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: ‘The Names’ by Baio (Wolfram remix)

Though Baio’s album hasn’t necessarily gripped me, Wolfram always manages to do just that with his expert synth work. First we get a little beat and some auxiliary sounds, but after about 16 seconds in we get those delicious synths that just have this sense of euphoria to them. A new, non-rhythm synth comes in around the fifty second mark, and after that what sounds like a ukelele gets in there. And so Wolfram builds this one up, constantly adding more and more until about the 1:30 mark, where he runs off with the rhythm synth and adds the vocals of Baio, singing that he can do that, If that’s what you really want. Shortly after Wolfram adds first the one drum, then the other to give the synths some help in getting the people to dance. There’s a short break, that is filled with first the vocals, after which he dives back into the synths again. At 3:30 another change-up, and Wolfram always manages to do them so smoothly. Just how he uses original elements, but then adds those lovely synths, and a bit of a beat to just add that bit of backbone; it just shows why this guy is at the top of my list.

‘Over It’ by Junior Boys

After a pretty long drought, Junior Boys now release yet another piece of original material, this one getting the pace of 80s dancing movies down with the kickdrum. Juxtaposing the quickness is the dreamy vocals, singing that hope is for the middle of the night. Though even the vocals have a pretty quick delivery. One layer down there is a light synthesizer that gains more prominence after the one minute mark, as the vocals go up a pitch in something that probably resembles a chorus. Sometimes the vocals are double layered, which adds some depth to it. At about 1:50 the horse comes galloping in, contrasting the moment where the beat is cut by half just a few seconds later. It is totally different from the other outing off of their yet-to-be released Big Black Coat, with this one going for a high paced synth-and-drum affair, with the vocals singing that You’re afraid to go home. And if this is the thing that they’re playing to get all your energy out on the floor, why would you wanna, anyway?

‘Everything Nice’ by Jaakko Eino Kalevi feat. Farao (Popcaan cover)

The flutey sound is a nice, airy contrast with first the deeper synth, then the deeper vocals, who are also aided by a deep beat. But then there are also the female vocals (courtesy of Farao) doubling the male voice, which is a nice touch, and lends a dreamy atmosphere to the whole endeavor. This before she has the chance to go at it alone, doing a fast paced spoken word thing. When the chorus is there Jaakko Eino Kalevi puts in a high-pitched synth sound, moving the deeper synth slightly to the background. The beat also makes sure you can do a little dance to it as well, as the two vocalists sing that Everything is nice, though that might be more longing than a factual statement. This is a sort of deep synth-pop version of a track by Popcaan, which it doesn’t resemble in the slightest anymore, in case you were wondering about that. Kalevi actually recently visited my country, but unfortunately I wasn’t able to attend, though friends said the music was definitely up to scratch. So there you go, if you like your second hand opinions fresh out of the oven and buttered over to be presented as something good and tasty.

‘Live Together’ LNTG No More War rework

Lets get some of that old school funk in there with Late Nite Tuff Guy doing an edit of Timmy Thomas’s ‘Why Can’t We Live Together’. The start is percussion heavy, though soon enough that classic piano sound of the track comes in, which is quite the identifier of a sound. LNTG rides the combo of those two things for a moment, which works pretty well, as the one can get you to dance, and the other sets the tone of the track. This slight melancholic feel. At about 1:50 those harsh sounds come in, indicating that LNTG is working up to those vocals. But first, some MLK, and then, tell me why, tell me why, tell me why, why can’t we live together? At 3:10 some extra rhythm percussion to bolster the pace a bit, with in the mean time still all those characteristic sounds of this 1972 track that, apparently, is still as relevant today as it was back then. And leave it to LNTG to make it a smooth, funky ride with loads of percussion, respect for the original, and obviously something that you can do a little dance to, celebrating that, yessir, most people are actually quite successful living together and helping each other out.

‘Gruff’ by Fouk

Apparently Fouk is comprised of two Dutchmen, so those are two fellow countrymen right there. More importantly, they’re getting the funky on, with a lovely little wobbly guitar riff, some fast paced drumming, and other percussion elements. At the thirty second mark we get some bass action as well to help out the beat in the rhythm department, and after the minute mark that bass is going to get loud and makes a dash for it. At 1:20 we even get more into the old school funk, including some female vocals doing a nice little jazz ditty. And, why not, lets add some wah-wah synths in there as well so that those cymbals are not there all by themselves anymore. At 2:40 there’s a short break where all the rhythm elements are stripped down, and a little piano is the cue to at least get some drums in there (though they’re not the dancefloor ones we’ve heard earlier). The bass comes back at about 3:14 though, immediately picking up the pace to get some of that mania going once more. The EP will be out first month next year, so that might be a nice way to celebrate the new year with a little funky dancing.

‘Get Serious’ by Jermaine Jackson (JKriv’s Not-So-Serious Edit)

The guitar gets that riff going from the start, with the beat making sure there’s something underneath to keep this one dashing forward. With intervals, some drums come in to rattle things up a bit, but the guitar doesn’t get rattled that easily, quickly moving forward again with that riff they’ve got going. After about the 1:10 mark the bass dives in as well, rolling along with the guitar to the point where the horns are added to strut their stuff. So we’ve got the whole complement going on, which means the vocals are not far away. And yessir, there they are, singing that they Toss and turn, fall asleep hugging my pillow tight. And why? Because he is thinking of that one special one, of course, making him walking around With a smile on my face. So how about that for a feel-good track, eh? As he proposes, Lets get serious, and fall in love. Right after that the guitar gets some of its time again, soon scorching the solo along with the horns. And that’s the ball game people, a near eight minute Jermaine Jackson funked up R&B love fest to feast your dancing shoes on. With the horns, the guitar, the vocals, the whole shebang to get that party going. Nothing like a bit of fun when on a night about the town, no?

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.