By Stef Siepel
February 21, 2014
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: ‘Calling Cards’ by The GTW
The GTW is readying his first solo album, which will be released next month. This track features some amazing falsetto vocals singing that he Can’t spell his future without you. Apparently the story behind this is a couple seeing each other for the last time before entering into a long distance relationship. The vocals are juxtaposed nicely by the beat, all mixing together for a nice, contemporary R&B vibe. What sets it apart from others is the whole shebang besides the vocals and the bass beat, which are all things that really add some flavour to this track. And that, alongside the core, puts this into the definitely-need-to-give-this-one-a-spin category. And it ends on a bit of spoken word to boot!
‘Untitled’ by Ryo Murakami (The Revenge remix)
I love the percussion this starts with. It also starts with a pretty heavy beat, though the thing that really combines well with the percussion is that hovering synth sound, which is well nice. That’s the template off of which the rest of the track will be build, which includes vocals, extra synths and rhythm sounds, and the list goes on. All to a deep house framework. Murakami released a double album last year, which featured tracks which all were — you guessed it — untitled. The Revenge is a well-known player in the house scene, and this is another deep cut that people can get dancing to at the midnight discotheque. What I love, though, is that there are some elements in here that juxtapose the deep house feel. For instance, the percussion, but there are other examples as well. Not to mention the stuff that he uses to slide this one a bit more to the regular house feel at times. As we already know, The Revenge knows how to get people dancing, and the way he adds and subtracts elements throughout the song is amazing. He just knows how to keep the momentum going and when to give it that little tweak, that little nudge to make it sound fresh again. Yup, he’s certainly Got it, and we will certainly Lose it, hearing this tune when being on the dancefloor.
‘Let Me See Your Butterfly’ by Paul Johnson (James Curd remix)
A couple of guys thought, you know what, lets all take a stab at one of those 90s club house tracks. James Curd was one of those guys, and Paul Johnson’s ‘Let Me See Your Butterfly’ was the track of their choosing. And this remix is just a fun tune to be dancing to. Still filled with plenty of 90s vibes, it keeps the pace up and the place a-rocking. The lyrics, in case you were wondering, are very club based, just saying that he wants to see you “do the butterfly”. After the four minute mark he changes things up a bit, going for, first, a strip down with primarily the vocals, and after that he puts a little rhythmic interlude in there. This all leads up to main sound again, and thus it goes back to what this song’s real goal is: to be a fun house track with retro vibes to dance to today and tomorrow. Fun track, and definitely “fuller” in terms of sound than the original, which was a bit sparser and was a bit more sped up.
‘Stay in Love’ by Plastic Plates feat. Sam Sparro
Some melancholic synths start this one off, though you can already here the dancier side come out from under it from the word “go”. They do keep the pace down though, so it’s more shuffling than partying you’ll be doing to this one. On top of the synth, percussion, bass combo (which combines for a bit of a synth-pop sound) it is Sam Sparro who assures someone that they’ll Stay in Love. Sparro has a real power voice, and it is clearly audible even if he keeps it toned down to fit the vibe of the music. To make up for that, his vocals start to double and quadruple. Some right on top of each other for an extra boost, but the main split is where one keeps singing in a restrained fashion and the other is belting it out. It is a fun pop tune with powerful vocals by Sparro, who even as the song ends is singing with such strength that I, for one, thought he was still in the middle of the track. Fun listening.
‘Bog Dance’ by Mark E
The reason this one is called ‘Bog Dance’ is probably because it has got that swampy vibe going on, and it is not always that you hear that in a deep house space track. Especially at the start it just has this lovely deep beat that seems to be slogging through just to come and meet you. What I love is how Mark E builds this one up. He gets in a high synth sound that is just there, basically, and in the background he starts introducing another sound which is a bit similar to the first, slogging one. The sounds keep on coming and coming, and they keep on coming closer and closer, as the feel and vibe of this grows more intense by the minute. To juxtapose these intense sounds you get shimmers of light synths that occassionally come on through, though they sound as alien as they are probably intended. Mark E really keeps on coming at you with this one, which is intriguing for sure, though not easily listening for everyone I reckon. I quite like that (at times, mind you) though, and if you do too, his next album is coming up in April, so better get ready for that one!
‘???’ by Rory Phillips (remix)
This is a previously unreleased remix of what apparently is an early Factory Floor track. The remix was done about four years ago, and this is a live take, so it’s just a fun thing to do, I think. To have something you know hasn’t been released and just put it out there to make some people happy. The vocals are nice and ghostly, almost sounding translucent as they get drowned out by the synths that keep on screeching on. Which, to be honest, I do think is an apt description of how they just come together for this wall of sound. The song does keep moving foward though, which is courtesy of the beat and — when that one is dropped for a bit — the countdown of the vocals. These vocals then get met by some pulsating synths before the beat comes back in. It’s got a bit of that punk and industrial vibe to it, the way it’s build here, and if you like that intense kind of sound you’ll be happy Phillips has decided to throw this one out there to hear.