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The Weekly Froth! - 20160930

  • 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: ‘Loner’ by Mykki Blanco feat. Jean Deaux

The track starts out with some stabbing synths, haunting vocals in the back, before Mykki Blanco comes in firing and guns blazing, announcing he is going Grizzly in the head. The chorus features the singing, courtesy of Jean Deaux, hitting home that I’m alone, so alone, I’m a loner. The synths indicate the start to the chorus, though it is the drum and other percussion that lead the rest of the way. After they have fired all their rounds, the synths come back in, giving it that lighter touch that goes really well with the track. In that sense, the drum, the synths, the singing, and the rapping all balance each other out into what, for me, is a great song. Coming from someone who rarely listens to someone rapping twice, that’s about as good as it gets really. So, hurry up now, before I take it back all blushing and embarrassed.


‘Und Da Stehen Fremde Menschen’ by Michael Meyer & Barnt

Lets get those house sounds in right from the get go, taking up the characteristics of the genre with that beat and that delicious bass synth to get jackin’ to. More and more atmospherics are poured in though, as if they first lured you onto the dancefloor, to then hook you with the feel of the track. Until, at about the two minute mark, as at that point you’re only hearing your heartbeat. That lasts for a reasonable while, before the detached vocals sing in German that Und da stehen fremde menschen, and then something else. Then the track first lets you go through some 80s computing sounds, an Atari tilting I reckon, before they bring back da house at the 3:30 mark with the bass and kick. I love how he then starts to slide the atmosphere in again, starting at about 4:10, and then adding those hypnotic vocals singing the title line of the track. Released on the always interesting !K7 label.


 ‘Far Away from A Distance’ by Simian Mobile Disco

Simian Mobile Disco are back, moving to the depths with the beat that they’re starting this one out with. The electro engineering sounds that come in at the 18 second mark, as well as the more woodwork percussion sounding rhythm bit, juxtapose it slightly, though not bringing it out of deepness entirely. At the minute mark they up the tempo, a fast drum sets the pace along with all kinds of quick synth work, giving you the nighttime angst right there. The lads keep that up for a while, though around 2:10 they steady out, moving it more towards the rhythm side of it all. At the three minute mark they’ve dialled it all the way down, even removing the rhythm parts. That’s where the build up starts, lasting a minute or so, before diving back into the deep beat and getting the dancefloor working again. The single has just been released, so you can snatch up a copy plus remix right about now … (check it out now).


‘Be There’ by SWIM

This one starts out with a wall of chilly synths, though about ten seconds in the bass enters the scene to provide the steady rhythm, with some percussion work to help out a bit. There are some haunty sounds giving you the atmospherics, and a little synth riff as lighter sound as well. Then the vocals come in, dreamy and alienated. When the vocals stop, a new little synth riff is added on top of a steady drum, which then is replaced by the bass again as the vocals start, singing that they want to Be there, and announcing that they want To care. Even so much so that they basically strip everything aside from the vocals for just a second, then moving back to the bass and synth to ride this one out. It has a nice nocturnal feel to it, both in terms of feel, pace, and it’s approach, giving you something for that midnight train to Georgia.


‘IM U’ by Beacon (Tomas Barfod remix)

Beacon has some help from Tomas Barfod to start this one out deep and dirty, and the grainy industrial sound that comes in at about the twenty second mark only moves it further into those depths. To juxtapose that, the vocals soon appear, providing a certain light in the darkness. There’s a nice bass to keep it steady, and I love those almost ghostly sounds (which is no reference to the label at all) that move through the song, which then get a brief relief from the vocals, doing a little Ah-ha-ha-ha-ha line. At the 2:20 mark Barfod strips it down, after which the track primarily goes for some harsher percussion sounds, giving it a different tone than at the start. Barfod then builds it up again until just before the four minute mark, when he lets the vocals soften it up as it starts moving to the end of the track. Barfod, again, shows his feel for both tone and percussion, which he proves year in year out with WhoMadeWho but definitely also solo as well, for example with the ace ‘Happy’ (if you’ve never heard that one before, be sure to give it a whirl).


’S_Balkavuk’ Ilya Santana instr. edit

This one starts out like a clockwork, but then, ten seconds in, there is the bass and the wobbly synth sound riffing it up. And it’s all on the up from there, adding little touches and sounds before the vocals come in all dressed in that disco choir fashion. After that, there’s a short prelude to the next dancing bit, with a bit of drums doing their little thing, but soon the bass comes in again, this time accompanied by a variety of horns that start getting it down. Around the two mark there’s another stop moment, but this time it’s a really brief one, and by the time 2:30 rolls by that bass is dictating the boogie again, soon being helped out by those vocals that re-enter the scene. Ilya Santana always knows how to get that groove in place, and though he gives it a twist with sounding a bit more disco and with those little pitstops scattered throughout the song, it definitely is on display here again as well. It’s an exotic free download for sure.



The Weekly Froth!

  • 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: ‘Nevermind’ by Leonard Cohen (PillowTalk Re-Rub)

How about we start with some of that bass, these lads must’ve thought. I also love that the second sound is this sort of amplified snapping-of-the-fingers. Leonard Cohen is doing his ultimate low voiced, spoken-word growl, which has something ominous about it. It gets balanced out a bit by the female vocals, though Cohen’s voice sure puts a stamp on this one. It goes lovely with that bass though, which keeps on rolling to make sure the boogie vibe is staying right there in the song. As said, PillowTalk makes sure there are some balancing elements, like the strings, like the female vocals, to make sure this one doesn’t slant too much over to the dark side (especially since, with Cohen’s vocals, you’re almost halfway there anyway, not to mention lines like “I could not kill, the way you kill”). I also like the cleanliness of the track. The bass and Cohen’s vocals are the mainstay, one taking care of the narrative, the other taking care of the boogie, and then there are a few elements thrown in there to take care of the balance, but which do not overcrowd it. A sweet combination it surely makes.


