Why I Love Eurovision

It’s been a week or two since the 2023 edition of Eurovision, held in Liverpool this year who were hosting it for Ukraine – where the rightful winner Käärijä from Finland was beaten into second place by Sweden’s Loreen, her second time winning the contest. Now in its 67^th year, Eurovision continues to be a television highlight for millions across the continent, representing the largest annual music event in the world. I personally love Eurovision, and look forward to it every year – a staple in my calendar. There’s no other event as unique as this, that offers the same joys and delights as this one. And yet many people will scoff at those like me who proudly profess their love for Eurovision – it really does seem to have a love/hate effect upon people. I hope here to convince my readers of several arguments to why the event should be loved by all.

Outright Entertainment Value

One of the commonest criticisms I hear about Eurovision is the regular suggestion that the show should be derided due to its reputation for not presenting ‘serious’ music (whatever that may mean). People are often surprised that someone like myself – who has such a substantial engagement with music – would waste my time getting so involved with something that treats music as something of a joke. Eurovision performances are often recognised for their humour, or their kitschiness, before any supposed ‘musical’ value. Take for instance Ukraine’s entry into the 2007 contest (which I actually view as one of the best entries of all time), Verka Serduchka’s ‘Dancing Lasha Tumbai’.

Music like this would never be considered ‘great art’ by those who choose to think in such ways. Yet all the ridiculousness contained within these performances is precisely what I adore about the contest. Who ever said that one can only judge a performance on the complexity of its composition, or whatever it is that ‘Dancing Lasha Tumbai’ is supposedly lacking? If one gets entertainment from watching an act like this, then whatever the actual source of the entertainment, one is still being entertained. It is an unfortunate individual who has to dissect the specific reasons as to why they may or may not like a piece of music. For me, if I find myself smiling as I watch a performance, I like it. And there is no doubt that many Eurovision performances make me smile.

Experiencing Otherwise Unexplored Cultures

The fun and enjoyment that comes with Eurovision is undoubtedly a big reason as to why I rate it so highly, but there’s a deeper level of appreciation to this as well, in representing more than just pure silliness. This comes with the fact that Eurovision successfully manages to showcase many of the weird and wonderful aspects of various cultures that one might never get to experience. There’s only so much of a culture one can take in from an outside perspective, and even if one visits that respective nation to experience it for themselves, it’s unlikely that they would see much beyond the standard tourist encounters. Yet Eurovision allows each country to fully immerse the viewer right into the heart of their culture, putting on display – if only for a few minutes – some of the odder and more unusual parts of their respective ways of life, and celebrating them. This can be seen in examples such as Pasha Parfeni’s ‘Soarele și Luna’, Moldova’s entry this this year, which incorporates elements of Moldovan folklore; or Keeiino’s ‘Spirit in the Sky’, Norway’s entry in 2019, sung partially in the Northern Sami language.

The amount of different cultures across Europe, all unique in their own way, is significant, and no one could ever hope to encounter all of them in a lifetime – and certainly not to experience some of the more unusual aspects of them. Yet when watching Eurovision, for one night, one can briefly absorb themselves entirely in the many distinct bizarre and momentary phenomena that they would otherwise never have encountered.

Genuinely great music

The cultural experience is without doubt my main reason for enjoying Eurovision, but as an added bonus, one must surely recognise that actually, Eurovision does occasionally put forth some really really good songs. There are of course many acts which, whilst memorable for other reasons, wouldn’t go down as something I would ultimately listen to, but there are also many others which I really do actually enjoy. Go_A’s ‘Shum’, Ukraine’s entry from 2021 has legitimately gone on to become one of my favourite songs of all time; and I also absolutely loved Alvan and Ahez’s ‘Fulenn’, France’s entry from last year, which incidentally was criminally underscored on the night.

Also, whilst I did complain earlier about Käärijä’s ‘Cha Cha Cha’ losing out this year, Loreen’s ‘Tattoo’ was a genuinely phenomenal pop song, and certainly earned its space at the top of the scoreboard. Yes, there are many silly and goofy songs throughout Eurovision, but every now and then you can guarantee some absolute jewels.

Solidarity Across Nations

One final point I wish to raise concerns the political implications of an event like Eurovision. We’re all well aware of the cynical political voting that goes on (which actually is part of the fun), but underneath that all, what an event like Eurovision does is present a spirit of togetherness, bringing together all of Europe to appreciate one another and celebrate together. Indeed, the official slogan of the event is ‘United By Music’, and whilst this sort of message does come across as somewhat shallow and meaningless, it is still undeniable that this uniting of disparate and distinct people is a very heart-warming thing to witness. And this togetherness is made no more evident than in instances such as last year, when Ukraine’s Kalush Orchestra were voted the winner for their song ‘Stefania’ – with the highest ever score received in the contest’s history. This wasn’t simply a patronising vote either, for again, the song was genuinely excellent – demonstrating that despite all the turmoil occurring in their country, such musicians were able to overcome such awful circumstances to create incredible music.

