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The Weekly Froth - 20160708

  • Published in Columns


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.



The Weekly Froth!

  • Published in Columns


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: ‘Josephine’ by Woolfy Vs. Projections

Chris Rae’s ‘Josephine’ is just one of those tracks everyone who has ever listened to the radio (ever) just knows. The lush vocals sending all their love to Josephine; just tapped into the consciousness of people that one. Obviously, the lads of Woolfy vs. Projections make sure it now is readily available for the dancefloor as well, doing their catchy, funky thing before they slow it down a tad to welcome sounds reminding us of the original track, after which they thrown in a rhythm synth with a beat backbone to get the people dancing again. After the two minute mark we get the vocals, which are not the originals, but more in tune with the electronical offering that we get here. Still, though, they are sending all their love, and Every single step they take, they take it with her. The guitar gives it a bit of that funk with a nice little riff, and the piano infuses it with some of that dreamy on-the-road-thinking-‘bout-my-gal vibe the original also had. It is not a fast paced affair, but ideal for your road trips or your dancing-the-sun-away moments.


‘L.A. Plays Itself’ by YACHT

YACHT are readying itself for the release of their new album, and this is the second single they’re bringing out for that. It’s a bit heavier on the punk/rock vibe than their previous one, but obviously it’s still a danceable, catchy affair with the beat drum and the bassy synth making sure the rhythm is a-okay. Because of the oomph of the drums, and the immediacy of the fairly spoken-word vocals you get this more rock vibe. There’s also a hint of hip-hop there in the timing at certain points. In the chorus they sing that You think it’s like that, but it’s really like this / You never get caught if you’re never locked in. With Claire then asking if you can read The writing on the wall. The track is apparently named after an experimental gay pornographic film, so there you go. Can’t wait for the new album, to be released later this month.

‘Big T’ by Tito Ramos (Joe Claussell remix)

Joe Claussell knows how to make you shake your boot-y, and here he starts with that percussion and that tropical vibe before he puts the four-on-the-floor and gets the upbeat Latin thing going. Along with a bit of that guitar and piano to give it that authentic flavoring. Just before the minute mark he throws in some horns as well before slowing it down for the vocals, as they chant "Brothers and sisters, I want to saaaay..." before diving into a narrative about this guy who did it His way (wink wink, nudge nudge). I love the multiple vocals, giving it this communal atmosphere, like you are dancing at someone’s street party in Cuba or something. And they sure get it going, and Claussell keeps all the auxiliary sounds right in there, with the guitar, the extra percussion, the whole shebang really, to make sure it keeps its momentum and this feel of pace. At about the four minute mark he slows it down a bit, stripping most except for the tom-toms and other percussion. He then first gets the guitar and vocals back before putting the beat back in there for the dancefloor to hang their hat on. Saw Claussell doing his nifty DJ stuff earlier this year, and there was definitely a party vibe there, and this shows why that was.


‘Better Believe’ by Alkalino

How about some of that old school disco, courtesy of Alkalino, who calls in Doctor Love, with the First Choice gang doing their thang. So it already starts with those old school sounds, driven by the bass, the four-on-the-floor, and the percussion elements, and with a nifty little guitar and some horns for extra flavor and that real disco feel. At about the two minute mark the girls call out for Doctor Love for the first time, with the main vocalist taking over at about 2:35, giving it that yearning feeling that fits that disco dancefloor to perfection. And she does the works, doing the growl, the high pitched squeal, just about it all really. In the mean time there’s still the beat, the percussion, the bass, and that little guitar to make it all move forward at breakneck pace. Just one of those fab old disco tunes that knows how to put the yearning and the sex in there, and Alkalino makes sure it gets some modern flavoring to get dancing to all night long.


‘Sunrise’ by Cyclist & Maiko (Aimes remix)

Sunrise this sure feels like, with Aimes taking on this track by Cyclist & Maiko. It is half the percussion cowbell, and half the lazy synth that, after about fifty seconds, is substituted for a more  deeper rhythm synth sound (though they later prove to be able to co-exist as well). The female vocals sing that Your love feels so good, and she certainly is feeling that she can spend her time with you (score!). So I guess that’s sipping-some-tropical-beverages-whilst-looking-at-the-sun coming up. The bass and percussion then move it into a bit of a higher gear, getting into dance mode a tad more around the two minute mark. At about 2:30 they move it into summer and tropical bars with some light, fun-loving synth work, after which they slide it back into the rhythm again, this time enlisting the vocals for some extra help, with the horns coming in as extra back-up as well. A sunny, catchy affair to do some of that late summer dancing to with your love (or lust) one for that night.


‘On & On’ by Crayon feat. Jordan Lee

Let’s go lush and smooth with this offering from Crayon. At about the 20 second mark they go from intro to the actual song, which has this nice R&B vibe with the synth and the particular rhythm of the drum. I like it when that little guitar riff comes in, that’s sweet. At about the minute mark they dial it down for a moment, removing the rhythm elements (especially that synth), but it all comes back soon enough. The vocals are silky smooth, and really give it that '90s R&B vibe, whereas the slick electronics put it more in the nu realm of it all. They plead Ohhh girl, don’t you turn me away. Again, at one point they dial it down, to the point there’s almost merely a sound that seems like fingers snapping to the rhythm, but for the last part they get it on for a moment again to make sure it doesn’t end whilst grinding to a stop. As said, super smooth, super sexy.


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