By Stef Siepel
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: ‘Our Discovery’ by Henry Saiz (Bostro Pesopeo remix)
The start is pretty percussion heavy, which certainly gets the atmosphere going. It gives the song its own vibe, though I’m not sure how I’d ever dance to this (though, in that case, probably not that important to Bostro Pesopeo). It does give out a sense of urgency, one that keeps on building. Then there’s this drop down of the beat, and you get some inaudible vocals with loads of echo on them. After that the beat comes back, but it is accompanied by a rather ghostly keys sound. It all rather mixes into this dystopian vibe, up until the point where you get some lighter sounds at the three minute mark that suddenly find a way to infiltrate the beastly rest of the track. Very atmospheric, urgent remix with some nice change ups, definitely an intriguing listen this.
‘Starlight’ by Escort (RAC remix)
Can I say that I was slightly disappointed by Escort last year? This band, that had been waiting to burst out for years, came out with an album I thought wasn’t as amazing as I had hoped for, and a live show which I personally only thought to really shine when they did a cover of ‘Miss Broadway’. The band does disco, and RAC pulls that into more of a pop electro territory. There are still these strong vocals which RAC makes good use of, and underneath they put this Moroder synth that would fit on that Metropolis soundtrack album he did. Not to say it isn’t fun and catchy. When RAC does stuff (in this case Andre Allen Anjos), you know it is smooth from start to finish, no hiccups or strange sounds or anything. But it lacks that punch I’m expecting when someone takes on a disco track like this.
‘Go Your Own Way’ by Fleetwood Mac (Lane 8 remix)
That Fleetwood Mac album is just one of those albums that probably has defined a whole generation (of musicians). It certainly was one of my first albums, and I’m not sure I’ve ever attended a Cut Copy concert where they didn’t herald Stevie Nicks. Not to mention it was used for the Bill Clinton campaign. So, not surprisingly, occasionally one of these will pop up; a remix of one of those songs. In this case the vile ‘Go Your Own Way’. Lane 8 does not focus on that punch-in-the-gut factor it has, but numbs it down a bit to make it this catchy, dancey affair that is really helped by that bass that comes in after half a minute. Even some handclaps are put in there before Lindsey Buckingham comes in saying that “Loving you is not the right thing to do”. Which says it all, no? I like that effect where Buckingham is singing the chorus (“You can go your oooowwwn waaayy”) and at first the highs are turned back a bit, but then as it is repeated that knob is turned up more and more, which has the coolness of that vileness really coming through the last few times he sings it. It’s just always so nice to be able to dance to Fleetwood Mac with a nice bass thrown in there. You can’t lose, really. And it’s a free download as well.
‘Nobody’ by Baby Prince feat. Lonely C (Miguel Campbell remix)
How about some real club house huh? From the get go Miguel Campbell’s got the beat working for the dancefloor. After a few seconds he first gets a melancholic synth in, then another instrument with the bass to both add flavour and rhythm. He sprinkles some fragmented vocals in there that complement that synth sound. Then a drop down where he plays around a bit with the vocals (which he cuts off a bit abruptly so you hear it is unnatural that it ends there) before returning some of the rhythm sounds for the dancing. It is just this lovely house tune with some atmospheric elements which you can play any time between 2 and 4AM I reckon. There are some moments in there that kind of betray that it’s a remix and that someone has been tinkering with the original elements, but because of that beat & bass with those side elements I don’t think many who are there to dance will be raising that point.
‘The Night was Young Enough’ by Rush Midnight
This is the former bass player of Twin Shadow, who now tries to play his own hand with this solo project. It’s got that indie, dreamy vibe over it, which I guess is this really American sound. The voice isn’t fantastic to the point you’ll be wanting him doing guest turns with other bands, but its a genre not that vocal driven, so with some make-up on it’s quite all right. I do feel that there is like one instrument too many in there. Like two instruments running right through each other whilst trying to do the same thing, which kind of gives it this cluttered feel that I don’t particularly fancy. Personally I would say this is a case of someone trying to prove something and then does too much. And too much of anything, even love, won’t give the end result you’re craving for.
‘Glad To Know You’ by Los Amigos Invisibles & Dimitri from Paris
Just that percussion at the start, that gets you in the disco-dancing-in-the-street mode, no? For me, personally, when it goes into the dancing mode, that beat is a bit hard compared to other elements, which kinds of takes the enjoyment out of it for me. Now it kind of feels like, We’ve got a fun track, lets put a beat under it so people can dance to it. Which is a shame, because the rest of the elements is just lovely disco fun. From the male-female vocals to all that carnival street party sounds they’ve put in there. Further on in the song I get the idea it kind of evens out (or I’m simply getting used to it), but it does hold back all those other nice sounds. There’s just this amazingly fun disco party track in there somewhere, but some of the sounds get a bit obscured by that harsh beat which I personally find rather unappealing to be frank.