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The Weekly Froth!

09 October, 2015
Written by Stef Siepel
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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: ‘Ace Of India’ by Masters At Work feat. India (JKriv edit)

JKriv gets the beat out for this one, starting in hard hitting fashion before the little guitar riff comes in after a few seconds. We hear the hustle and bustle of the crowd in the background, letting us know that the Australian is getting ready for a night about town. After about 1:10 he leaves the beat behind, going just for some percussion and guitar sounds as the vocals slowly let their presence be felt, singing To be in loooovvee (as the girls then admit that, yes, they are). JKriv then lets the female vocalist go at it for a moment, singing that Every night is filled with fun and play (oh, they call it, puppy love). At about the 2:30 mark the percussion already finds its way back, and a few seconds later it transmorphs into an actual beat to get this one on the road again. In the mean time there’s plenty to help out with the pace, with at the four minute mark a nifty little bass coming in to shake that booty to. At about the 4:20 mark he strips the rhythm parts out, going with some guitar and handclap percussion, but soon adding some rhythm percussion and the vocals, singing that they are Falling more in love with you. Another stomper from JKriv.

‘Rinse And Repeat’ by Riton feat. Kahio

How about some of that club? Riton gets the club vibe going, with Kahio singing that it is time to make the club go up. And if you leave with her, apparently you’ll be getting it on until the morning, so she’s definitely on the prowl, she is. At the minute mark Riton takes it back a minute, but soon enough he gets the beat going again, with Kahio’s vocals adding to the sex vibe this exudes. So it definitely is time to get your game on with this fast paced mother-of-a-tune, only having one thing on its mind from the get go. Riton sometimes changes the sounds up, like at about 2:25, but Kahio keeps the message consistent, so the main vibe is never in danger. Which also means that we know, whatever Riton does, he’s ready to drop it down again after whatever interlude he was using. If you want to bring the party to the floor, this definitely is a no-holds-barred way to get it all going on.

Edit Service nr. 61 by Front De Cadeaux

I must admit I do love that I’m A Cliche edit service, providing us with some lovely edits of old tracks, put together by a number of people. This time it’s Front De Cadeaux’s turn, taking on Max Berlin’s ‘Elle Et Moi’. And they do so by starting with some dramatic percussion, which adds a lovely cinematic feel to the whole proceedings. Slowly they build it up, getting this slow grind going, which they both work and expand for a while. That new sound that comes in at about 2:26, love that, and just the combination of that consistent drum along with the bass to provide the rhythm of the grind, that’s pretty lovely. At the 3:50 mark you get some of that film noir saxophone in there, as if the track wasn’t filled to the brim with cinematic atmosphere already. After that they give it a little, subtle punch up, also courtesy of the guitar that is brought in, as in the mean time the percussion is still doing their thing. Lovely, intricate nine-minute addition to the Edit Service.

‘Can’t Figure Out’ by (Dr Packer edit)

Dr. Packer takes to the dancefloor on his new EP, where he takes on four tracks and gives them the ol’ make over. This one gets riding on the bass he puts on, which gets a little bit of help from the percussion and, after about a minute or so, a somewhat harder drum. A few seconds later he gets a nice little riff going, adding some piano to boot. In the mean time we have already heard the girls a few times, though it takes until about 1:40 to hear the gang leader taking a stab at it. Horns have come in as well by this time, giving you the whole disco shebang from top to bottom, left to right. From about the two minute mark he starts to work up to a new segment, going almost tropical at 2:20 with that specific guitar sound as the girls sing I can’t stop thinking about you (that’s right). The main vocalist then goes for it, saying that you are even in her dreams, so she’s having the hots for you for sure (you go get ‘m tiger!). So it’s a disco song about that yearning for love again. At the four minute mark Dr. Packer dials it down a bit, letting the bass run almost solo for a little while, but soon enough all those other elements like that guitar, like the drums, and like the vocals come in again (though later, too, he will return to that bass). It’s one of those uplifting disco dancefloor fillers that will have the house a rockin’ no doubt.

