Facebook Slider

The Weekly Froth! - 20160624

  • Published in Columns

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: ‘Rise’ by Herb Alpert (Late Nite Tuff Guy Remix)

It’s been a while since Late Nite Tuff Guy uploaded something to his SoundCloud, and his first in months is a remix of Jazz great Herb Alpert. LNTG is really good at delivering a smooth disco ride, and here, too, he sets the rhythm immediately, giving you that delicious dancing feel. He throws in a little riff, and at 1:20 he dials it down a bit to get the piano and the jazzy horns in. Then the percussion, to come back to the bass and the riff again for those on the dancefloor. The next segment sees those melancholic horns again, conjuring up the image of Bogart and Bergman saying goodbye at the airport. It’s a lovely mixture of a smooth disco ride with the rhythm, and the jazzy sounds of Herb Alpert giving you all the mood and vibe you want for a lovelorn night of disco dancing.


‘Just A Lover’ by Hayden James

Hayden James doesn’t waste any time, immediately coming in with the vocals, the beat, percussion, and bass. The vocals are nice and deep, fitting for this kind of sound. The rhythm sounds, too, are relatively deep, though at about the 50 second mark he adds some lighter sounds to shift. Just before the 1:30 mark he strips the real deep sounds, even adds some piano, before bringing those rhythm instruments back (though having put the brakes on the pace a tad compared to the beginning). The vocals let you know that You were temporary, you were just a lover (just a prop to occupy your time?). It’s a nice, catchy tune that takes the deep road with the rhythm, at the end switching it up and finishing it all off on some higher piano notes.


‘Thrills’ by JMII (John Talabot’s Early Edit)

John Talabot gets the pace going from the start, using the beat to provide the steadiness of a dance track before adding a relatively deep sound on top of it to balance the lighter sounds he had already put in before and the one coming in after. About ten seconds before the two minute mark he changes the track up, even adding some warped vocals (which say a whole lot of nothing) on top of this synth heavy part. Obviously, one expects him to return to the deep rhythms of before, though he does take his sweet time to build up the suspense. The drop comes at the three minute mark, though he keeps the sounds of the previous part as well, making sure that it’s a completely new chapter in the track. It’s another quality tune by the man, exactly the kind of thing one has come to expect from his hand.


‘Boipeba’ by Joakim

Joakim starts this one with a bit of percussion, adds some sounds of the sea, but above all keeps the feel exotic, also by the choice of instruments. A bass beat is added just after the minute mark, sliding underneath the sounds he introduced some moments before. There are some ethereal sounds in the background, which kind of get juxtaposed (if not replaced) by a slow, deeper rhythm sound that is put in. Joakim is going for a lovely deep cut here, providing us with a hypnotic, slow rhythm but also plenty of mood to keep this one on your mind. After some thunder, he moves to a deep beat again, adding a sort of military drum to move it a bit more to the old school house vibe. Then he adds that slow, deep bass sound again, just to let you know you’re not out of the woods yet. It’s a lovely, deep mood piece that shows the ear Joakim has, being able to compose a thing like this.

‘Phreeky’ by Eli Escobar feat. Vanessa Daou & Nomi Ruiz

Eli Escobar knows how to get the most out of his tracks, surrounding himself with Vanessa Daou and Nomi Ruiz for this up tempo house cracker. It’s got the beat going, the percussion on top, and then he yells out that he needs a Phreek as the track stays true to its house vibe. Then he slides more to the disco side of the equation with the piano and bass, introduced by a female voice saying Aaaaah, come on (le phreek). After a moment without he puts the beat back in, and at 2:12 he ups the pace again, adding some soulful vocals to the whole proceeding as well. Just before the three minute mark we get a du-du-du-du line from the female vocals, first without anything else, and then the percussion steps in to get dat rhythm right. The track is really easy on the ear, and I love the different segments and the transitions to them. He keeps the pace up high, making sure there’s no one there regretting bringing their dancing shoes.

‘Tresor’ by Flavien Berger (Paradis Shuffle Mix)

I always love Paradis’ stuff, here starting it off with some jazz horns in tranquility, with the synths providing a subtle backdrop for them to shine on. Then, after about forty seconds, they add a sharp beat, a little piano riff, and then the spoken word. It is a voice with some gravitas in it, though in a foreign language you can have me believe anything I suppose. In the mean time, underneath, some dancefloor elements come in, before transitioning to a rather trippy synth track. Even with the trippier moments there are still the tranquil synth sounds that add a bit of sanity to it to balance it all out. And then, at about the halfway mark, the horns again, this time on top of the trippier sounds, but because of that providing it with perhaps a more important function. And I do love that combination, giving you the Paradis feel with a bit of an edge this time around.


The Weekly Froth - 20160311

  • Published in Columns


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: ‘Raised In The Ghetto’ by George Kelly

Like in the ghetto this one starts with no punches pulled (…) before sliding into the funky bass after fifteen seconds or so. Then a build-up, culminating into the beat pushing through and getting things rolling along with that slappin’-of-that-bass. At 1:20, the vocals, strong and female and singing that she was Born and raised in the ghetto, accounting for the feisty performance. Helping her out are the girls in the back, doing a dang-de-dang-de-dang little vocal line, up-tempo and making sure the attitude doesn’t drop when the leading lady isn’t doing her thing. In the mean time, the drums are still pounding, the bass still sounding, so the rhythm keeps it up and beyond for this one. A track off George Kelly’s The Big McGee EP, which was released last month. And if this track is anything to go by, well worth the pick up.


