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: ‘Cochon Ville’ by Sebastien Tellier (Das Moth remix)
Sebastien Tellier released an awesome album this year, and one that probably has some tracks that can be made into something for on the dancefloor. Das Moth gives it a go, and Das Moth somehow manages to make it danceable and for the dancefloor whilst keeping the idiosyncratic nature of the Tellier track. That vocal line of “Come to us” is cleverly repeated over and over, and I think they succeeded in marrying the vocals with the remix sounds. They don’t feel slapped on or anything. The track has some awesome moments as well. Around the four minute mark you’ve got a vocal only bit, after which the way he goes back to the beat is very nice indeed. Earlier you already had that moment where the vocals come in with that strutting little Italo beat at around 40 seconds. Just ace this one.
‘Since I Don’t Have You’ by Jonas Rathsman
It immediately starts with a throbbing beat, but the good stuff happens when the vocals come in. They’re lovely and strong, and they give the track some attitude. Just before the minute mark they kind of get rid of the beat in favour of the bass, and some keys are there as well to give it some extra flavour. I don’t think this is the most subtle track ever made. All the sounds are really bold and up front. So this is probably not going to win any points for nuance or atmosphere. But you’ve got the attitude, and the sounds are really clear. The track never feels cluttered, and Rathsman gives all the sounds space and time to maximize their effect. For the dancefloor, I think no one would be complaining.
‘These Dreams’ by Chris Malinchak
Last week a Chris Malinchak track was the track of the week, and when this one started I was thinking, Hmm, not sure. It has this harsh beat going on. But after 15 seconds we’re back with the aesthetic that suits me personally and why I like Malinchak’s output so much. Some synth sounds, some attitude; all good. Then there’s a little pause, and then the track slows down a bit with a very similar synth, but a bit lower paced. There’s some chopped up vocals in there, which add more to the atmosphere than anything else, but after two minutes they come out in full and they’re lovely. That voice, by the way, is of Damon C. Scott, who also sings on the Storm Queen tracks. He’s quite the vocalist, let me tell ya, and this one finds him not so much belting as it is a quite constraint take. Don’t think it’s a snoozefest though, it surely is not. Lovely sounds, but the track really starts to shine when those vocals come in for real.
‘Her Fantasy by Matthew Dear (Poolside remix)
I remember pretty much raving about the original track, so lets see what Poolside can do with this. It’s quite a strange mixture, the dark and brooding Dear versus the more summery, synthy Poolside. From the get go you kind of hear the intricate, complex sounds of Dear and the lightness of Poolside, with that bass really making it a bit tropical. Luckily it doesn’t veer too much into that direction, as when those vocals come in you also get a slightly deeper beat (though it has a bit of a slur in it) that makes sure it doesn’t betray the Dear original entirely. This track is apparently so good (or Poolside so skilled, take your pick), that it can handle just about any direction it takes. The Dear vocals have such a distinct vibe it is almost impossible to veer away from the orginal, but Poolside put in a lot of instruments and short instrumental moments where their own aesthetic comes through. And for some reason, it doesn’t contrast in a too negative way, which is quite a feat in itself, let alone that this actually is a fun track to listen to.
‘Circus’ by Heion (Rocco Raimundo ‘Slow Jam’ Mix)
Oh dear, I already love the way this one starts. That simmering sound, than those atmospheric tones, that slow drum that gets in there: it really immediately sets the tone. When the song really “starts” you immediately know why it’s called “slow jam”, because the pace stays about the same as the intro, and what you get is this lovely, lower paced tune. One minute in you get the bass, and it all seems to be working up to this big disco ballad. It really puts down that disco vibe of love and the longing for it, and I think it is just amazing that even sans vocals he manages to establish that. Though, you know, I wouldn’t have minded some actual vocals to seal the deal, seven minutes of absolute disco sensibility and sounds is more than anyone could ever hope for to come on. It’s also a master class in how to evoke a vibe, atmosphere with just sound. Tremendous.
‘Rachels Vision’ by Marbeya Sound (Ytre Rymden Dansskola Remix)
Wow, this one starts full throttle. A bit too full throttle, for me, with a manic pace and a hard beat knocking on your door. I like the sound that comes in around twenty seconds that, thankfully, manages to form some contrast with the beat, but even that is not enough to kill it (as I think it should be). A minute in we get some air, and after that a new sort of sound comes in which I like better. Much better, actually. It’s got that Italo horror vibe going on, which I quite like. That change in atmosphere just completely turns the track around, especially when the lighter synth sounds become more prominent in the second part of it. Suddenly it is full of atmosphere and flavour, and that’s what you want really. That sound at 4:30 is very nice and makes the track not only genre, but also a bit individual. Too bad about that start, though if you don’t mind jumping in halfway, there’s some good bits there.