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: ‘Mastermind’ by Roisin Murphy

Miss Roisin Murphy is back, starting this one with some lush synths through which we can slowly hear a rhythm synth emerging. After about thirty seconds we get the vocals, almost narrating a story in a mysterious, near menacing vocal turn. She says she is Scared out of her mind, she is Petrified, and that she Has been waiting for too long, for something wrong. So no pop diva vocals here, but a sort of performance poetry, though at 2:20 she strips the gadgetry, some of the music as well, and from that point on we get a very clear vocal, also with lighter sounds surrounding it, this for the full immersive experience. From the moment her vocals start, by the way, the track gets a little pulsing beat underneath, and from the three minute mark that one is also helped by some of that bass. Later that minute we get another change up in the form of an instrumental interlude, harking back to some dark italo bass synths coming from some soundtrack or another from the 80s. It is a really theatrical piece this (especially hitting home when the backing vocals hauntingly appear as well), and shows that Murphy still has plenty of creative juices left in her.

‘Lose Control’ by Shit Robot

Shit Robot leaves no moment unused, immediately getting that bassy vibe in there for some getting down to. At the thirty second mark we get the lighter percussion sounds to juxtapose the heavier rhythm line, and half a minute later we get even more drum & rhythm to shake our bootie to. It’s got this forceful feel to it, a nice pounding it gives you. At the 1:30 mark, the DFA go-to vocalist appears, with Nancy Whang singing that Every day I’m waiting for, you to wake up, wake up, wake up. The great thing about Whang is that she’s got a nice, rhythmic voice for this sort of work. In the mean time Shit Robot keeps it all rolling down, adding all kinds of drum and rhythm elements to the core that is always present, really making sure this is a dancing tune (and don’t you forget about it!). Whang’s vocals return, singing that she Can’t fight this feeling, Lose control, which are dancing words. After that, Shit Robot takes the beat away for a moment, just going with the rhythm synth, and then bringing it back in for that little push. Lovely dancefloor tune, as we are accustomed to from anything that has to do with either DFA, Nancy Whang, or Shit Robot.

‘Under One’ by Toomy Disco

Toomy Disco starts this one with a hard hitting beat, doing the glitchy a bit as well. After the thirty second mark we get more of a thudding main hitter to get that rhythm right, and a minute in we also get some diva vocals. At least, for a moment, soon traded in for the bass sound. But not too much later they show they can co-exist, with the bass still rolling, and the vocals urging you to Bump (pump?) the party. And this definitely is a party track, no bones about it. After the two minute mark, suddenly, it opens up, getting some of that piano in, stripping some of the rhythm sounds for a moment (and at about the 4:10 mark doing a similar thing as well). But Toomy Disco soon works its way to the beat and go, giving the people on the dancefloor not too much of a rest as they need to keep a movin’! And it certainly pounces that home, doing the party vibe and the hard going with this one.

‘Long Water’ by Wilson Tanner

Wilson Tanner is a combination of John Tanner and A.R.T. Wilson, giving us a peaceful moment at the start, with some piano and a little bit of that slow guitar to really set the tone. Then, to add, a bit of those sad & jazzy horns, putting us in that particular state of mind. And so, slowly, it adds certain sounds, but without any form of clutter. It is a real clear cut song, getting everything out of all the sad notes for all the sad sacks to reminisce and reflect to. It is an instrumental piece that would not be out of place at a Jazz festival, and definitely it gives you all that a good jazz tune is able to give you as far as I’m concerned. The atmosphere is constant, the sounds clean and packing the emotional feel they want to exhume, and that for a good six minutes straight on. A feat they pull off with confidence and skill.

‘Pleasure’ by Formation

Formation are a young British band putting the bass full in at the start for this electro track, one with a little bit of that punk intensity in there as well. The bass is really the main rhythm, but drum rhythms help to give it the dance vibe, while the punk-ish delivery and a certain rawness provide that intense quality. The drums and vocals, for the most part, give each other a moment of rest, and at the two minute mark there is a full stop. Just some vocals before, first, the drums come back, and after that, the whole works, but a little more upbeat and with a bit more air than at the start. Trading in the basement for something with a bit more sunshine.

‘Do I Believe In God’ by Prince (LNTG Muscle Mix)

After Bowie now Prince has left the building as well, but that doesn’t mean we cannot funk to either songs like ‘Fame’ or tracks like ‘Controversy’, a classic Prince tune where he talks about people wanting to know about other people and, Oh lord, is he gay or straight, is he black or white, and does the man Believe in God? Controversy! One of my favorite edits is the Late Nite Tuff Guy mix (which I was fortunate enough to dance to live when I saw the man perform behind the decks). Starts out with a lovely beat, but also already the guitar riff, building up the familiarity until, after a good minute and a half or so, it dives headlong into the track, giving us the funky to do the sexy to. The vocals come in, the rhythm is spot on, and you can get crazy to Prince saying that I just can’t believe the things that people say, as people are getting down on the dancefloor doing things that might give people actually something to talk about. There’s plenty of the guitar, plenty of the vocal work, and enough funk and catchy stuff to really get it going on too. One of my favorite mixes of an artist who has influenced many.

