By Stef Siepel
August 23, 2013
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: ‘Casion Edits #1’ by Casino Times
I really do love Casino Times, they’ve made some stellar tunes that I really enjoy. Now they’re going full throttle for the disco edits in a new series which they themselves kick off. This song has got me hooked from the start with those amazing female vocals already going at it from the get go. Add some big percussion to that, some major synths, and the ball is in play. At 1:15 there’s the first change-up with a deep bass that they get going, after which the female vocals kick the song back into gear. At about 2:30 you get a moment of vocals only, after which a piano sound comes in to temporarily relieve the big drums and to lead the song to this SoundCloud’s ending, as the second part is (I assume) the B-Side of it all. Nevertheless, it gives a good indication of what you’re going to get when purchasing this one. Apparently they were aiming for the dancefloor, and they weren’t not kidding when they said that. It’s strong, powerful, and it pulls no punches. Really has the heat going from the first moment, and I totally see this in some disco bar in NY somewhere getting the crowd to go over the top. Can’t wait to hear the full version of it.
‘Cool Like Me’ by Fryars (Tiger & Woods remix)
Two artists I really like coming together, that’s always worth a listen. Fryars is gearing up for his second album, and recently put out ‘Cool Like Me’, a lovely track that gets a bit of a rework by Tiger & Woods, who have this amazing ability to get tracks just rolling. Just love the repetition in their work, which doesn’t get annoying, but which makes their tracks just go on and on. Then, at certain points, they (subtly) change it up, so that A) you’re not listening to the same thing, but B) it does continue in the same vein to further invoke that sense of continuity. Here they do that again ever so cleverly. First part you’ve got the beat and some drums, along with those little nickety sounds they put in their so well. After the minute mark you get some piano bits in there, there is a bit of a change in the drums, and the first real change up is a bass that appears around two minutes in. They then use Fryars vocals in that fragmentary fashion that they are also apt to use, this before the actual vocals come in, singing that You can be anything you want to be, you can be cool, cool like me (which must be a merchandising dream, that line). Though there are plenty of other clever lines to go around as well. At 4:28 Tiger & Woods put a piano interlude in there, though you can already hear it gearing up for the return of the beat a little bit later. Tiger & Woods just do their thing again, which again results into this track that, via repetition, fragmentation, and continuity, just keeps on rolling and going. After their recent ‘Golden Bear’ track they’re seemingly hotter than ever.
‘You’re So High’ by Eli & Fur (Ejeca remix)
I like the sounds at the start that kind of hold the game up for all the rhythm & dance sounds to crawl out from underneath it to get the track going. It adds some flavour to this one too, which is always a nice addition to any song. I like how the deeper sound comes through more and more prominently from underneath, at quite the same moment that the vocals arrive for the first time. There’s a nice early break there with just the vocals, after which the track gets into party mode with some new instruments joining the party, including some light synths instead of the deeper percussion ones from the start. 2:20, after the vocals, that’s just traditional party sounds right there, though what really makes it work is that it gets combined with a nice little bass to juxtapose it. I like how the repetition of the same vocal line is used around 3:10, that really works in my opinion. It perhaps is a bit too much of a party track, and I’m getting a bit more of a festival vibe than a club one (though probably right at this moment there are DJs proving me wrong on that one). But I do like the juxtaposition between the real party elements and the somewhat deeper bass and percussion sounds that rear their head every once in a while.
‘Feed You’ by Double Yellow (Yam Who rework)
At about thirty seconds in, there is this lovely 80s stadium rock drum sound in there that I quite fancy, and which contrasts the initial sounds nicely. The second time that sound comes around it is followed by kind of a slower beat to get it going, but the real hero comes in a short while after with the rolling bass. At 1:24 the vocals really start to sing, though they’re not really that obtrusive and blend into the plethora of other sounds that are pulling this track forward. Lots to hear here I believe. The bass is obviously rolling on through as the bottom layer here, but on top of that you’ve got all kinds of stuff going on, from guitar to piano to more computerized and re-worked sounds. Especially the piano is a nice sound to hear right in the middle of that, gives it kind of an oasis feel that. With both the bass as canvas and the piano and vocals right in the middle there it gives you plenty to hold on to, even though I must admit that some people might’ve fancied a cleaner sound at times. Though with this pace, I kind of like it that there are a few core things and then a whole lot of other sounds, though even these sounds get repeated so much you basically get used to it anyway. I’m not sure it’s my computer or this YouTube recording that makes the last minute dodgy, but if you didn’t get the vibe in the first five minutes you might consider not buying it anyway.
‘Debussy’ by Alkalino
At the start Alkalino plays a bit with volume to get this pretty nifty effect (with the risk of having it sound really daft, as if you’re equipment isn’t working properly, because if you play around with volume, that is something that easily could happen). In the background you can already hear these lovely disco sounds coming through, so there’s plenty of anticipation going on. By the time 2:20 rolls around you’ve already been bathed in these traditional disco sounds and instruments, and the change-up that occurs at that checkpoint is again just old school through and through. After that you get some of the lighter sounds that are on the jazzy side of the spectrum I reckon, but you can just hear that Alkalino has taken its cue from the 70s here. So if you like these disco sounds, this is a lovely trip to take, with the various change-ups that lead you from one point of recognition to the other. The only thing missing, lets face it, are diva vocals, which could’ve easily slipped in after that short smithering of horns at about 4:50 (or, well, anywhere, really).
‘Skirt’ by Kylie Minogue (Matthew Dear remix)
The question is, if you can remix Kylie Minogue, do you say no? Now, personally, I’ve never been that much of a fan of her (*gasp*), but I do love Matthew Dear (if you didn’t see him live on his most recent tours you’ve really missed something, that was pretty genius, seriously). This track, basically, is Minogue asking to be… well… you know. That, or I’m seriously misinterpreting the line Tonight be my supernova, take whatever you want. The original, for my money’s worth, I would probably not really want to listen to again, and this track at least puts in some atmosphere, albeit it is hard to really work with lines like And then my skirt came down. Can’t wait for new original material by this man though, and this is a nice bit of novelty listening just for the sheer idea of Dear remixing contemp Kylie. And you can do that on loop, as it’s a free download as well.