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: ‘Peace’ by Kenton Slash Demon (Lone remix)
I like how this one starts with that deep synth riff, that then gets juxtaposed by the higher pitched pianos. Then, at 25 seconds, the beat, the bass sound that reminds me of something but I don’t know what (do tell in the comments if you do have it) giving it a bit of that funky, R&B feel. I love how that slower bass gets mixed with, alternately, the piano and the beat, the latter giving it a bit more punch. At 2:20 Lone almost goes full piano for a moment, before the beat comes in to help that out, moving a bit more to the dance side of it. At the three minute mark that bass comes back in to give it some attitude, which it does crazily effective. The mixture of these elements, and also knowing when to put them on, when to turn them down, and when to slow down the pace entirely, is what makes this track so good and great to listen to. After slowing it down the bass comes back one more time, before clearly working it down to a close at the five minute mark.
‘Since You’ve Gone’ by Loframes feat. Anoraak
Loframes start this one with rhythmic vocals, under which melancholic tones emerge. At the 18 second mark we get the drum and a little guitar riff, as the male voice sings that the doesn’t know How to feel at times, as, apparently, someone has left. Slowly a more rhythmic undercurrent is put in (as the original drum sound didn’t have that particular function), as the vocals go from higher pitched to a bit deeper voiced. At the 1:48 mark there are some catchy synths as the track builds towards a moment where they pick up the pace, in the mean time the singer sings that he wants to close his eyes. It’s a lovely track, catchy in the right places, a nice build-up, but also a tad melancholic, not forgetting the emotion already alluded to by the title. Loframes get a bit of help from Anoraak, who I rate highly always, so that’s a sign of quality right there.
‘Come Back Lover’ by Fresh Band (Alkalino rework)
Alkalino takes on the Fresh Band, and it is clear where Alkalino is heading from the twenty second mark on, putting that frenetic guitar riff in on top of that steady dancefloor beat. More percussion at the fifty second mark, so that there’s really no mistaken that, yes, this is for the dancefloor, with Alkalino keeping the pace up on this '80s tune. Just after the 1:30 mark we get a nifty bassline in there as well, giving you more to do that boogie to. This is balanced by the horns, first rearing their heads around the two minute mark or so. Three minutes in they go a bit piano on us as well, letting that celebrate some freedom, and thirty seconds later the vocals come in for the first time. And they are singing, nay, pleading, Come back, lover, come back. The vocals, at all times, keep that distant feel, with the instruments remaining the center of attention. Only late, after the six minute mark, we hear a more forceful, less edited vocal sing Come on baby, in a more urgent manner than before. In the mean time the bass keeps rolling, the drum keeps hitting, and the piano/horns/guitar keep providing us with all that goodness to have that dancefloor boogie going on.
‘Set Fire To Me’ by Willie Colon (SanFranDisko mix)
SanFranDisko immediately pumps this up, indicating dance dance dance from the get go. The pace is real high, getting a bit juxtaposed by the synth sound that comes at about 50 seconds in. At 1:10, the vocals for the first time, with at 1:20 Willie Colon entering the verse as he sings that You’re the one for me, take control of me. The percussion and the rhythm of the vocal give it a Caribbean slant for me. And the trumpet at 2:45 as well, which is real fun, because you don’t quite hear that kind of horn sound very often in there. In the mean time the vocals keep imploring to set fire on them as, at 3:35, the piano comes in, which then slides into a bit of funky rhythm with the bass and the percussion. SanFranDisko deliver again on a funky remix that, through its original, gives it a particular slant to get on the noise, get on the funk.
‘Chemical Love’ by Animal Feelings feat. Nomi Ruiz
Animal Feelings recently released an album, with this cut being a slowed down electronical track with a steady, low-paced beat on top of which the keys provide the feel for this song. Which is helped by the dreamy, wispy vocals of Nomi Ruiz, which at the minute mark get a moment sans the beat and with some backing vocals as she sings she Can’t resist it. Then Animal Feelings pick it up again, giving both a steady groundwork for Ruiz as well as some additional help with the synths in terms of evoking the right feel. At 2:20, again, the beat gets tuned out, with just the vocals and piano doing some work as, first, the synth is added to Ruiz’ vocals before everything else is added again. At the end, as Ruiz has clocked out, the drum gets a tad more forceful, though the piano balances it out again. A nice, dreamy track, helped in part by the Ruiz vocal turn.
‘Heads’ by Bob James (George Kelly mix)
George Kelly starts with the percussion and a bass underneath, before diving into the beat a little while later. At the 35 second mark we get some higher pitched sounds in, and at about the 50 second mark we get into funkier territory right there and then. He establishes a nice groove, mixing all the parts smoothly, giving you this understated disco vibe to be dancing to (look at, for example, the change-up happening at around 1:55). He throws in some solo piano to boot, giving you something to marvel at as well. By switching and tuning in and out all these sounds Kelly crafts a smooth disco ride from this 70s Bob James track, going all instrumental on us for us to sway a bit in the discotheque.