‘Can’t You See Me’ (Krystal Klear Shout To Alex Nut EDIT)

Krystal Klear gets the percussion going at the start, throwing all kinds in there for some rhythm ‘n soul. After a minute he clears it up, sliding from all sets of percussion to a fast-paced bass line and a relatively clear sound, on top of which the vocals soon come in, singing that he knows Our love is real. Love the auxiliary sounds, giving it this tropical feel, especially when those tom-tom percussions come in again. What I really love is the clarity of the track, how that bass functions as the backbone, somehow kicking up enough pace to drag the rest of the track along with it and allowing all those extra sounds to freeflow right on over it to give the track its particular vibe and setting the geographic influences on this one. And how he always manages to slide from the percussion bits back to that clear bass sound, that’s pretty nifty right there. For all those things I can forgive the not so subtle fade-out near the end (even though the actual ending is pretty natural, making it even more bewildering to me. Oh well.).

‘Can’t Keep Us’ by Saine

Let’s get a bit deeper with Saine, having this almost horn-like sound to double the beat, giving it some warmth as we also already hear the vocals coming through a little bit. There’s a bit of guitar strumming to add a lighter element to the proceedings, definitely adding a nice touch as the beat then goes solo without the doubling, soon after which they reverse parts, to then go at it in combination again. In the mean time, the vocals, though their narrative barely audible, definitely fit the tone. Just before the three minute mark they briefly stop it all, just to slide back into this lovely, jazzy deep house sound. Because of the doubling of the beat they can switch between the two sounds, with one having a higher atmosphere rating, but when they then go back to the actual beat, it provides a little bit of a punch. The track is released on the Fools & Fables label, which name is, strangely, pretty apt for this track.

The Weekly Froth!

02 October, 2015
Written by Stef Siepel
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Track of the week: ‘Josephine’ by Woolfy Vs. Projections

Chris Rae’s ‘Josephine’ is just one of those tracks everyone who has ever listened to the radio (ever) just knows. The lush vocals sending all their love to Josephine; just tapped into the consciousness of people that one. Obviously, the lads of Woolfy vs. Projections make sure it now is readily available for the dancefloor as well, doing their catchy, funky thing before they slow it down a tad to welcome sounds reminding us of the original track, after which they thrown in a rhythm synth with a beat backbone to get the people dancing again. After the two minute mark we get the vocals, which are not the originals, but more in tune with the electronical offering that we get here. Still, though, they are sending all their love, and Every single step they take, they take it with her. The guitar gives it a bit of that funk with a nice little riff, and the piano infuses it with some of that dreamy on-the-road-thinking-‘bout-my-gal vibe the original also had. It is not a fast paced affair, but ideal for your road trips or your dancing-the-sun-away moments.

‘L.A. Plays Itself’ by YACHT

YACHT are readying itself for the release of their new album, and this is the second single they’re bringing out for that. It’s a bit heavier on the punk/rock vibe than their previous one, but obviously it’s still a danceable, catchy affair with the beat drum and the bassy synth making sure the rhythm is a-okay. Because of the oomph of the drums, and the immediacy of the fairly spoken-word vocals you get this more rock vibe. There’s also a hint of hip-hop there in the timing at certain points. In the chorus they sing that You think it’s like that, but it’s really like this / You never get caught if you’re never locked in. With Claire then asking if you can read The writing on the wall. The track is apparently named after an experimental gay pornographic film, so there you go. Can’t wait for the new album, to be released later this month.

‘Big T’ by Tito Ramos (Joe Claussell remix)

Joe Claussell knows how to make you shake your boot-y, and here he starts with that percussion and that tropical vibe before he puts the four-on-the-floor and gets the upbeat Latin thing going. Along with a bit of that guitar and piano to give it that authentic flavoring. Just before the minute mark he throws in some horns as well before slowing it down for the vocals, as they chant "Brothers and sisters, I want to saaaay..." before diving into a narrative about this guy who did it His way (wink wink, nudge nudge). I love the multiple vocals, giving it this communal atmosphere, like you are dancing at someone’s street party in Cuba or something. And they sure get it going, and Claussell keeps all the auxiliary sounds right in there, with the guitar, the extra percussion, the whole shebang really, to make sure it keeps its momentum and this feel of pace. At about the four minute mark he slows it down a bit, stripping most except for the tom-toms and other percussion. He then first gets the guitar and vocals back before putting the beat back in there for the dancefloor to hang their hat on. Saw Claussell doing his nifty DJ stuff earlier this year, and there was definitely a party vibe there, and this shows why that was.

