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: ‘Rollergirl’ by JP Source

At about the thirty second mark basically what you kind of were expecting comes in, namely this deep bass that will lead this girl down the rollertrack. A bit gritty, a bit sleazy, and abruptly stopping for a moment at about 1:10 to build up the anticipation for the moment at 1:30 when that bass comes back, having brought some friends along. And the one entering at 1:40 is most welcome of all, nicely juxtaposing the deeper rhythm sounds. The vocals, slightly in the back of the mix, do this as well, so it is no wonder these two sounds are basically relieving each other of duty throughout. The vocals are being looped like a son-of-a-gun, and behind them JP Source does a good job of weaving some of the elements in and out to give you a slice of freshness throughout the long stretch of vocal loops. That’s what is so nice about the track, he seems to be able to find the right times to add or subtract especially the bigger instruments, which you can play with a bit as the looping of the vocals provide the consistency for the song. Around the five minute mark we get some extra disco sounds, with the vocals being cut loose a little bit, and with a mini slice of horns rearing their brassy heads. It is a nice, seven minute affair for a night out.

‘World Gone Crazy’ by The Reverend Cleve Freckleton & The Sinners (Greg Wilson & Peza Club Dub)

How about some of that gospel, eh? Let’s not forget that house music and the church are quite linked together, if only because one takes place Saturday night and all of them all needed to be back in the church choir again on Sunday morning. Greg Wilson and Peza first get the bass going, providing a perfect layer for some dancing. Add to that a bit of that strumming guitar, and you’ve got the two main ingredients to support those growling vocals, singing that The world, has gone, craaaiizzyyy. Naturally, there are a host of other instruments in there as well, as well as some auxiliary sounds, for instance one that sounds like coins falling down. The main attraction of this track though is the preacher and his choir doing their thing over both the bass as well as the electric guitar, providing the right core to link the Saturday midnight to the Sunday service.

‘Beggin For Thread’ by BANKS (Aeroplane remix)

I love the lightness this one starts out with, it is a good tone to balance out the rather heavy handed beat Aeroplane throws in there. The vocals are somewhere in the middle of that, with an air of dreaminess, and helping out in the middle ground are the synth-pop like synths that come in to help her out a bit. The delivery of the vocals, too, have this nice poppy edge, and especially in the beat-less part starting at about 1:25 Aeroplane builds this up as a summer jam. The beat, obviously, comes back in, just to make sure that even the most dimwitted person in the room gets cued in that, Yes, you’re here to dance. In the mean time, the female vocals say that, surely, you should have known what you were getting yourself in to. If you don’t mind the heaviness of the beat (and I’m not a fan of that per se), then the other elements make a lovely summer tune out of this, including some cheesy synth lines to really get that vibe going.

‘Half Full’ by B-Jam vs Enos

This one starts like a stroboscope going haywire, but after about 20 seconds you get a whole batch of soul loveliness in there as if you’re eating that sweet chicken by the bucketload. That is what makes this track intriguing, on one hand the soulful smoothness in the vocals, which gets contrasted by the more contemporary backing sounds, which have this loopy, fragmented electronical feel to them. Like a deconstructed soul/old school hip hop track, which features both the classical elements of those genres, but which has been taking to town and let themselves be measured up for a new jacket. I am always intrigued, in any kind of art form, by that combo, and in a sense most of the edits in this column are that in a mild version. Something like this widens the chasm between the two parts, which makes the classic sounds pop out more, really singling out those characteristics that causes us to listen to these things in the first place.

‘Take A Chance’ by Moullinex (Satin Jackets remix)

This one starts with a bit of percussion, the bass is quickly added, and then you get some of those synths and that bit of guitar as well, all culminating into this slow, lazy, summer jam kind of vibe. The summer is definitely put in by the percussion, and that guitar and those synths just give you that lazy, staring-over-the-water-while-the-sun-is-shining kind of feel. The vocals help out a bit with that as well, by the way. Just before the two minute mark you get this lovely little bass to do some shoulder and/or hip action to. The aforementioned vocals are nice and high, having a certain lightness to them which make them very easy on the ear as they are asking Won’t you take a chance? Love how Satin Jackets slides that guitar back in at about 3:50, and then have most of what’s around it stripped away to really get this on-the-beach-with-guitar vibe out there. Super sweet and easy on the ear remix of a track on Moullinex’s new album Elsewhere.

‘No Sleeep’ by Janet Jackson

Pop diva Janet Jackson is back, this time with the sultry ‘No Sleeep’. She starts by singing that you are missing her, and that she is missing you. And that when you guys finally meet, there’ll surely be little sleeping going on (you go for it, honey!). Despite the scene just illustrated, this is, like I said, more a low key, sultry affair instead of a power pop sex track. It has a nice R&B vibe, and they glossed it over with a bit of class, making it one of those old school love songs. Including a dash of organ, a subtle bass line, and a nice little kick drum to keep it moving forward a bit. Definitely a welcome return from la Jackson, and returns can always be soooo terrible, but this one surely isn’t that.