Eurovision is always one of the dates I look forward to most, year on year, and I hope to have communicated my reasons why. As one of the best demonstrations of the vast variety of cultures and musics of Europe, I hope for more people to forget their cynicism, take themselves a little less seriously, and embrace all the camp and silliness that the contest has to offer. I feel sorry for those who do not share my enthusiasm.

Swingamajig 2023 write-up

 

Without doubt, it’s the most important event for electro swing across the globe: Swingamajig. I’ve spoken about the festival countless times on this blog before, with reports detailing the 2022, 2020, and 2019 events. And this year’s edition, held on the 30^th of April, was of course extra special, with it being the 10^th anniversary. I remember attending the very first Swingamajig back in 2013 (and have discussed the evolution of the festival since then here). I’d only recently discovered the genre of electro swing, and would have had no idea as to whether this music had the strength to still carry an entire festival a decade on. Undoubtedly however, it did. Each and every year, Swingamajig continues to prove just how powerful and entertaining this style is.

Held in Birmingham’s Botanical Gardens – now for the third time – Swingamajig was separated into a day party and night party, an arrangement which is proving increasingly practical for them. The layout of the grounds had changed somewhat this year, with the main stage now located slightly away from the bandstand that it had previously been positioned around. This stage showcased some of the best live acts throughout the day, including Little Violet, headliners Tankus the Henge, and of course the Electric Swing Circus themselves. My favourite stage, which I highlighted last year as well, was Phat Sam’s Disco, hidden around the back of the main stage. Featuring some of the genre’s lesser-known DJs, this stage programmed a constant soundtrack keeping revellers on their feet all day. Huge shoutout to DJ Towlie, who I hadn’t encountered before, but who’s set provided one of the highlights of the whole festival. Other stages included the Woodland Stage, with further live acts, and the Cabaret Ballroom, all of which featured excellent entertainment throughout.

After the day’s main entertainment had concluded, we travelled across town to the afterparty held at The Mill in Digbeth – a venue which previous attendees would have recognised from a prior life, when it played host to the Ragtime Records Warehouse and Vintage Terrace stages in 2016 and 2017. Jamie Berry’s set in particular was a serious highlight here, with him once again demonstrating why he remains at the top of the electro swing game. I also loved getting the chance to see Atom Smith for the first time, who was over performing from the USA. I’ve said it before, but the way in which the festival breaks into two halves, catering both to the family-friendly audience during the day, and the more hardcore ravers at night, is a brilliant tactic, ensuring that every partygoer is able to enjoy and appreciate the best of both worlds. And the afterparty really did prove to be as energetic and wild as any hardcore raver could wish for.

Swingamajig 2023 was again a wonderful event, and I would expect nothing less of the organisers at this point. It really is a hugely monumental achievement for electro swing music to have powered on over an entire decade, and it just shows the lasting quality of this genre. I am already anticipating 2024’s event, and would strongly encourage anyone to attend. There is something for everyone here, and I genuinely cannot imagine a single person not having a fantastic experience. Before we know it, we’ll be at 2033’s edition – and who knows what the festival will look like by then.

Review: Pecking Order - Too Many Zooz

It’s been a while since I updated the blog, but having seen the surprise release of Too Many Zooz’ Pecking Order EP last week, I couldn’t help but put in an effort to give my two cents. It’s fair to say that’s there’s no other act quite like Too Many Zooz. With a sound that falls somewhere in between jazz, house, hip hop, and New Orleans brass – and featuring the unmistakable baritone sax style of founding member Leo P – the band are distinctly unique within today’s music scene. And that’s without even mentioning the fantastic playing ability of each of the trio. With this new release, they have once again given themselves the opportunity to showcase their noteworthy talents.

Opening track, ‘Cane Dangler’, begins with Leo P’s trademark bari sax, with some classic New Orleans brass coming in soon after afterward. An electronic sounding bass then quickly emerges, underpinning the whole sound. It’s impressive to note how the majority of the song is simply based on one repeating refrain, yet they manage to do so much with it – arousing such interest and intrigue along the way. And then the slight chord changes that do appear in the chorus section add that extra layer of harmonic spice upon their arrival. Of course, we also have featured an excellent sax solo, demonstrating real virtuosity.

‘Command No Go’ then features another similar intro from the bari sax, with the whole band suddenly kicking in from nowhere, feeling like a punch to the chest. This song has some serious high level energy, and doesn’t hold back at all. Instrumentally, this is a great display of how one can play lead lines whilst simultaneously maintaining the underlying rhythm. The many layers we also hear really beef up the sound too – it’s exceptionally groovy. And the song just never seems to want to end – it could easily go on for many many more refrains.

And then track three, the title track, is ‘Pecking Order’. Alongisde the bari, this song’s intro makes excellent use of percussion from the King of Sludge within the introduction. There’s some great Latin vibes to this one, placing the listener right within the centre of carnival. And it also utilises elements of the classic house genre – it’s no wonder they refer to their style as brass house. Of course, we once have again another virtuosic solo from Leo P, like no other can. Indeed, no other band at all can quite make one want to dance like these do. The many layers build and build until we’re left with the sound of what is seemingly the best party one can imagine.