‘Better Believe’ by Alkalino

How about some of that old school disco, courtesy of Alkalino, who calls in Doctor Love, with the First Choice gang doing their thang. So it already starts with those old school sounds, driven by the bass, the four-on-the-floor, and the percussion elements, and with a nifty little guitar and some horns for extra flavor and that real disco feel. At about the two minute mark the girls call out for Doctor Love for the first time, with the main vocalist taking over at about 2:35, giving it that yearning feeling that fits that disco dancefloor to perfection. And she does the works, doing the growl, the high pitched squeal, just about it all really. In the mean time there’s still the beat, the percussion, the bass, and that little guitar to make it all move forward at breakneck pace. Just one of those fab old disco tunes that knows how to put the yearning and the sex in there, and Alkalino makes sure it gets some modern flavoring to get dancing to all night long.

‘Sunrise’ by Cyclist & Maiko (Aimes remix)

Sunrise this sure feels like, with Aimes taking on this track by Cyclist & Maiko. It is half the percussion cowbell, and half the lazy synth that, after about fifty seconds, is substituted for a more deeper rhythm synth sound (though they later prove to be able to co-exist as well). The female vocals sing that Your love feels so good, and she certainly is feeling that she can spend her time with you (score!). So I guess that’s sipping-some-tropical-beverages-whilst-looking-at-the-sun coming up. The bass and percussion then move it into a bit of a higher gear, getting into dance mode a tad more around the two minute mark. At about 2:30 they move it into summer and tropical bars with some light, fun-loving synth work, after which they slide it back into the rhythm again, this time enlisting the vocals for some extra help, with the horns coming in as extra back-up as well. A sunny, catchy affair to do some of that late summer dancing to with your love (or lust) one for that night.

‘On & On’ by Crayon feat. Jordan Lee

Let’s go lush and smooth with this offering from Crayon. At about the 20 second mark they go from intro to the actual song, which has this nice R&B vibe with the synth and the particular rhythm of the drum. I like it when that little guitar riff comes in, that’s sweet. At about the minute mark they dial it down for a moment, removing the rhythm elements (especially that synth), but it all comes back soon enough. The vocals are silky smooth, and really give it that '90s R&B vibe, whereas the slick electronics put it more in the nu realm of it all. They plead Ohhh girl, don’t you turn me away. Again, at one point they dial it down, to the point there’s almost merely a sound that seems like fingers snapping to the rhythm, but for the last part they get it on for a moment again to make sure it doesn’t end whilst grinding to a stop. As said, super smooth, super sexy.

The Weekly Froth!

28 September, 2015
Written by Stef Siepel
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Track of the week: ‘Possess Me’ by Salamanca (Mike Burns edit)

Let the funkiness commence! Mike Burns starts this one with a funky guitar and bass combo before the singers come in, singing Possess me, take me now. So they’re not mincing around, these people are, that’s for sure. In the mean time the guitars do all the work, coming in from different angles at once as the drums and bass keep the rhythm going on top of which the singers sing Take me now. I like how the rhythm shifts on occasion, with sometimes the drums more prominent, and at other times the focus being more on the bass. In the mean time there’s always room for the funky guitars and the dirty dancing vocals. At the three minute mark they strip most aside from the rhythm, with the vocals being exchanged for some spoken word, as someone asks whether or not you like his super boogie woogie (which, dear lord, I hope is not a euphemism for something or another). That gives it kind of a hypnotic quality, especially as all them all so loyally announce that they Like it. As if, indeed, they are possessed by the hoodoo woman. Which is a nice little touch I must admit, and add the funkiness to it, and you’ve got a clever little dance number right here.

‘I Know There’s Something Going On’ by Frida (Lindstrom remix)

Probably you know Frida. Frida once won the Eurovision Song Contest as part of a little group called ABBA. However, what you might or might not know is that she has actually released solo material as well, and Lindstrom decided to take one of those tracks on and give it a little space & house twist. So you’ve got the space synths, the bassy sound and the drums to add rhythm, and loads of auxiliary sounds putting this one firmly on the moon (and you, perhaps, over). At about 1:37 you get some piano which sounds like its from the original, and soon after the vocals come in, which frankly don’t sound really earthly either. She puts her money where her mouth is though, as she sings that If you want to leave, then why don’t you say, you’re love has gone anyway (tell him like it is, hon!). There’s certainly something going on right here, let me tell you. I love the whispers in the background, and they do add to the whole court intrigue vibe of adultery and backstabbing. At about the halfway mark Lindstrom puts a major guitar solo in there, followed by a guitar+vocals combo. The original album was produced by Phil Collins, hence maybe why after the guitar we get some drums, and Lindstrom puts this one in a rocket and lets it fly off. It’s got this completely offbeat quality to it, a tremendous weirdness, which makes this one a different coloured duck in that pond full of swans.