‘Combination’ by Woolfy vs. Projections

On the label of Permanent Vacation the people of Woolfy vs. Projections have a go at a slice of Deep House, which PV is kind of a quality stamp for. So here, too, it starts with a nice beat, but soon the rest of the percussion sounds come in, and that’s where the track starts to become fun. There’s this grainy, deep bass sound that gets thrown in there, just to be juxtaposed a little while later with a lighter synth sound. Around 1:40 there’s the space whirl, giving the track some atmosphere on top of the beat and that aforementioned bass. And so the guys add multiple instruments until they dial it down around 2:40, where they turn down the rhythm sounds for a moment, building up non-beat percussion elements up to the point where they slide the beat back in for the dancing crowd. There’s this nice change-up at around 3:45, where one synth sound is swapped for another, which does the trick in altering the tone somewhat. And these changes make sure the track doesn’t outstay it’s welcome, whilst in the mean time keeping the club side of it up so all y’all can do some dancing after midnight.


‘U Make Me Feel’ by Unique (Ilya Santana edit)

Around the mid Eighties there came Unique saying that she feels so good. And Ilya Santana recently felt good too, grabbing this one and putting his own spin on it. Which includes a kick, a nice bassline, and some high-pitched synthesizers to help out Unique, who comes in at about 1:10 to give it this emotional Eighties Funk & R&B slant. Then leave it to Santana to keep mixing all those aforementioned instruments and turn it into something that not only resembles the original, but even moreso resembles his own sound, which usually veers a bit towards the space disco side of the spectrum. This time, though, he freely twists that up a bit because of the main bass sound and the vocals, whilst also having some fun with those crazy synths in there. It’s got some nice Eighties flavour, a nice, funky bassline, and it exhumes some fun because it is, at times, a bit all over, as if someone was smiling when making this, transporting that to the dancefloor a bit with this Unique and Ilya Santana crossover.


‘In Infancy’ by Museum Of Love (Bottin remix)

Bottin really wastes no time laying down the feel of this one with some really specific sounds that he uses, this strumming guitar and this deep, bass like sound. Add another, more tingly, guitar sound, and you really have a particular feel out there which then gets trumped by the tropicana club feel after about forty seconds in, when the track starts to put in the rhythm sounds to give the audience some opportunity to do some dancing. Boy, those starting sounds had me blindsided there pretty good, as this tropical piano I had never seen coming. And it is that feel that really dominates the tone, so you get this cocktail-in-hand feel, but with some grit to it, to make sure no one is taking to the lounge chairs or anything. At about 2:40 the vocals come in, again giving a different flavor to the proceedings. After the vocals Bottin adds a bass to take over balancing duties, making sure the track never becomes just this or just that. At the five minute mark you get this lovely moment where the vocals go in chanting mode and you just have the bass, I really like that, and it is a nice set up for the final run of the track, which mood is a bit lighter again thanks to the guitar sound he throws in there.


‘The Bottle’ by Gil Scott Heron (Mike Simonetti 10:30 Bootleg)

How about a near 11 minute edit of a Gil Scott Heron track eh? One by Mike Simonetti no less, a sir who knows how to get people dancing in front of his DJ booth. With this one he is certain to put a nice bass in the background to make sure there’s something to hang your dance moves on, and other than that there’s loads of Gil Scott Heron and flutes and things. Really making sure that the rack is packed with plenty of vibes connected to the original. And yet, it is strangely party-ish, good natured, very let’s-be-dancing. Not in the least because of that quick bass in the back, which is dialed down around 3:30 where Simonetti lets the vocals and the percussion have a swing at it for a moment (or an afternoon, having a quite lengthy run up towards the moment the beat gets back in again, which is at about 5:24 after a percussion and rhythm solo of proper length). The bass rears its nose back in at about 6:10, and a good twenty seconds later you get the whole band back together, coming around again to this uplifting party feel that this track manages to exhume. Apparently Simonetti sometimes ends his sets with this and I, for one, would not be complaining if that would be bestowed upon to me.


‘Spirit Talkin’ by Dan Beaumont (Spencer Parker workmix)

The pace is set right from the start, going frantic with the beat and the additional percussion elements. So no slouching on this one, that’s for sure. Then again, the title already indicates that you should be working it, so nothing lied about that one there. Just after the minute mark you hear the first additional sound creeping up from behind the curtain of beats and percussion, and at 1:30 we start seeing where this is going. At about 2:10 we also hear the female vocals for the first time, indeed sounding like the Spirit is talking through her, giving it this gospel vibe that, somehow, goes nicely with the fast-paced beat that this track still has going on. A feel, by the way, which gets amplified by some additional piano Spencer Parker throws in there as well. And those two elements (vocals and piano) get their little moment in the sunshine around the halfway mark, where it becomes even more clear that it sure gets its inspiration from the Sunday morning sessions under the Lord’s guidance. After that little moment it also feels more and more like the beat is there to uplift, and not just to go at it hard. And because of how it turns from just hard clubbing at the start to this, it makes sure the track gives you a good nine minutes of feeling it.


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