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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.



The Weekly Froth! - 20160205

  • 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: ‘When Did I Stop Loving You’ by Marvin Gaye (Valique edit)

Valique gets into that looping action for the start, though after half a minute he gets that bass going for some rhythm and funk, really getting that dancefloor feel working. At the 1:20 mark we get the vocals in, again doing the looping thing, letting the same line with the same instrumental parts doing their thing. Then, the bass again, and with a lovely vocal coming in, super soulful, super old school. Then those horns as well, at 2:20, which team up nicely with the layered vocals that are asking When did you stop loving me, when did I stop loving you. When there’s no vocals, there’s at least the bass to keep you occupied, giving it a nice, deep balance to the higher pitched Marvin Gaye voice. The track certainly has some heartache in it, as in, genuine heartache, with Gaye creating this track just after his divorce. From accusatory to self-reflective to just plain old sadness, the beauty of this edit is that Valique does manage to keep all that, but give it some of that extra lets-dance-the-blues-away kind of goodness. That’s what those edits are all about, no?


‘Hot Hot (Give it All You Got)' by Debbie Jacobs (Evil Smarty & SanFranDisko edit)

SanFranDisko and EvilSmarty start this edit off with that nice little guitar riff aided by the rhythm of that punchy drum that they keep behind it. At the 30 second mark you get a nice little bass in there as well, and one of the main things all the elements achieve is that it just sounds like there’s a party going on in here. At the minute mark the strings arrive, a bit later the horns get there as well, and soon enough Debbie Jacobs and her girls come in with, first, some  background vocals, but just before the two minute mark she herself enters the stage to do her disco thang. Still the guitar riff and the drums form the main backbone elements, with the strings and horns adding all that disco flavor. The lads play around with pace and tempo a bit, though the main thing is that they keep the core elements running, and they savor all the disco goodness that comes with it. At 3:50 they, for a short moment, bring it down a notch, going with primarily the early sounds of the guitar and drum, but mere seconds later it’s the strings and Debbie Jacobs that enter the equation again. Just a nice disco edit with a nifty little riff to give it just that tad bit extra.


‘Take It Slow’ by Luxxury

The SoundCloud tag says “slow burner”, and boy, is that evident at the start. Just has that slow groove that it gets going, with the percussion, that lovely little guitar riff that comes in, and the aerial vocals singing their little lines. At about 1:30, that slow burning vibe has taken a back seat though, with a new guitar riff, the bass, and a punchier beat giving it a bit more tempo and adding so much meat to the bones that this real slow groove feel from the start has subsided a bit. Not to say that the middle part isn’t enjoyable in its own right, with all these elements in the mid-pace range helping out the still floating vocals singing that you should be Taking it slow. At the four minute mark most rhythm elements are either stripped out or moved to the background, and instead you get a bit of that saxophone going on, with a nifty bassline moving it into the burn-n-crawl realm again. Soon, though, that is all build on and build up again, ending with a catchy little guitar riff to help you dance through the final minute.


‘I Love You More’ by Rene And Angela (Pools edit)

A short edit from Pools gives you a little bit of that Rene & Angela thing, primarily based on that deep bass sound, giving you that step-step-step action. Then the vocals come in, singing that, gosh, I love you, with Pools doing the old chop-n-go trick on them, looping and cutting the same parts, which primarily is noticeable with the vocals. The vocals come out lovely though, the bass sound gives it that nice little rhythm to do a bit of dancing to, and it gives a modern slant to that old soul duet. So if you don’t mind your tracks at radio edit length, this might be a nice snippet to be listening to.


‘Little Lies’ by Fleetwood Mac (Jean-Claude Gavri touch-up)

Never a bad moment to dial up that Fleetwood Mac love affair a bit, and Jean Claude Gavri starts this one off nice and understated with some lovely sounds, first rhythmic, than that floating sound we kind of remember from the original. Just so we know where we are heading. It takes a while for it to really dive headlong into it, having the patience to wait it out until about the 1:30 mark, when a big old 80s pop drum comes in to signal the arrival of the actual song, including the vocals, singing that she Couldn’t find a way, settling For one day to believe in you. And then, the chorus, including the lovely instrumentation, and the drums to also keep the song as a little dancefloor thing and to make sure it’s got pace enough to keep it moving forward in that context. No more broken hearts, she sings, saying that We’re better off apart, before heading back to the chorus. Jean Claude Gavri knows how to handle an edit like this, putting loads of that goodness in of the original (it ain’t called a touch-up for nothing, ya know), but still in such a way that you and y’all can keep it going on the dancefloor.


‘Crime Cutz’ by Holy Ghost!

The lads of Holy Ghost! are back in action with some new material, starting hauntingly enough, though soon getting back to their synthesizers doing their catchy thing. With that said, it definitely sounds like a departure from their more disco oriented Dynamics sound, which was super slick and smooth. This has parts of that clean disco-pop sound, like at about the two minute mark, but the guys also add the warpy and the immediate in there, with the vocals in the verses talky and almost anxious, though more traditional in the chorus. The lads know their ways around their instruments, and they’re trying to not only get the song out of there, but also the feel and vibe. As evident, for instance, with the interlude at about the four minute mark. Though, after the interlude, they do still come back to the catchy, to the dancey, but with a bit more grit than their super polished previous LP (which I loved, by the way). It’s intriguing for sure, and a definite teaser to see what that new EP is going to sound like, which we have to wait for until the 29th of April. Unfortunately no embed here, but you can click here to still hear the brand spanking new Holy Ghost!.

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