‘Tearing Me Up’ by Bob Moses

Bob Moses first gets the beat and percussion working, and only after those have kicked it off he dives into some of these typical house sounds, using the keyboard to build up some noise before he comes in with a bass. Those vocals, those are spot on, they are spoken-word and deep voiced as they give you the low down on one narrative or another. After the first stretch of spoken word Moses hits the exact right instrument to get into the chorus, which sees more singing, though even that is pushed forward by the same, deep instruments. During the second verse he enlists a bit of help from the guitar, which is a nice little addition. I also just love that beat and bass combo that does the rhythm, sometimes together, though at other times one withdraws in favor of the other. It’s got some of that film noir, Chicago in the Forties style, where the up-tempo jazz band in a smokey pub way late at night is already preluding some hints of house sounds that would only come into play years and years later. Definitely scores high on style, and everything works together real well to keep the vibe consistent. This is a track that’s off of his album Days Gone By, one that might just be worth checking out.

‘The Right Time’ by Tuxedo (M+M '80s Classic Mix)

John Morales gets the proceedings underway with a bit of that bass and percussion action, all in that formidable disco style of course. And when you get that little guitar riff underway, then you know for sure you’re right there again. Then the male vocals enter, nice and soulful, first doing a vocal chord warm-up, and then getting some help from the other guys first as they are singing that they think that it is The right time. Then he starts singing solo, indicating that he’s got you on his mind, and he’s all pretty sure about it, as you are shining like a light in the nighttime, loving everything that you’ve got. In the mean time that bass is still rolling in its mid-pace strut, the percussion still helps out with the rhythm, and the riff and vocals make sure it’s disco in probably its most sugary way. Also note that, despite having plenty of opportunity, no gender is ever specified, which fits the genre quite well probably. Next to the four main elements that have already been mentioned, there are some other instruments helping out obviously, though these all weave in and out of the song on cue. It is some old school lovin’, the sweetest in its kind, and one for the lovers instead of those in lust.

‘Murmur’ by AKASE

AKASE is the duo of Harry Agius and Robbie Redway, combining industrial, cityscape sounds with clear vocals on the always electronical and experimental !K7 label. This song starts with some drumpad percussion, and soon a noise bass synth is added to fill in the empty spaces. On top of that you get the clear voice of Robbie Redway, that sometimes gets doubled by higher pitched vocals (though in the chorus the main voice is a bit higher as well). He asks you to Douce me, and incite me, if there is an undertone of sadness in my memory, that’s all I will see. Cut the corner, cut it now. As if it is a plea for rescue, though whether you are rescuing the narrator from the dark nooks and crannies of his mind/the city or you are rescuing yourself is, for me at least, quite up in the air. The soundscape that is created in the back is, as said, industrial, with dubby percussion filled by the noise of the city industry. !K7 have, yet again, found a wonderful example of this kind of sound, like they are prone to do, to everyone’s delight.

‘The Way She Goes’ by Prince Monaco

Prince Monaco gets gritty with this mixture of punk and industrial that, at one point, slides into dance music (preluded by handclap sounds and the increase in percussion). As one would almost half expect from anything from the Wolf vs. Lamb label. The dance part gets going when the bass comes in (you can rely on that bass to get the people getting it on, ya know). Don’t expect a smooth disco turn though, as even the bass is dirty, and that guitar that comes in later is as industrial as all the rest. But as said, it is not a clean, city kind of industrial, but a down-in-the-lowlife-burrows kind of dirtiness definitely puts its stamp on this song. Not to say that if they slide that bass in there, like around 3:40 for instance, you can’t do a little dance, even a choreographed one you’ve prepared in front of the mirror. Especially towards the end it does have a dash of funk in it as well. The feel definitely sets this one apart from a lot of offerings out there.

