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:  ‘Baby Let Me Kiss You’ by Get Down Edits

How about a nice little slow burner, eh? Some nice synth and kick action to get this one started, adding a nice, lazy bass sound in there after about 50 seconds as the synth picks it up a little bit. Later on you get all those lovely rhythm & blues horns in there as well, with the vocals of Fern Kinney coming in after about the two minute mark, singing Let me do it to ya, let me kiss ya baby (oh, behave!). In the mean time this track just keeps on rolling on, slightly upping the pace at about 2:50. 3:10 sees the introduction of the backing vocals, adding yet another layer to this one (which has been build-up instrument for instrument, addition for addition). At about the four minute mark you get those synths in again, which just add this little bit of a different sound to the rest, to counterbalance the more downtempo feel all the other things exhume. I just love this slow burning disco sound, with a bit of cheekiness added with the vocals for some dancefloor flirting and fun. And it keeps rolling on for about eight minutes, which is all kinds of fine by me.

‘Nasty’ by Bill & Ted

Jacques Renault teamed up with Slow Hands to create a funky little number, which is pieced together quite nicely. I just love the female vocal lines doing the daya-du-da over that little guitar riff they came up with. In the mean time a female voice is saying that she cannot keep control, after which this one slides into a nice little instrumental bit at about 2:10, which then sees the female vocals coming out from behind to get a bit more front and center. Then, a short moment where they dial it down, after which they come back with the female vocals again, asking if Tonight, are you gonna come with me. Cue, some moaning over the funky base that they have been riding all throughout this song, with the guitar leading the pack and the bass providing the groove. Add some horns in around the five minute mark as the vocals go real old school before the boys get that bass back and working for some of that funky-dancefloor-lovin’. Admittedly, the fakir sounds around the six minute point seem a bit random, but then they slide it back into what can best be described as the chorus part with the female vocals asking if you think she’s a nasty girl, as they pick up the pace slightly. It’s a lovely, nine minute affair with some of that cheeky funk and groove. Not too fast-paced, but ideal for some dancing and having fun, with smiles all around.

‘Let It Carry You’ by Jose Gonzalez (Dino Soccio remix)

This one starts out with this summery, laidback atmosphere. It’s got a nice, slow build-up with a little bass, some handclap-like sounds, some additional percussion thrown in there; and it isn’t until after about a minute that a beat comes in. But, a rather soft, understated beat, one you could dance to, but preferably at a pool party with a cocktail in your hands. Then the vocals come in, aided by a bit of acoustic guitar, and still that little bass to keep things grooving a bit. The vocals, too, pretty laidback. There’s just no immediacy to this track, just this groovy little pace that soundtracks your day in the Bahamas. Even so much so that the vocals at one point sing that There is nothing wrong. Even the build-up and subsequent pay-off is not for big club cheers instigated by massive drops, but it keeps it all tremendously mellow. The choice of instrumentation underlines the feel for this one, so if you just want to be chilling out a bit after a day of clubbing, this one might just do the trick for you.

‘Call It Love (If You Want To)’ by George FitzGerald feat. Lawrence Hart

This start takes you to the heart of Asia (before they get the beat in that is, assuming that this does not constitute as a typically Japanese kick or whatever), with then Lawrence Hart coming in, singing in his deep, reverbed aided voice, that If you want to call it love, you call it love. Which no one has ever said just before sliding on the ring and dropping down on one knee. At 1:45 the track really gets firing on all cylinders, as the vocals are there combined with not just the thuddy beat, but also with the layers of synth that kind of soften that sound. At about 2:15 there’s a break, after which George FitzGerald comes back with some superb piano, putting that one right front of center. Then the Asian sounds are flown in again (see what I did there?), and then the vocals come back with the beat to get this one to its end with a bit of pace to it. His album is currently streaming at different places, so if this takes your fancy, do give that one a spin.

‘Ghost’ by Lane 8 feat. Patrick Baker

I like the combination of the percussion, the melancholic vocals, and the sad piano to get this one started. After that you get the drums in to also give it a bit of a dancey vibe, though the synths keep this in the dancing-the-blues-away kind of realm. He breaks the drum & synth up for a minute, going back to the piano and the vocals combo, singing that Nothing works quite like it is supposed to. After that he slides the drums back in, giving everyone an opportunity to shuffle their feet again, with the ending really finding him in synth-pop realm despite the tone of the vocals and the narrative that goes with it (“Everything just looks so see-through”, which I’m sure is more awesome in puberty than when hitting adulthood). Lane 8 is gearing up to release his new album called Rise, this one being the lead-off single for that.

‘Who Shot Ya?’ by Kon

So probably you have, at one point or another, heard either Bob Marley’s or Eric Clapton’s version of ‘I Shot The Sheriff’ (but hey, at least I didn’t shoot the deputy!). Kon takes on a different version though, using Nile Rodgers' guitar and a more contemporary take on the tune (my brain is not functioning because of a cold, but it somehow reminds me of that N.A.S.A. one of not too pre-historic nature). Now, that version was already a bit more funky and catchy, but leave it to Kon to amplify that by a bunch, making it a nice dancefloor track with a little beat, but also the horns, the vocals, and thus a smithering of guitar as well. Just giving it that dash of funk that will help people shaking their hips a little. Love the bass and how that comes in after the “chorus” at about 2:15, gives it a nice kick, and that guitar just gives it that nice bit of edge that I like. As said, Kon knows how to create something and give it a bit of that funk or disco flavour, so anything by this guy and you know you have something extra to throw in your set and get people doing what they do when in the discotheque. And even the dad-rock enthusiasts among your friends can sing along with this one, claiming both bad-ass shooting skills and a merciful nature.

