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.

This seems to be a good moment to look back at some of the tracks that were on some of my favorite albums of the year 2015!

Track of the Week: ‘Cruel Mistress’ by Crazy P

It starts off with a nice beat and some ace keywork, and then the smokey, lovelorn vocals come in, and I’m sold. A lovely disco turn from stalwarts Crazy P, and I’m not only talking about this track. The whole album is built to dance, with great vocals from Danielle Moore. And here she sings that Every time I talk, every time I walk, and every time I sing, I want to hear you. In the mean time the drums and bass keep the rhythm going, the synth adds another layer and some flavor, and then when the chorus comes in they get to a piano, a nifty little riff, and a barebones beat, on top of which the vocals yearn for love, singing that they are losing their head. As said, the whole album is wicked with top turns all around the corner, showing that they haven’t lost their touch at all. Au contrair, I would say. [Unfortunately the file

‘I Thought The Future Would Be Cooler’ by YACHT

YACHT is always immensely fun, live perhaps even more so. But also on album, like they showcase again on last year’s 'I Thought The Future Would Be Cooler'. It’s an observation as to where the world is heading, railing against some of the things that are happening, both politically as well as socially, from drones to the whole data collection bonanza. But, not in a lecturing, finger-wagging way, but one with plenty of fun wordplay and, perhaps more importantly, plenty of catchiness in the music to do some dancing to. The verses have a nice rhythm to them to shake your hips to, and the chorus picks it up a notch as they sing that, geez, I thought the future would be cooler. There’s a serious element in the message, but it’s bubble-wrapped in having fun, and that’s a killer combination as far as I’m concerned.

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

George FitzGerald starts this one off with an almost ‘Chinatown’ synth start, with soon the beat coming in to move this one forward. Then Lawrence Hart arrives with his deep, moody vocals, singing that If you want to call it off, then you can call it off, as the synths are upped in intensity before, at about the 1:13 mark, a deeper bassy synth takes over, bolstering the rhythm section as we are dancing the blues away. Extra drums at 1:45 help out in the depth department, joining the vocals. At 2:15 there’s a short stop and stare before first the synths come in, then the cymbals, finally the Chinatown start, before the whole shebang comes back in to get the dancing going again on top of the vocals. Just a fabulous debut album from the guy.

‘Huarache Lights’ by Hot Chip

Maybe I’m not the best Hot Chip fan out there, because I do think this album might just be their best, an opinion I’m sure many don’t agree with. But as far as catchy tunes are concerned, there’s a boatload of them here. Usually with a bit of fun and tongue-in-cheek added in there, and also touching upon some of the themes of the modern world that might be worth thinking and talking about. But, mostly, it’s about tunes, and as said, there’s just so much fun in this package for me. On ‘Huarache Lights’ they, at one point, get to the chorus, where they sing Replace us with the things that do the job better, with the vocals at one point being swapped out for a more robotic voice, which is just a nice touch. There’s also some soul singing in there, but there’s especially tuneage in there, with lovely drums, catchy rhythms, and plenty going on music wise to hang your hat to. The album title alone, Why Make Sense?, is both throwback as well as applicable to the album’s feel as a whole.

‘Too Much Is Never Enough’ by Bob Moses

On the Domino label Bob Moses churned out his debut album, and that album is just a wicked combination of atmosphere and a bit of a dance feel with the beat always there to provide some rhythm and backbone. Here, too, there’s plenty of percussion to form the canvas on which Bob Moses paints his story, both with words and atmospheric sounds, singing You lost it all before, you feel the blame, whilst the synths then come in to sing their own melancholy song. At 2:07 the pace gets ramped up a bit for the chorus, with the vocals, too, showing a bit less restraint the way they do in the moody verses, pointing out that Too much is never enough, for me. After that he slides into an instrumental interlude, during which the beat moves slowly to the front as it keeps an eye on the pacing while the synth and guitar make sure the feel of the song stays strong. The album is full with those niftily crafted songs, a well done debut for sure.

‘Call It Off’ by Shamir

In terms of fun, Shamir’s album (and live show) definitely is one not to miss out on. This track gets the beat going on top of a nice wobbly synth riff, with Shamir’s high-pitched vocals singing that It’s time to call it off, adding that This time, it’s not my fault. The track is a nice, super catchy marriage between pop, disco, and house, adding some fun also in the clip, where they get some muppetry puppetry going on. Live, like the songs, it’s all colourful, fun, and ready to party, even with a slight apathetic delivery at times, which I kind of dig personally. Another debut, this one also encapsulating a certain youthful energy that helps enjoying this one even more.

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.