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:  ‘Cheer Up, My Brother’ by HNNY

Gosh, I guess I can just fill up an entire column with A) my adoration for HNNY and his music, and B) bad puns on his name (all in good jest, of course). Here he puts that soul in the midst of all those modern electronics again, and of course he nails it (like, you were doubting that?). Just one for that chilling out when the sun is rising, it’s got a lovely, lazy beat, though he is not afraid to turn that one down in favor of the flavor, with those vocals providing a good bunch of that. Just those warm, old school soul vocals, and you can just almost feel the sound of the old vinyls of yore being used. She is singing the title of the track over those lovely, understated drums to which one can still do a little shuffling to. Add some piano in there as well, which is stripped away at about 4:20 for some of that percussion and what sounds to me like a bit of violin/string action, which combines with a soft little bass to bring it all down to a close. Again, he’s got the atmosphere down pat, and he’s so good at mixing the modern sounds and fusing and injecting them with the warmth and feel of either the jazzy/soulful sounds of yesteryear, or the R&B of the 90s. This one is an example of the former, and an ace one at that.

‘The Chase’ by Future Islands

Everyone and their mothers, sisters, and husband’s lovers fancy a bit of Future Islands nowadays, and with good reason. That last album was pretty amazing, and if you haven’t seen them live yet, you’re missing out (and really really not trying, because these guys have been everywhere! Touring animals, rawwrr). Here, again, you have those lovely synths and that kick to give it this catchy, '80s feel, but those vocals are so emotionally charged that it blows the sockets off of the walls, giving it this emotional load that gives this band the edge over those more plastic-y bands from the '80s. With the main question here being, Is this love? (don’t we all wanna know?). Made with Record Store Day in mind, hopefully some lucky people managed to pick this one up, as this is one that would not have been out of place on their last album. And have I already mentioned how ace that album is?

‘Let’s Get Slow’ by Aeroplane feat. Benjamin Diamond

Aeroplane pulls a fast one on us here, because this certainly isn’t one to get slow to. It is, however, a summery, bouncy synth track to do some dancing on. It’s got a cheery, almost retro demeanor to it, with some relatively cheesy chorus action. But, in a good way, as sometimes it helps to get the fun in the party, and this one is definitely made to have some fun to. It’s easy on the ear, with Benjamin Diamond doing the vocals, singing Let it go, we know, that I know, let’s get slow, or something close to it. There are also some female vocals in there, trying to enthuse the crowd like a cheerleader does during the basketball play-offs (Go insert-fav-team). And sure enough, some fun can be had with this one, though it won’t be winning a Pulitzer anytime soon.

‘In the Street’ by Chocki Hookon (Jacques Renault BK Club Mix)

Released earlier this month, Jacques Renault takes it to the club with some percussion action in this one. I love that sound that comes in at about the thirty second mark, gives it this grainy & raw club vibe. Which, shortly after, gets juxtaposed by some of that piano action. In the mean time the percussion is still rolling as the vocals start to come in. The talky female vocals are telling you to Get down on the funky beat, if you happen to be in the street. When the vocals die down, Renault gets the engine running (funnier if you follow Formula 1, I swear) to make sure you get that jolt for dancing, half a minute later coming back with the piano (which is then, again, followed by the vocals). This really is one for the house club, Renault going full throttle here, making this one a track to drop in the middle of the set when the party is going, just to make sure that people keep jacking it up and doing their thing. Some of that nifty house fare by Mr. Renault.

‘Keep on Talking’ by Tensnake

When Tensnake releases something, you know you’ll be dancing, don’t you? This is his new single, and he’s got the beat going first, and then this deep synth comes in, after which he throws some of those drumpad percussion sounds your way. The real deal comes at the minute mark, as he throws out some of those club vibes to go a little bit more soulful, making sure this tune hits on the house-party cylinders. That rhythm sound that comes in at 1:45 is nice and catchy as well, and Tensnake sure knows how to bring new things in to keep the crowd on their feet. At 2:18 he gives them a bit of a rest though, dialling down the rhythm parts, but adding some really high pitched vocals, getting them more and more to the fore of the track before returning to party mode a bit later on. Though a short while later he’s combining both for the full effect, getting there at about the halfway mark. I love that synth line at about 3:45 onwards, that’s a nice little rhythm thing again. Then he goes full on with a big, bad build-up, and when the full-fledged party core gets started again, that synth line is still there, but a bit bulkier to contest all the other party sounds. And those are just those smart little things that make a club tune by Tensnake something to always be watching out for (and, when it’s there, to be dancing to).

‘Be Love’ by Natty Fensie (The Supermen Lovers remix)

When you’re called Supermen Lovers I do expect some attitude and cheekiness in there, and this one certainly starts with some of that sexy action. It’s just got some of that naughtiness, not in the least in the bass. At the 1:20 mark they get the synths involved, upping the pace a bit, throwing in some of those atmosphere sounds for good measure. The real things about this one are the way they use the vocals and the drums/bass, which just make you wanna get sexy with it. Those sounds are nicely contrasted by the synth sections, which give you a bit more of that party atmosphere while keeping the fun in place. Just before the four minute mark they turn it down a bit, slowing it to a crawl with drums/bass/beat all stripped away, obviously coming back with it after a good half minute or so. Brings out the fun and the cheeky, this one, and that’s something I always like on the dancefloor. That ending, also quite cheeky, but definitely not for the same reason as the tone of the bass was in the five minutes prior.