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: ‘TNR’ by Kasper Bjorke feat. Jaakko Eino Kalevi

Kasper Bjorke is readying a new album, and for this song he has enlisted Jaakko Eino Kalevi, who recently released an album of his own. I happened to catch him not too long ago live as well, which was well fun. Here he lends his dreamy, airy vocals to Bjorke’s equally dreamy, yet darker arrangements. Especially the part after the vocals, like the one just after the minute mark, has a sense of deeper trouble. And not only the synth tapestries cause that, but also the way the drums are used. When Kalevi sings there’s a deeper bass sound that keeps the balance in those moments, and the synth and Kalevi seemingly reverse roles in the verse thereafter where he drops his voice and where Bjorke ups the synth. I really like Bjorke, his singles are always pure ace and as always I’m curious to see what the album is going to be like. Here you just see his ear for sounds, the way he alternates the deep sounds with the higher pitched ones, how he switches things up, and how he manages to create a mood through all of that. He’s doing some London DJ dates in September, around the release date of his album, which will also feature, amongst others, Nomi Ruiz on vocals.

‘Tiny Stars’ by Leo Zero ft. Candi Godbold

Leo Zero is coming with a new album, and this is a new cut off of that. It starts with a nice bassline and, what seems to me, plates that are being shattered. The rhythm builds, the synth comes in, and all of this is happening as the backdrop for the vocals of Candi Godbold, which have this minor Bjork quality to them, very atmospheric and whispery. When the vocals get a rest you really notice the bass that effortlessly gets this track to the next vocal bit. During the vocals you get loads of synth sounds to assist her, and for the parts without the vocals Leo Zero lets the rhythm do the talking, with the bass as his main priority. So if you like your bass sounds, this one is there for the dancing. I also like the deeper vocals going ooooohhh-hooooo-ahhh-haaa for the atmosphere, though the bass takes the cake in this seven minute affair, with Godbold’s voice giving it extra uniqueness points.

‘What Goes Around Comes Around’ by MJ (Young Pulse Rework)

Never not a good time to bust out an MJ (as in, Michael Jackson) track, as it is something that gets everyone dancing. Young Pulse takes an oooooldie, with MJ’s voice still oozing innocence over a plethora of strings. Young Pulse knows when to take back some sounds and just make it some conga’s as rhythm, because at times you just want to make sure that MJ gets the room to shine. At about 2:40 there’s a break in the action in terms of the vocals, and there’s a jazzy interlude that Young Pulse has decided to throw in there with some solos and stuff. It’s a pretty smooth ride, no huge drops or anything like that, which is probably the way to go. All the transitions seem natural, and with the percussion and extra keys in the interlude parts it gives it something festive and holiday like. So happy vibes all over, which I guess is the right kind of feel for an early MJ track, even if the King of Pop sounds a bit shout-y at times. Young fellas need to get heard though, right?

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‘Party Lights’ by Jam Master

Jam Master immediately gets the funk and the handclaps out on this one, with the old school build-up arriving at about forty seconds in. That one ends, fittingly, with some horns, after which that typical bass sound takes over again. He lets those ride for a while before returning with the horns and, this time, the vocals. They’ve got a nice soulful ring to them as they ask you to boogie along with them as they “turn those party lights on”. I love the transition into the chorus, so smile-inducingly old school, after which they immediately announce they are going to boogie. At about 3:10 there’s this break in the action, with just some handclap sounds basically, and what I guess is the horn section who collectively shout out to “turn up those party lights”. I mean, it has that kind of vibe, three-man horn section in the back, playing those damn things to boogie the place up, and then during the drop they have their horns by their side as they sway back and forth and yell in the microphone to get those party lights on. The title says it all, it’s a funky party track with some delicious old school happiness to it.

‘Everything We Are’ by Slow Hands

Slow Hands will release a new EP through the Wolf+Lamb label, and this is a luscious track off of that. It’s got some nice, incessant drums that pop up on occassion, and that whispery voice certainly adds some mood to the whole thing. In the mean time something is going wrong in love country, with the lads singing that There’s nothing left to say and that you are The one that got away. I really like all those additional sounds they put in there at exactly the right moments, like that high synth, and those drums do give it a nice tinge of immediacy that go along well with the dramatic reading the vocalists give. Wolf+Lamb records always manages to churn out some quality, and this EP surely will be no different. Also comes with a Cameo Culture remix of this tune.

‘Got Me Moving’ by Sinden presents The Crystal System feat. SYF

"Party track!", that’s what this one screams right out of the gates. It’s got a punchy beat and some wavy, deep synths that the lads throw out there, though it are the piano and those vocals that are this track’s biggest strengths from the get go (even if I do think there’s something to that wavering, deeper synth that seemingly just lives on its own). That 1:30 momentum builder is build for the masses I do think, and SYF starts repeating the line “you got me moving” quicker and quicker before the track returns to normal again. This all is quickly followed by another drop, after which the track picks up some pace to give a bit of a jolt to those on the dancefloor. I would be lying if I said this is my favorite track SYF has worked on this year, but those vocals can get me to listen to an oral history of the aubergine on tape if that’s what he puts out. Sonny Fodera is one of the guys doing a remix on this though, and it seems like an album will be coming out some time, some place, so there you go.