The Weekly Froth

20 September, 2015
Written by Stef Siepel
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Track of the week: ‘Shadow’ by Chromatics

Gosh, Chromatics, I love that sound, you know? That cinematic, midnight feel that it’s got, this dreamy, lovelorn vibe it always manages to exhume; it’s pretty awesome. And here, too, you’ve got the beat laying the groundwork, the beautiful, removed vocals that come in, with the atmospheric synths making sure the Chromatics sound is there and ready to go. Something like the transition at 1:50, that’s pretty awesome, and Johnny Jewel and company always manage to find all the right instruments to not only make a pretty song, but make that pretty song fit their brand so tight whilst not being so repetitive it doesn’t pack that emotional punch anymore. In the meantime the song fades away as she sings For the last time, increasingly more removed and pathetically, to the point that you feel that somehow Bogart and Bergman found each other again, ever briefly, knowing they soon have to depart for a second time. Here’s looking at you, kid.

‘Moving On’ by Serge Gamesbourg

Apparently an old edit of his, never released, but his birthday gift to us is putting this one out there as a free download. After the obligatory talking he soon gets the pace going with a nice little riff on top of the drums. Vocals are already audible, but slightly back in the mix, though they get some room to play as he strips almost everything except the vocals and the piano. Naturally, then he starts building the sound back up and up, with the sound becoming more and more festive, and at the three minute mark he lets ‘r rip, with potential dancing mayhem ensuing. From that point on he just keeps on pounding with this disco & house dancefloor monster, never letting up the pace, and just adding a bit of nifty guitar work here, a moment of primarily drum and bass there, basically until you just can’t dance no more.

‘Three Way Situation’ by Nadie La Fonde (Al Kent remix)

Like the percussion at the start, especially in combination with that guitar when that comes in. Nadie la Fonde reassures us that, Baby, I know, as the synths then take over from the vocals. When the vocals come back, apparently, what she knows is that You belong to another, so maybe not that reassuring. At about 2:20 Al Kent lets it boil down to just the percussion for a minute, returning with the other instruments after a while. Around the three minute mark he lets her do that disco thing with the vocals, pouring her heart out as she decides that maybe what is best is to just Let it go. After that vocal round there’s a real nifty shift back to the instrumentals, that’s a lovely moment right there. He ends it with a good, old-fashioned fade out, with the Baby I know’s getting less and less confident of themselves as the song is being closed out.

‘Swing That Body’ by Jacques Renault feat. Luke Jenner

First we’ve got some of that woodwork percussion, the unique yelp of Luke Jenner (formerly of The Rapture), and more percussion follows with a bassy synth line in there, followed by a lil’ something something of that guitar. The percussion keeps the rhythm alive, and the synths make sure there’s some melody in there, a lovely one starting at 1:10. In the mean time you have those ever anxious vocals of Luke Jenner singing that you have to Swing that body (Don’t you wanna?) as Jacques Renault is throwing all kinds of dancefloor loveliness at you, including a sweet change-up not long after the two minute mark. Mr. Renault is one of my favorite DJs, and this song is on his first full-length album he’s putting out, for which he has enlisted loads of friends to make something really special out of it. You can stream the whole album on his SoundCloud, so give it a whirl if you take a shining to this one.

‘United 707’ by Wolfram (Radio Edit)

I really liked that Wolfram album that came out a couple of years ago, and it’s good to see the guy back in the fold with a DFA release, which just happens to be one of my favorite labels. This radio edit already shows us what we can expect, with the beat, but also the combination between the melancholic atmospheric synth and the bassy rhythm synth, soon getting some help from some snares and other drum stuff to keep it moving a bit. Around 1:10 we suddenly get a military barrage of percussion, after which the track slides back into its catchy rhythm. At 2:10 that rhythm synth gets the room for itself for just a moment, but soon the military percussion rides in again, after which it sweetly transitions back to all that’s rhythm again. Good to see Wolfram back in action, and I wouldn’t mind at all if this was a prelude to an album from this guy.

‘Holding Back (My Love)’ by Tensnake (Tiger & Woods remix)

Mix Tensnake with the looping louie’s Tiger & Woods, and you just know you are in for a modern sounding dancing treat. After thirty seconds they already make sure we’ve got the bass up and running, and when after a minute in the synths enter, then it’s all good for the dancefloor, especially if you sprinkle in some percussion action to boot. What Tiger & Woods do better than anyone else is taking this part of a track, loop it, and then change it up a bit, then loop it again. So you’ve got this amazing repetition that doesn’t get repetitive, which is pretty awesome and generates amazing momentum. The vocals also come in, singing that they were Holding back my love, which after a three minute period dives into a little part where they’ve stripped the beat and rely on the synth, along with some percussion, for the rhythm. They stretch that nicely, constantly adding a little element, or tinkering with the existing ones, before going for the punch again just before the five minute mark. A minute later they return to that bass again for the main sound, which they then help out with the vocals and extra percussion. It is a nine minute affair, and golly, both parties know how to do that, this being a prime example yet again.

