By Stef Siepel
November 29, 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: ‘Spiral’ by Todd Terje
Todd Terje gets this one started in a dancing mood with all that percussion that he’s got going on. One main beat in there, but the additional percussion is also rhythmic, so plenty of things to choose from I would say. After the first minute mark you get the first non-percussion element, though they are the ones that still reign the track supreme, at least up to around 1:50, when we get this light synth sound coming through and taking over. At 2:40 you get the complete change-up with the new key sounds that actually do a ditty that might be the base to a more pop song oriented track. Obviously, the track continues like that. The percussion at the start puts down the groundwork for the rest to fill in, and Todd Terje does so with all kinds of sounds, which he either changes or combines. At about the halfway mark (which is five minutes in, mind you), he strips the beat and all the percussion for a little interlude that, obviously, builds up to a return of all the rhythmic drum elements (which he re-introduces slowly). When he really gets back to full throttle mode he does so with this feeling of euphoria, so that should get the dance crowd with their hands in the air or whatever. Just another quality work from Terje, one that you can leave the dancefloor with for its ten minute running time, and they’ll still be dancing when the track nears its end. Which, by the way, is fittingly percussion heavy as well.
‘The Morning’ by WhoMadeWho
I absolutely loved the last few outings by WhoMadeWho, and I do think this does show a slight change in direction. The instrumental vibe, at the start, actually sounds rather tropical, with that guitar and stuff. I also actually think that the vocals sound slightly different, they seem to be tinkered with a bit so they don’t sound as deep as on their previous record. Both of these changes are a bit of a bummer for me, because I actually kind of loved those things on both Brighter and Knee Deep. There are some major chorus elements in here where the peepz watching them on the festival circuit will find it very easy to dance to. Yet, what still is a bit dark and brooding though are some of the lines in the lyrics. The chorus announces that Times are changing faster, but other snippets include “In the evenings, I would cry myself to sleep” and “found my life to be a bore”. I’ve seen the band live multiple times, and they’re always great, though I would be lying if I would say that this hits my sweet spot as much as their previous album did.
‘Better in the Dark’ by Say Lou Lou (Tiger & Woods remix)
I just love all that loopy business that Tiger & Woods always do, and its again in full effect here. And you can already get that from the very start on this track. There’s just something about these songs where through all that repetition they just manage to create this flow that is just fantastic. So they loop bits, then they strip bits, add bits, subtract bits, let them merge, and somehow, some way, they always get the track to keep on rolling and rolling. They use both the bass and the vocals to good effect I think, and when they for instance go mad for the vocals at one point, they always manage to know when and how to return to the instrumental base that they’re looping. A good example of one of those good change-ups is just after the five minute mark (though it isn’t a change-up of vocals-to-insruments, but you get the idea). Released this lovely album as well, these guys did, so if you haven’t heard that one yet, check it out. And I believe I also talked about their remix of that Fryars track in this column some weeks ago, and that remix was absolutely wicked as well.
‘Call My Name’ by Chris Malinchak
I love those R&B tinged slow jams by this guy. They’re just so full with flavour, not in the least because of the vocal samples he uses. This one is no different. Not too fast paced, Chris Malinchak just brings it by getting the vibe exactly right. The female vocals longingly ask you to call her name, and they get alternated by some male vocals. The female vocals get some more lines a little later on, singing more assuredly at that point. The vocal change-ups get an instrumental boost as well, and it is just the combination between the two that works so nicely. The lighter sounds juxtapose the longing “call my name” sequences really well, and they get followed by a more deeper instrumental sound. At the halfway mark there’s an interlude where the vocals are stripped and something is build up instrumentally that, in the end, results in a deeper sound taking over. These deeper sounds are quickly followed by some strong male vocals to make the sound whole again. Don’t forget to download this one, it’s free, ya know.
‘Whorehouse’ by CEO
CEO will be releasing a new album next year, and the first words you hear on this track is that he’s opened Pandora’s box, so yeah, it’ll be manic I suppose. After thirty seconds a little yelp leads you into the real opening of the track, which is quite a jumpy and glitchy start I reckon, so that’ll get plenty of people in the party mood from the off. The vocals kind of give it this poppy vibe, their delivery does. Delivery wise, at one point he seems to start the chorus, though he does so with the line that he’s so lost inside a whorehouse, so he’s nicely playing with these things I suppose, as the instrumentals are really happy and bouncy. It’s got that happy, Scandinavian synth pop vibe all over it, so you know it’s catchy and bound to have you smiling (soundwise, that is, in any case). I guess some people will be pretty pleased that February isn’t that far away anymore.
‘In the Disco Last Night’ by Pete Herbert & Dicky Trisco
The bass, that’s all you need to hear to know you’re in disco territory here. And if that didn’t give it away yet, the hi-hat surely will. After 35 seconds the dancefloor will be pleased to hear that little beat that they add, and by this time the track is really catchy and on its way. At about 1:10 there’s a bit of a change-up featuring some piano and handclap sounds, which get a little help from the occassional vocals. Not full fletched ones though, but the kind the background vocalists do. The female version of that comes in about 2:20 with some ooohh-hooo-oohs, which is really disco-ey as well I reckon, and they are the prelude to the actual vocals that come in just before the third minute mark. Those vocals are courtesy of Andrea True, from her song “What’s your name, what’s you’re number”, and the boys do a bang up job getting that one ready for the contemporary disco dancefloor. They don’t overuse the vocals, just picking some lines from one of the verses, and they make sure you’ve got a little beat and a little bass as base sounds, with a lighter piano to juxtapose it a bit. All these elements combined make for a lovely disco edit to do a little dance to.