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.
I love the vocals, which are right there from the start. The rhythm that’s put underneath is nice and bouncy, and it’s stopped for a moment just after the minute mark, where the vocals are put in the spotlight with only a small percussion element. Then, the rhythm is thrust right back in there, and this time around the vocals are clearer and cleaner, which is a nice effect, a nice change-up for the track. They still are lovely and dreamy though, a bit apathetic, a bit removed; a tone that fits the deepness of especially the synth sound that works in conjunction with the beat. At about the 3:30 mark, again, a short stop, this time accompanied with higher pitched synth sounds, though quickly the deeper ones return to help the transition to the bass and beat again a little while later. Released on the Ghostly International label in America, which says it all, really.
New Jackson gets this one going with a beat to do some of that House club jackin’ to. The atmospherical sounds give it a slower, more melancholic feel, whilst the clean beat design also shows off some of the intricacies in the drum pattern. At 1:40 there’s a wobbly synth sound that arrives in there, though the big shake up comes after the two minute mark, when the bass takes over. The tone of the track stays intact though, even when the talking vocals come in. These are alien, from outer space (or from out-er-that-vocoder-thingy-over-there), and New Jackson subtly shifts in the rhythm department underneath all that talking. It’s a lovely, hypnotic track, of which the original was part of Shit Robot’s What Follows album, which was released earlier this year.
This track, really, has all the hallmarks we have come to know from the band. The somewhat detached vocals, the melancholic sound, and the interplay between the male and female voices. Building up to the chorus though, they bring in the more orchestral, the bigger sounds, with the chorus getting a helping hand from a more punchy, rap like male vocal. The sounds underneath are also a tad trippier than I remember from when I saw them tour their debut album, which seemed to have a more minimalistic approach to it. The core sound though, the essence of the band, that’s still there, and it still has that little something something that made them go from 0 to 100 in 60 seconds.
How about that riffin’ to start this one off nastily, along with the bass and, immediately, the female vocals taking you right into that Disco Queen party. And why not, as we are all disco children, really, aren’t we? And this one gives you the riff, the bass, the percussion, and, of course, those horns (ah, the horns!) to get some dancing done to. With the vocals leading the band, talking about how in the ye olden days she was already imbued by them dancing sounds, and now she’s quite hooked. Given how Sean Sounds picks up that rhythm after she finishes her choruses, no wonder, because that just makes you want to boogie down, now doesn’t it? At the three minute mark we are treated to some percussion and some of that disco innuendo (Take that beat, now, why don’t ya?), after which the horns are put to some good use before la diva returns for the next chapter in her disco origins story. It’s got the disco flavor down pat, and the euphoria is as addictive as the riffs at the start.
Mr. Tophat is about to take you for a ride, giving you those house club sounds with that deep, rich beat as his base for (at least part of) his ten minute extravaganza. To juxtapose that, just listen to those sounds way back in the mix that are there even before he picks up the pace with some extra percussion just after the minute mark. Near the two minute point Robyn comes in for her first set of vocals, which also seems to be the cue for Mr. Tophat to move a bit more into the space territory. At about 3:05, again, a little pick-me-upper in the percussion, with Robyn helping out, her vocals becoming more pronounced and tied in with some disco inspired sounds. And after Robyn and the disco, the space and the deep rhythm sounds come back in, which apparently is so shocking to Robyn she gives out a few good yelps on top of a galloping rhythm that moves into some slick bass action. Mr. Tophat does that so well, keeping it weird and quirky, but also grounded in the origins of the genres on display. The rhythm in there is diverse, but all the transitions work well (although the real shocker at about the six minute mark is another thing yet again), and then there’s Robyn to add some of that typical vocal work that befits the tone of the track. It requires some trust (…), but the result is an eclectic funbox with the first part taking on the classic dancing genres and bringing it home.
SR Edits adds some percussion, adds some drums, though already from the start we hear some of those original sounds right back in the mix, slowly moving forward, waiting until y’all on the dancefloor are ready for it. And a good minute in, they decide you are, as the beat takes over and the horn and piano sounds come in a bit clearer than before, giving you that good ol’ disco feel. At 1:40, the female vocals come in, quickly followed by their counterpart, as they sing about how the other is going To be loo-hoo-hoo-hoo-ne-ly. Just before 2:30, the male vocals, super silky smooth, giving you all that sweet soul and a bit more, giving you that whole Motown thing that Ashford & Simpson are known for (albeit, admittedly, this was a track released after). It’s a sweet soul disco track, and this edit highlights the latter, the dancefloor part, for some of them good times.