The Weekly Froth!

11 September, 2015
Written by Stef Siepel
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Track of the week: ‘Dusk’ by Mighty Mouse

Half a month or so ago, Mighty Mouse released this stomper called ‘Dusk’, which from the get go sounds like a club track begging to be danced to. The move from the generic comes after about thirty seconds, and after another half a minute the sound gets expanded yet again with, amongst others, a buzzing bass, but also loads of lighter sounds, moving it away from this “club” feel for good (though dancing people might still want to do on this one, as it is definitely designed for that). There is still this little bit of dirty in there, especially when the main synth sound is stripped away, then you can still hear a bit of that gritty industrial back in there as well. At the three minute mark Mighty Mouse opens the sound up a bit more, and the female vocals are yet another thing used to juxtapose the grittier parts in the track. I love the pace and the forward-moving momentum on this one. Plus how it looks in SoundCloud, that’s quite funny I find.

‘Wallflower’ by Maribou State (Lane 8 remix)

Yeah, I must honestly admit that I haven’t been listening to a lot of Maribou State, but I am enjoying Lane 8’s output, who has recently released a pretty nifty album. On that album there’s a range of nice, electronical music, enlisting help from people like Lulu James and Matthew Dear, for instance. This remix wouldn’t be a weird fit for the album. There’s a sort of dancefloor sensibility, especially with the build-up just before the two minute mark and the kick & quick-paced synth combo just after. But there’s also a certain restraint, a certain lightness as well, which one can recognize from on the album. At the start they make sure the drums are there, which are juxtaposed by the synth that is floating around to put some atmosphere in it. Those drums tend to disappear on occassion, especially when the vocals are there to fill that void, but they are there when they need to be to keep the pace up and the track moving forward. So there is something to dance to, but with the same kind of feel for melody and a certain lightness that Lane 8 also managed to put on his LP (which, if you haven’t yet, is well worth the listen).

‘RVLTN’ by Pineapple Pop (Bit Funk remix)

This one comes rearing out of the gates, immediately going for it with that bassy beat. After about half a minute he tones it down for a second, coming back with a catchy, summery synth line. He builds on that sound by adding some other synths and a tropical percussion sound, and when that heavy hitting instrument from the start comes back now it doesn’t take over, but instead merges with the more tropical party sound that Bit Funk put in there a bit earlier. So suddenly, it sounds more festive. Just after the two minute mark he dials it down again, putting the rhythmic synth front and center, though a few seconds later he throws the percussion back in to get back to that party vibe. And that’s the main thing about this remix, this sense of having a fun party somewhere, they certainly succeed in evoking that feel. So if you are throwing an after-summer summer party, then this is one that might do well in the rotation, with those typical percussion that lay down the mood for this one. Certainly puts the Pineapple in Pineapple Pop.

'Younger Than Me' - Craig Bratley (K Edit)

This one starts with a club beat, as we’re getting our acid house hats on to get down and dirty to. Love the percussion that comes in at the 48 second mark, and at the minute mark we hear some vocals for the first time, accompanied by a bubbly, drug-fuelled synth sound. At 1:30 this one slides back to focus on the beat again, though that sound quickly gets some help from the vocals, the synth, and at about 2:05 there’s a dark synth sound added to give some extra beef to this one. At one point the beat is stripped away, even to the point the track runs on the holding of a key and the echoes of the vocals. Naturally, though, after a while the dirty house gets back in there, with the hypnotic and drug infused feel of the underground club. If you want some of that deep stuff you can close your eyes and just dance to, then this is a lovely new addition to all that that’s already out there to get cracking to. Free download as well by the way, so what’s stopping ya?