‘Find Our Love’ by Boney vs. London Fields ft. Joel Edwards

Joel Edwards starts this one jazzy, but after a full stop the beat comes in and you’ve got some of those dancing sounds to indicate this is festival fare. To contrast those, you get a bit of percussion, bit of sounds that make sure it veers quickly away from the everyday mundane. After another full stop you soon get some vocals, slick and smooth, singing that If you lose your way, we can run away, we can find our love. After that, some slick synths add the atmosphere, the piano adds a bit of funk, and you’ve got the beat and the deep synth for the rhythm. Second time the vocals come in, this time we know them, so no worries about keeping the rhythm part running underneath. A minute later that one still gets a moments of rest, with just the piano for a little while, and a low, soft beat running way in the back to make sure there’s some sort of backbone there. Then, everything including the vocals come back, still assuring us that, no matter what, We can find our love. Hopeful or delusional, anyone’s guess really, but that’s truth for quite a few emotional decisions in life I suppose.


‘Juicy Lucy’ by Loz Goddard (Razor-N-Tape Reserve)

From  Manchester we get a slice of disco by the hands of Loz Goddard. The label, Razor-N-Tape, is always a safe, reliable bet, and this is no different. Starts lovely, with some of those classic dancing sounds, and after the minute mark you get this strange, wobbly sound on top of the regular disco music that always manages to get people dance. There’s a reasonably firm beat in there (on occasion a tad irregular just to make sure you’re not getting too comfortably there), someone humming, some piano, horns, and the whole works. At times, like around 2:40, you have a little change-up in terms of pace, though there’s a full stop at about 3:10, where it’s just the wobbly sound and the piano sans any form of rhythm. Slowly Goddard starts to build that up though, with various new percussion sounds coming in. This first leads to a bit of nifty drumming at about 3:50, after which the rhythm come back in to ride it back out. It is this nice mixture of old school backdrop on the one hand, and some curveballs on the other, culminating in a nice piece of action from the Razor-N-Tape people again.


‘Neverwood (It’s Okay)’ by Slow Hands

I love the dreamy, almost fairytale start, with the uplifting, airy synth sounds, and with the soft hand percussion in there as well. The real rhythm starts at about 35 seconds, forming the canvas to not only that synth, but also the piano that runs through it. After that, a galloping rhythm changes that part up slightly, riding us towards the vocals, which are put smack in the middle of the mix and not on top of it. So it’s still very much the rhythm and the atmospheric synths that provide the main feel of the track. I love the bassline in there, giving it this nice bouncy feel. That is done really well, it gives you enough rhythm, but doesn’t punch you in the face with it, keeping it fairly breezy, putting plenty of air in the track, doing wonders for the feel they’re trying to give it. There are some moments in there where they change it up a little bit, though the main feel and most of the sounds run through it fairly consistently. It has this breezy nature that I just love, which is very well done I find.


‘Crime Cutz’ by Holy Ghost! (Eli Escobar remix)

Eli Escobar takes on the fairly recently revealed Holy Ghost! tune ‘Crime Cutz’, looking to turn it into a little dancefloor stomper. And from the get go, it is more geared towards a consistent dance vibe than the original was, with the multiple synth sounds working the room nicely over the main drum & beat sounds. At the 1:45 mark we get the vocals, high-pitched and echoing, leading us to a new synth line. Those layers, they are pretty awesome, and Eli Escobar makes sure there is also plenty of that rhythm-n-percussion in there for the dancefloor people. He dials those elements down around 2:40 though, with the chorus-like vocal turn accompanied by one synth turning into another, after which the drum sounds come back in again to provide you with that dancing line right there. I like the contrast between the higher pitched vocals and the deeper drum sounds, which Escobar highlights around 3:30 for a while. He then rides the percussion before going for a sparse beat, one synth, and the vocals repeating the same line until they don’t, which also is the cue for some new instruments to come in again. It really takes the lovely stuff from the original and channels it into a dancefloor tune, with plenty of variety and deft synth work to love it some more.


‘Love Don’t Live Here Anymore’ by Roman Rauch

Apparently an edit he did a few years ago, revisited it, and now he has uploaded it again. He starts it out contrasting a deeper wobbly sound with a high-pitched original sound, then going for a deep beat on top of which the vocals sing the oh-so familiar story of love having left the premises, as it literally doesn’t live here anymore. Love the strings at 1:30, actually don’t remember them being so pronounced in the original, very nice touch there. In the mean time the deep beat, along with some other rhythm elements on occasion, chugs along slowly, with a percussion sound arriving at 2:30 as the vocals rear their heads again, repeating the core of the song, namely that You abandoned me, love don’t live here anymore. The more this one nears the end, the more the vocals come in, which isn’t a bad thing, with at 4:30 THAT moment where she breaks out a bit. It’s such a classic tune, and this is a nice re-touch, leaving the real emotions to the end, and giving some emphasis to the strings as the beat makes it trod along slow-yet-assuredly.


Subscribe to this RSS feed