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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.



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: ‘I Want You’ by Marvin Gaye (DJ Snatch rework)

I love how this one starts, so easy on the ear with just that understated beat, some percussion, and that little smooth synth line. The pace is on the slower side of the dancefloor, but all the vibes more than make up for it. Just before the minute mark two good things come in, namely some horns, and we get our first little taster of the vocals. And who doesn’t want to hear some Marvin Gaye just about always? In the mean time DJ Snatch has upped the auxiliary sounds, getting some piano in there as well, so the track becomes more layered without it starting to sound convoluted. At about the three minute mark he kicks the track in a slightly higher gear, with Gaye at this point preaching as all get out, getting some emotions in there, for example at the four minute mark. Also love how the vocals are being played off of the horns, that’s nicely done. But Gaye is feeling it, singing that you shouldn’t Play with something that you should cherish for life (oh baby). Take that greener-pastures-people! This track keeps slow jamming it up for a good ten minutes, and as said, it’s got all the goods you want from a track like this. It’s got the horns, it’s got the vocals, it’s got multiple-yet-changing layers, but also there’s the percussion and the beat to give you something to nod your head to. Apparently based on an earlier edit by none other than Mr. John Morales, who knows how to do it right. Nice work out of the Get Down Edits corner yet again.


‘Call Girl’ by The Right Now (JKriv remix)

Wow, that dirty bass sound that comes in after a few seconds, so fitting. And does set the tone for a song called ‘Call Girl’, that’s for sure. Got to love that bit of sleaze. JKriv also adds some of that Caribbean percussion though, and a slightly melancholic sounding synth, just to make sure that it doesn’t go down that black hole of nightclubs and smokey back rooms completely. That synth line just before the second minute mark is quite a lovely thing, especially if you combine that with some of those horns like he does. In the mean time the base is still being formed by a bit of that bass and beat, just to make sure you can keep on shaking that boot-ey a tad. There’s this bit at the three minute mark where he uses predominantly deeper rhythm sounds, and the way he then slides this lighter, melancholic synth in, that’s pretty awesome right there. The female vocals fit that synth line in terms of tone, so they form a nice team to make sure the track doesn’t veer to one side too much. There are also some cameo performances in this track, some instruments that pop up for a little stint, and those are always a nice surprise, and fitting to boot. JKriv delivering some quality again, and as a Free Download too!


‘Jackie’ by Woolfy vs. Projections

The third album of these Permanent Vacation stalwarts is coming up in August, and here’s a slice to see just why you want to be eyeing that release. It starts with some synths, but soon they slide some beat and bass in there. Nice and deep, of course, because it is Permanent Vacation stuff, though it doesn’t veer into deep house too much by any means. Also thanks to the vocals, which narrate a tale of love lost, and the synths and auxiliary sounds they add, which are lighter than the deeper rhythm instruments used. Not that you cannot dance to this though, as the base is constant and keeps prodding along (sometimes together, sometimes bass and beat separately). Meanwhile the boys are pondering to leave everything and just walk away, and there’s this tinge of sadness in their vocals, which suits the way they set up the tone instrumentally just fine. At one point, the rhythm sounds are stripped away for a moment, with haunting synths forming the backdrop for the words My heart’s breaking. After that they make sure the track returns to dancing though, with all kinds of lovely layers that either help out with the rhythm or with the atmosphere they want to create. The bass, then, rides out this nice preview to their upcoming third LP.


‘Hold On’ by Roosevelt

This one starts off with a bit of that grainy, garage-y guitar sound, but you already hear the funky rhythm in there. No place to hide funk, no need for hiding it either. Not even in this track, with the dreamily blase-produced vocals. Don’t let that fool you though, as the rhythm of the guitar is nice and funky, and there are horns in there as well. Don’t think I won’t notice any of those good, disco vibed things! There’s even a kind of dancefloor-party-build-up just after the two minute mark, where he even adds a quite thuddy beat to it as he sings that you need to Hold on to your lover, as you need to Make it work. After that bridge he adds a light piano to add the fun in the party, ending it with a little boogie bass to make sure to remind you that, yes, this is secretly a dance track disguised as some of that attic-diy-dreampop music.


‘Hot As You Want’ by Lane 8 feat. Solomon Grey

Almost from the start I know I’m going to get a nice slice of summer, and Lane 8 definitely delivers in that department. There’s quite a pace-y beat there, with the vocals already doing their thing in the background, as multiple vocal layers overlap each other. After the minute mark you again have this thudding, euphoric beat to dance to on some rooftop as the sun is setting. The second go around sees the vocals, courtesy of Solomon Grey, in verse mode, being more up front in the mix. He’s singing about how you are all he needs, All he sees. In his mind, that is, as she is Far from here, so there’s this sadness in his voice. And we all know you got to dance the blues away, and that’s what Lane 8 makes sure you can do to this little party number, upping the beat and the pace at the right moments to give the dancers some momentum at points to get the hands up and the feet off (and on) the floor.


‘Now is Tomorrow’ (Superbreak Disco Edit)

How about the drums to start off this one? Add to that the percussion, and after thirty seconds the bass, and you’re boogying down your front lawn in no time. At about the fifty second mark the track starts to take the shape of the song, and you even get a first taster of the vocals, going “ooooh” in a nice, high pitched disco way. Soon there’s a bit of that ol’ disco guitar, some of those funky horns, and shortly after the first singing appears, saying that “tomorrow is now”, which apparently the horns then verify. I love the kind of chorus part, where the vocals rapid fire their way through the lines Gotta boogie, gotta do it, gotta say it, gotta do it right now (or close to that), after which the bass lays down a bit of that slow boogie style to give you the opportunity to do just that. At 3:30 you get some loveboat horns, some of that ol’ disco cheese that we all love, though on the whole this is primarily a boogilicious track to get funky to at whatever party you happen to be.


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