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! 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:  ‘Changing Of The Guard’ by Holy Ghost! (Andre Bratten remix)

If you know the original (off of that awesome sophomore album by the lads from Holy Ghost!), then you know it certainly wasn’t a deep house slow grind. Which, obviously, this one very much is. You have the deep bass beat going on, there are even some of those industrial sounds haunting around in there, and at 1:07 Andre Bratten ups the pace just a tiny tad before adding a bit more of those original synths. I like the change up at 1:40, where he brings in a melancholic piano (which I assume is from the original, but it’s used so out of context here I can’t quite remember if that’s actually the case). I mean, as far as a remix doing something different goes, this one ticks all the boxes for sure. The original basically has to fight its way through all the deep house layers, which gives it this interesting interplay between an original and that what it then becomes. So for that alone I’d recommend people to actually listen to both tracks. As a stand alone, this is a nice deep house track that especially gets its kicks from the fact that you’ve got those lighter elements that now and again try and rear their heads. The build-up after the break is a nice addition as well.

‘One Night Only’ by Krystal Klear feat. Yasmin

This one starts out with some percussion, but when Yasmin and the synths come in you get the full feel that this track wants to convey. It’s got this kind of R&B vibe, also thanks to that vocals style, with the backing vocals topping that off. You’ve got this bassy, deeper synth dictating the rhythm, with the percussion underneath also helping out in that R&B department. It’s got this catchy pop vibe going on, with that sensual club vibe which gets an extra oomph as Yasmin pleads “give me love”. That interlude at 2:30 followed by the backing vocals is also very genre I think, and Krystal Klear really managed to get this smooth track out there that ticks all those boxes. Yasmin’s vocals fit that atmosphere really well, and it’s lovely easy on the ear. For all those players out there!

‘In Command’ by LeSale feat. Mavin (Jacques Renault remix)

Oh man, just love the percussion groove this one starts with, are you kidding me? Immediately makes you want to take a stab at it on the dancefloor. After about thirty seconds in you get a nifty little bass line as, in the mean time, you can also hear some of those sultry, talky vocals as well. Jacques Renault is definitely riding that bass, adding some percussion to get the rhythm nice and tight, and at the 1:20 mark he adds the synth to inject the track with some extra atmosphere. After that you get multiple synth lines in there, all with a different function and purpose, but also all adding to the track because of that. And because he keeps on adding one line after another it does give you this feel of momentum building, which gets capped off by the vocals coming in just before the three minute mark. And as they whisper in your ear that you’re In command, Renault moves it back to the more beat and percussion heavy side, taking away those synths. The atmospherics are now being added by first the vocals, than the piano. It’s just a delicious track this one, with all those different elements being added and subtracted at exactly the same time. And with those vocals he’s got this little ace up his sleeve which he uses just enough to satisfy us without going for the overkill. Another doozy from Renault.

‘A Simple Design’ by The Juan MacLean (Magic Touch remix)

‘A Simple Design’, in it’s original form, is a behemoth of a track, the dancey, catchy single on the new (and quite fantastic) album of The Juan MacLean. Here, Magic Touch dials it down a notch or two in terms of pace. He seems focus on some of the more organic elements and moves them a bit to the front, which is especially notable at the start. Still, there’s plenty of room for the original, with those sounds still at the core and with Nancy Whang still in a prominent role. But if you take the change-up at about 1:40 for instance, that’s where you see the difference, and in the stretch thereafter you have this combination of the original track and a layer underneath which has been added. The original is still very much recognizable, but tweaks like that give it a different kind of twang. The major change is set in at about 2:50, where you get this bass synth sound that runs away with it at first, and after that some tingly piano that reins it in a tad. So Magic Touch kind of keeps the core of the track intact, but with the pace slightly dialled down and with these new elements smoothly being mixed in he does offer a different perspective on that awesome original dancefloor extravaganza.

‘Do It Do It Disco’  by Myron & E (Tom Noble remix)

Welcome says that funky little bass sound that dictates the rhythm at the start. I like that, especially when those higher and lighter piano sounds come over the top of it. Combine this with those funky vocals and you have this old school boogie track to get some of that thing going on on that dancefloor. It’s one for the dancing together, with the pace being on the lower side, and the vocals do add to that, definitely indicating some kind of Getting it on. It’s a lovely boogie of a track, with plenty of those old school vibes. That ohh-hoo-ahhhh vocal line for example, as well as the backing vocals singing “dance the night away” in that silky smooth kind of manner, with the boogie bass coming in just after them so the ladies can indeed strut their stuff and showcase what it’s all about. Keep on dancing indeed.

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‘Love In C Minor’ by Cerrone (Dimitri From Paris remix)

How about some of that woodwork percussion to get things going, eh? Leave that to Dimitri From Paris, who knows how to get the disco and the funk into things. Add to the rhythm a bit of moaning and other sounds and whispers that have a certain sexual connotation, and you know we’ve got some of that naughty disco going on here. But, also, some of that deliciously catchy bass after about a minute or so. The good man even adds some strings for the full effect, after which the horns soon make their entree as well. So it’s got all those genre sounds that you know, and it definitely has that sexy dancefloor vibe as well. There’s a lovely stop-and-go moment at about 2:35, just to make sure you’re not coasting out there on the dancefloor, though that only lasts for a second or two after which he turns it all on again. At about 3:20 you get some piano in there, after which a lot of horns come in. This all over a parade of sexual innuendo with the lady on vocals saying things like “Don’t stop” and “Go on”, though when she starts singing it kind of sounds like the theme of Love Boat as she simply sings “Loooovve innnn...”. Sure, it may be a fairly bit of kitsch at times, but personally I like that on the dancefloor, it adds to the fun for me. As long as, obviously, it keeps you dancing, and that’s something Dimitri from Paris never has a problem with achieving.