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:  ‘Cheer Up, My Brother’ by HNNY

Gosh, I guess I can just fill up an entire column with A) my adoration for HNNY and his music, and B) bad puns on his name (all in good jest, of course). Here he puts that soul in the midst of all those modern electronics again, and of course he nails it (like, you were doubting that?). Just one for that chilling out when the sun is rising, it’s got a lovely, lazy beat, though he is not afraid to turn that one down in favor of the flavor, with those vocals providing a good bunch of that. Just those warm, old school soul vocals, and you can just almost feel the sound of the old vinyls of yore being used. She is singing the title of the track over those lovely, understated drums to which one can still do a little shuffling to. Add some piano in there as well, which is stripped away at about 4:20 for some of that percussion and what sounds to me like a bit of violin/string action, which combines with a soft little bass to bring it all down to a close. Again, he’s got the atmosphere down pat, and he’s so good at mixing the modern sounds and fusing and injecting them with the warmth and feel of either the jazzy/soulful sounds of yesteryear, or the R&B of the 90s. This one is an example of the former, and an ace one at that.

‘The Chase’ by Future Islands

Everyone and their mothers, sisters, and husband’s lovers fancy a bit of Future Islands nowadays, and with good reason. That last album was pretty amazing, and if you haven’t seen them live yet, you’re missing out (and really really not trying, because these guys have been everywhere! Touring animals, rawwrr). Here, again, you have those lovely synths and that kick to give it this catchy, '80s feel, but those vocals are so emotionally charged that it blows the sockets off of the walls, giving it this emotional load that gives this band the edge over those more plastic-y bands from the '80s. With the main question here being, Is this love? (don’t we all wanna know?). Made with Record Store Day in mind, hopefully some lucky people managed to pick this one up, as this is one that would not have been out of place on their last album. And have I already mentioned how ace that album is?

‘Let’s Get Slow’ by Aeroplane feat. Benjamin Diamond

Aeroplane pulls a fast one on us here, because this certainly isn’t one to get slow to. It is, however, a summery, bouncy synth track to do some dancing on. It’s got a cheery, almost retro demeanor to it, with some relatively cheesy chorus action. But, in a good way, as sometimes it helps to get the fun in the party, and this one is definitely made to have some fun to. It’s easy on the ear, with Benjamin Diamond doing the vocals, singing Let it go, we know, that I know, let’s get slow, or something close to it. There are also some female vocals in there, trying to enthuse the crowd like a cheerleader does during the basketball play-offs (Go insert-fav-team). And sure enough, some fun can be had with this one, though it won’t be winning a Pulitzer anytime soon.

‘In the Street’ by Chocki Hookon (Jacques Renault BK Club Mix)

Released earlier this month, Jacques Renault takes it to the club with some percussion action in this one. I love that sound that comes in at about the thirty second mark, gives it this grainy & raw club vibe. Which, shortly after, gets juxtaposed by some of that piano action. In the mean time the percussion is still rolling as the vocals start to come in. The talky female vocals are telling you to Get down on the funky beat, if you happen to be in the street. When the vocals die down, Renault gets the engine running (funnier if you follow Formula 1, I swear) to make sure you get that jolt for dancing, half a minute later coming back with the piano (which is then, again, followed by the vocals). This really is one for the house club, Renault going full throttle here, making this one a track to drop in the middle of the set when the party is going, just to make sure that people keep jacking it up and doing their thing. Some of that nifty house fare by Mr. Renault.

‘Keep on Talking’ by Tensnake

When Tensnake releases something, you know you’ll be dancing, don’t you? This is his new single, and he’s got the beat going first, and then this deep synth comes in, after which he throws some of those drumpad percussion sounds your way. The real deal comes at the minute mark, as he throws out some of those club vibes to go a little bit more soulful, making sure this tune hits on the house-party cylinders. That rhythm sound that comes in at 1:45 is nice and catchy as well, and Tensnake sure knows how to bring new things in to keep the crowd on their feet. At 2:18 he gives them a bit of a rest though, dialling down the rhythm parts, but adding some really high pitched vocals, getting them more and more to the fore of the track before returning to party mode a bit later on. Though a short while later he’s combining both for the full effect, getting there at about the halfway mark. I love that synth line at about 3:45 onwards, that’s a nice little rhythm thing again. Then he goes full on with a big, bad build-up, and when the full-fledged party core gets started again, that synth line is still there, but a bit bulkier to contest all the other party sounds. And those are just those smart little things that make a club tune by Tensnake something to always be watching out for (and, when it’s there, to be dancing to).

‘Be Love’ by Natty Fensie (The Supermen Lovers remix)

When you’re called Supermen Lovers I do expect some attitude and cheekiness in there, and this one certainly starts with some of that sexy action. It’s just got some of that naughtiness, not in the least in the bass. At the 1:20 mark they get the synths involved, upping the pace a bit, throwing in some of those atmosphere sounds for good measure. The real things about this one are the way they use the vocals and the drums/bass, which just make you wanna get sexy with it. Those sounds are nicely contrasted by the synth sections, which give you a bit more of that party atmosphere while keeping the fun in place. Just before the four minute mark they turn it down a bit, slowing it to a crawl with drums/bass/beat all stripped away, obviously coming back with it after a good half minute or so. Brings out the fun and the cheeky, this one, and that’s something I always like on the dancefloor. That ending, also quite cheeky, but definitely not for the same reason as the tone of the bass was in the five minutes prior.