‘Sunny Bigler’ by Leon Sweets (Sleazy McQueen remix)

How about some of that disco percussion at the start, I always really like that. In the background we already hear some vocals, which will inch closer and closer to the fore, even after there are some additional drums introduced which are not shy in terms of volume and punch. After the minute mark there’s also a bass that comes in, and then we get some male vocals to help along the rhythm section of percussion, drums, and bass. At the two minute mark some of those African influences are put more up front, and all that rhythm makes dancing pretty easy. The vocals are lovely, both the female and male vocals fit pretty well on top of the rhythm and beat that’s going on, and leave it to Sleazy McQueen to make one smooth ride out of it. The vocals get plenty of room to shine, even the brief spoken word vocals around the four minute mark, which he strips all the instrumentals for. After that, the rhythm is put back in, this time with a different bass, and the vocals are allowed to shine again. Smooth rhythm and vocals make this one to a dance to whilst savoring the enjoyment.

‘Right My File’ by Dimitri From Brooklyn

How about starting with some in-yr-face vocals, including some call-and-response with the girls in the back? At the forty second mark some instruments come in, and after a minute you get the full monty, with the piano and all, from the well-known ‘Relight My Fire’ (though, unfortunately, not the Take That version. Now THAT would’ve been something!). Dimitri From Brooklyn is firing on all cylinders, going full throttle, pedal-to-the-metal for this disco tune, wanting to ensure dancefloor mayhem. So you’ve got the bass in the background to keep this one going forward, but it’s especially the clarity and the punchiness of the vocals and the instruments like the piano and horns (and flippin’ all, really) that makes this one hgh-nrgy and just all out going for it. There’s also a bit of church in there, especially at that bit around 3:30 with primarily the female vocals, just the timing of vocals and instruments, that’s well done. If you don’t know the song, it’s all about relighting her fire, as Your love is my only desire. At about the six minute mark you also get a bit of a twist, suddenly going for rhythm over bombast, which is a nice change of pace. Dimitri from Wherever really is king, queen, and ruler of all in terms of party disco remixes, and proves that once again here. If your primary concern is partying until-you-can’t-party-no-more, this is one to blast through the speakers.

The Weekly Froth!

04 September, 2015
Written by Stef Siepel
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Track of the week: ‘Don’t Worry Baby The Best Is Yet To Come’ by The Reynolds (Greg Wilson & Peza Club Mix)

This one starts out with some dulled drums, on top of which a little bassline starts to play, with both sounds being in the deep end of the spectrum. Soon, though, some horns, and those delightful, old school female vocals come in to first sing oohh-hooo-ooh-hoo, following which this female voice sings Don’t you worry baby, the best is yet to come (otherwise at least a partial refund would be in order I reckon! Don’t be selling me this half-arsed crap now, ya here!). And this they sing in the best '60s soul group manner they can muster, a la The Jones Girls and all those early disco/R&B groups. In the mean time the drum and bass still keep on rolling, but more in the background as the girls (both the one up front as well as the ones at the back) have taken over with their lush delivery, both comforting as well as a bit mesmerizing, a tad seductive. One you could fall for if you happen upon them in a nightclub and you see her sing. All the other things, so lovely within the style, with the horns, with the lovely auxiliary sounds that make up the atmosphere. The rhythm moving it along in exactly the right pace as well, it’s just a joy to be listening to. Throwback as all get out, but golly, if this doesn’t take you to a nightclub, sitting at a table, sipping one thing or another, and then with three of those gals in long, tight dresses singing so smoothly the title of the track, then I don’t know what will.

‘What You Won’t Do For Love’ by Junior Boys

Oh lord, I remember seeing these guys years & years ago, with a friend that has since moved to a different country, in a club that has since ceased to be, and with a hairstyle that thankfully I have since abandoned. My goodness, if only pictures had survived! But the lads of Junior Boys are back, and before dipping their toes in the water they have a swing at an old Bobby Caldwell song, which they tackle in their oh-so familiar fashion. So there’s this whimsical, dreamy air that they always manage to create, using synths and those particular vocals to achieve that what they do so well. So they sing “Some people go around the world for love, maybe never find, what they dream of” in an almost removed fashion. The two minute mark has them whispering What you won’t do, do for love, and he whispers this with a deeper voice and over a deeper synth sound. Funnily enough, though the whispering can be menacing if one chooses so, they don’t quite get there, because it is so anchored in the Junior Boys aesthetic. Which, to me, isn’t something not done quite right, but something done whilst still having the band’s identity shining through. It makes it Junior Boys, and that is exactly all right. When the song picks up after the normal vocals return, the synths come back as well, but you also get a bit of kick and snare action. Good to have these lads back, and it sounds as much like them as ever. And coming from someone who went to a gig of theirs, that’s obviously not a bad thing.  

