite a mid-to-slow paced affair this, and at 1:44 you get some lovely synths in there working against a simple kick drum. Soon the bass makes its entry again, and at this point the track has this kind of lush vibe, to which the vocals of Sebastien Tellier (singing in French) only add to. I love the airy synths that are put behind the vocals, they give it a nice atmosphere. After the four minute mark it goes a bit deeper with that bass sound, which they nicely contrast with a tu-de-du-doo vocal line of Tellier, along with some piano. At the end Andy Butler throws in some tech-y sounds that, personally, I could have done without, but overall a nice, lush, lower paced remix by the talented house performers.
‘Enter the Dragon’ by Ooft!
Just love those deep sounds at the start, if that doesn’t tell you that you have arrived at a party where you just need to put your head down and dance I don’t know what does. Also enjoy all the percussion elements they throw in there, and they excellently change that main sound up through the first minute to build some momentum. In the mean time, to keep the variety up, they keep changing and adding to that percussion layer to make sure the track keeps going somewhere. Something which they also achieve by playing around with that synth sound. It’s got a nice immediacy to it I feel, definitely one for the late night crowd this. At about 2:40 it goes a bit arena on you, maybe expanding the sound a bit too much (at least for my personal liking), but especially with the drop they sure cater to the crowd who want to party heartily.
‘Return Of The Mac’ by Jesse Rudoy
I just love the title for some reason, it just tells you something I find. Now, if you like dancing, the Let’s Play House label is where it’s at, so no wonder this cheeky little number is released on there. It’s about a fun night out, no question. So you’ve got all those house instrumentals that make you want to dance, and in the mean time you are just thinking No, honey, they wouldn’t, as the Mac in the title is certainly not Mack the Knife or something. In the mean time Jesse Rudoy just keeps on plugging along with all those traditional house elements that keep people dancing and on the dancefloor. All transitions are so smooth, as are all references to the “original”, they are mixed in there surprisingly well, as if they actually belong in a house track. Certainly, by doing this, he shows more guts than I would ever have, and I like to work with some corny stuff, let me tell ya. And, you know, it works, and try repressing a smile during this one (or to not dance as well, by the way).
‘Two For One’ by Will Saul & Komon
Last month Will Saul released a DJ KICKS mix, and as is customary for these things the “curator” himself adds one or two originals from his own back catalogue. Will Saul decided to add one where he worked together with Komon, providing a deep, spacey cut that relies more on atmospherics than pace. There’s a huge dial down followed by a prolonged build-up around the middle of the track, which furthermore reiterates that the focus is on the deep space vibes to groove to (even more so than dance to I’d say). Though at about 2:48 there’s the big bass sound that, when played in a set, will give the crowd enough to be moving to. At first a bit more introverted, but to those deep drums that at one point come in I’m sure some beautiful people can strike some immaculate poses (really like those drums, by the way, gives it some attitude after the atmospherics of the first part).