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:  ‘Niagara’ by Boys Get Hurt feat. Polvo Disco

Already out a few months, but this Boys Get Hurt track still worth a mention I reckon. Dreamy-yet-catchy synth-pop, starting with, after 8 seconds, a little beat, some percussion, and after the twenty second mark you really get the synths in there to give it this pop effect. When the vocals come in you have a little cymbal in the background, some synths, and when he starts with the verse you have a bass sound dictating the rhythm. They change it up nicely before and after the chorus, in which he asks Just tell me how it feels, I want to stay. The track has a nice breeziness, very easy-on-the-ear, and it knows when to add the rhythm elements to get all them peepz dancing again.

‘LIV’ by Jeremy Glenn

This one starts with a bit of pizzazz, it has got this naughty little synth line going, as if something is going to happen tonight (oh-la-la!). The vocals in the verse start out rather rhythmic, though just before the minute mark Jeremy Glenn already starts showing his range a bit. And surely, his vocals are always stand-out, so no exception here. I like the bridge from the chorus to the next verse about 1:20, he has a nice little beat going on there. And, as said, I like the feel of the track, it kind of has this I-want-to-rock-with-you feel, which during the chorus gets a bit reigned in as Glenn shows off how long he can do with one breath. Definitely has the pace and the vibe of something to dance to, preferably with someone you fancy (which, I reckon, is preferable 9 out of 10 times, but you get my drift).

‘Evil Eyes’ by Roisin Murphy (Hercules & Love Affair Remix)

‘Evil Eyes’ is my personal favorite from Roisin Murphy’s new album, and Hercules and Love Affair are always my personal favorite for whatever. Though, truth be told, the albums I’m more fond of than the remixes more often than not, as that skews more to the disco and vocal house, where the beats in the remixes are often a bit colder, more techno infused. But all is forgotten at about 1:40, really, when the combination of that beat with the bass and Murphy’s impeccable vocal delivery is golden. And, to be honest, it are especially the latter two which make this one such a joy, though the beat is good to have there if only to give all the danceclub people something to hang on to as they’re jacking their body. Andy Butler knows to pay reverence to Murphy, her vocals being used spot on. Very clear, nothing to cloud them. Another lovely change-up at about 3:50, and those are the moments that really show the expertise at work here. When the vocal delivery changes at about 4:25 a new instrument is added, and these are the little things that all put it above the fray.

‘Inspiration Information’ by Shuggie Otis (Dino Soccio Rework)

Dino Soccio has taken on ‘Inspiration Information’, a 1974 track by Shuggie Otis, of which the similarly named album was re-released in 2001 by David Byrne’s independent label. How about that, eh? Soccio starts with a slow power beat with some echoing vocals, and at the twenty second mark he double paces the beat and throws in a shitload of vocals along with some other sounds to make sure you’ve got something to listen to. Just after the minute mark you get the beat, a verse, and a little bass and what I think is organ in there. Around 1:40 Soccio makes sure you get plenty of the vocals and backing vocals as he dials down the beat for a moment, bringing it back at the two minute mark. It has got this California laid back feel to it, though you can definitely be grooving to this on the dancefloor a little as well. At about the 3:20 mark you get this lovely moment sans beat again, during which he gets that funky guitar going. Lovely rework of something that I, for one, haven’t been hearing a lot of on the dancefloor.

‘Haus Party’ by Colour Vision

Colour Vision has created this one aimed for the dancefloor, so it makes sure to start of with the beat and some other rhythm and percussion elements, including a bass sound that enters at about the forty second mark along with some of that ol’ hand percussion. At the minute mark he dials the beat back to get to the talking vocals, repeating the title, just to make sure that you know you are at a Haus Party and that you should be dancing, Okay? And the bass sound that immediately comes in after can sure make the people working it. Very bouncy, and the synth line on top makes sure it doesn’t get too deep all the time (as well as the Florida bell percussion he’s got going there).  The next time around he comes back not only with the bass, but with the beat as well, and it all just reinforces that this is made for a House party for you to get housing too. This one comes with some remixes, including one by Boys Get Hurt, who is featured somewhere else in this column as well.

‘There Must Be Love’ by David Morales & Janice Robinson (Disco Juice Radio Mix)

Just wanted to make sure that there was some unabashed disco in here as well, and this Disco Juice Radio Mix certainly fits that bill. It’s got the strings going, the dramatic drums, the diva vocals singing about love, and of course a frantic pace to get dancing to. Meandering right through this dancefloor madness is a little piano as well, and the girls at the back make sure to support their leading lady, singing that despite all the painful moments that love brings, yessir, There must be love. The drums make sure to keep this one on pace and ready for the dancefloor, and all the auxiliary sounds just bring the disco. The vocals, too, and the subject matter, also, are just classic disco for people to shout along to as they’re going all out (which you certainly can on this one). It also has this uplifting vibe, also very fitting for the genre, and the last part even brings a bit of that church in there as well. Just one of those things that you could slide into any disco set where the dancing will show the people’s appreciation for your choice.