‘Dear Life’ by Claptone (Purple Disco Machine remix)

I like the percussion-and-beat way this one starts, as if to say, All right, let’s bring the party on. And then when that sound comes in at the sixteen second mark, immediately followed by the vocals, then you know for sure you want to be dancing with somebody (and feeling the h... etc.). The vocals get a moment in the sunshine before a wicked bass comes in at about the 1:20 mark to reinforce all the party vibes that you got from the start. Funnily enough, there are like four elements at play in the core (2 percussion bits, a bass, and the vocals), but they all are there to help the rhythm, so it is a lesson in effectivity, really. A bit later in the track the vocals start some actual singing, and more elements come in (don’t want a song too bare, mind you, especially one approaching the six minute mark). I like the little synth line that enters before it enters the fourth minute, which is the cue to turn on the volume and get a bit of momentum going. At 3:30 you get a bit of a bridge that uses the vocals in a lovely House sense, reminding me a bit of Hercules and Love Affair to be honest. The Purple Disco Machine then starts building it all up and up, obviously dropping the bomb (or, erhm, bass) a bit later. Love the rhythm here, making sure the dancing vibes are all over my face.

‘Nights’ by Ilija Rudman (Can’t Communicate mix)

Ilija Rudman is one of those guys who always delivers for me. Slightly edging to the deep, atmospheric side of the dancefloor, something which becomes apparent at the start here as well, using what sounds like wind effects (one blowing near a haunted mansion, at that). He quickly adds a beat though, but then discards it for an equally haunting synth line, before it turns to a ghostly dance session when he suddenly drops all kinds of rhythm and percussion elements in to get even the scrougiest ghost of Christmas past to do a little boogie. He never loses this vibe (both of dancing and of atmosphere), even as new instruments, and even the vocals, enter. The vocals are strong, male house vocals, asking How can we celebrate, when we can’t communicate? In the mean time there is this main synth line up front, but also plenty of percussion in the back to keep this one going. There’s this flute kind of sound that totally fits in as well. If ever Disney wants to do a ramped up version of their Skeleton Dance, well, there you go (Maybe Banksy can put a thing or two together for this one).

‘All I Want Is You’ by Kraak & Smaak feat. Keyhole (Xinobi remix)

Some home service here, with Dutch boys Kraak & Smaak doing their thing on ‘All I Want is You’. Remixed by Xinobi, who knows how to do this stuff. It starts with a soft kick, leaving the auxiliary sounds and the droning synth in the background to form the core. Soon enough extra drums come in to start pushing this one forward, but it are still the extra sounds, like the one entering at the fifty second mark, that kind of make this one. Love the vocals coming in right after one minute’s up, singing that all he wants is you (There is no other!). Both in the vocals as well as in the treatment of the overall track there’s plenty of soul (especially when the vocals go up up up in the bridge section). Xinobi makes sure this one doesn’t get relegated to a thump-the-dancefloor kind of thing, with soft drums and plenty of room for the singing. But, he also knows when to up the pace to get the catchy going, even going to the more tribal drums a bit later on. At about the 3:30 point they dial it down, going for just a kick and some synth sounds, with then the vocals coming in way up front in the mix, telling you to Watch me dance for money, trust me, in my eyes lie the truth (Ha! How many times I’ve fallen for that one!). After some more vocal tomfoolery they don’t come back with a vengeance (would’ve been against the whole style of the track, to be honest), but instead Xinobi goes with a little bit of guitar, which is quite nice. And so they rather slowly build it back up to the more catchy side of the track. As said, plenty of soul to be found here, making this well worth the listen.

‘I Can’t Be Your Superman’ by Skylar Spence

Skylar Spence starts with a rather sharp, indie sounding guitar, but when the bass comes in after about twenty seconds this one gets decidedly disco. More quintessential disco sounds come in, though there is still this guitar that provides a juxtaposition, making sure you don’t quite feel the NY '70s vibe. The vocals, too, indicate that this is a hybrid, a slice of indie pop that borrows a few lines from the disco era. At 1:55, when it goes from almost only vocals back to the regular programming, it slides into an almost The Rapture-esque punchy disco sound (a la the Pieces of the People we Love album) just for a second, though it quickly turns down the in-yr-face knob that The Rapture always managed to put in there. It’s not as pedal-to-the-metal as that band, but it is a rather fun, catchy, up-tempo hybrid that has certainly put his album on my radar.