Too Many Zooz are one of the most consistently impressive acts out there. There’s occasionally something of a divide between bands who are the most impressive in terms of musical talent, and those who make the catchiest songs – yet Too Many Zooz show that this need not be the case. With all three members being very accomplished musicians, and with their ability to write some of the most entertaining and original music to have emerged over the past few years, the act have demonstrated their uncanny ability to create music that’s enjoyable on all levels. Pecking Order is yet another example of that.

Boomtown Fair 2022 write-up

 

Boomtown Fair is without a doubt one of the UK’s most unique and eccentric festivals. I attended my first Boomtown in 2014, returning every year since, however – due to having two years off – this year’s edition was now the first time it had been held since 2019. With three years away, like many other revellers I was desperate to get back to the festival, and keen to return to one of the greatest parties in the country.

In that time though, the festival had undergone some significant changes. No longer making use of the uptown and downtown areas, the entirety of the festival’s stages were squeezed into the downtown bowl, meaning that travel between each of the venues was quite reduced. I was concerned that this would result in huge queues and difficulty with audience flow, moving around the site – but I didn’t actually find any problems in this regard at all. With the festival’s storyline resetting this year as well, many new stages and micro-venues were revealed – along with old favourites of courses; but some highlights included the Fool’s Leap stage, and undoubtedly the Engine House as well – which served up the perfect festival bands all weekend. Indeed, the majority of the acts I will mention below performed at the Engine House across the weekend.

Boomtown had in fact faced a bit of criticism in the lead-up to this year’s event. Only revealing the line-up with just a few days to go before the event, there were effectively no headliners – no huge names playing across the weekend. And whilst I personally wasn’t too fussed by this – it’s not a festival experience built around headline acts after all – I can understand the criticism, particularly when 2020’s edition was set to include such acts as Underworld and the Wu-Tang Clan. But there were still absolutely fantastic performances to be found across the whole festival, and for me personally, it’s much less about the size of the act, and much more about the quality.

For quality was certainly to be found. It would be impossible for me to list every single act I saw, but I will go through some of the highlights from each day of the event:

Thursday:
DJ Hiphoppapotamus provided the perfect sunny introduction to the festival; the Beatles Dub Club certainly demonstrated a unique approach to presenting such music; and Afro Cluster – one of my all-time favourite bands – put on as good a performance as they always do.

Friday:
The Big Band of Boom (Tom Hyland from the Electric Swing Circus’s new project) set the day off nicely; A Little Sound showcased some lovely summery DnB; before Bob Vylan provided one of the best sets of the whole weekends, with ridiculous energy, passion, and intensity; Kae Tempest’s set was glorious, made even better by the onstage appearance of Murphy the dog; Slamboree were excellent as ever; and Squarepusher played another highlight set, sounding unlike anything else I heard across the entire weekend.

Saturday:
One of my favourite sets came with the Riot Jazz Brass Band, who livened everyone up with a paint bomb fight; then Lazy Habits provided a stellar performance as well; De La Soul – whilst only having one member turn up – Posdnuos, as well as guest performer Talib Kweli – still provided a memorable set; Smokey Joe and the Kid were phenomenal – particularly so as this is the first time I’ve seen them perform with MC Yoshi Di Original; then Fabio and Grooverider put on an excellent show alongside the Outlook Orchestra – another real highlight; and the Electric Swing Circus once again showcased why they’re amongst the best of those who do what they do.

Sunday:
Of the Sunday performances, Eva Lazarus provided some quality entertainment; before Molotov Jukebox absolutely tore it up with one of their most energetic sets I’ve seen them play yet; Kool and the Gang arguably provided the most fun times of the whole weekend, with tune after tune of party anthems; and at the very end of the programming, Sonic Boom Six didn’t relent as they also performed a standout set.

I don’t think I could pick a single set as the best of the weekend, but my top three would easily be Bob Vylan, the Riot Jazz Brass Band, and Kool and the Gang: all acts that I hadn’t seen before, and all acts that did not rest for one second, storming through their sets with admirable passion and talent.

The music was fantastic then; the new approach to the festival layout worked very well, and overall the festival was an amazing experience. Although there is one elephant in the room that I have not yet mentioned: the heat. Boomtown was absolutely scorching this year, and at times difficult to properly enjoy oneself due to the ridiculous heatwave occurring. And worst of all, this resulted in the ground being so dry and dusty that dirt and dust was being continually kicked up everywhere; I don’t even want to think about how much I breathed in over the weekend, or what damage it’s done to my body. I was certainly not feeling my best come Monday morning, and it’s taken about a week to finally feel fully recovered.

With that one exception though, Boomtown Fair was once again a phenomenal experience. This has been my seventh now, and whilst I’m not entirely sure yet if I will be making it back next year – if this has been my last, it’s definitely gone out with a bang. I’d encourage anyone who hasn’t been before to attend a future event, and with this year’s as a measure of its continued quality, the festival remains at a very high standing.

Swingamajig 2022 write-up

A little over two weeks okay was a great day; in fact, my favourite day of the year: Swingamajig. This festival – which is coming up to ten years now – is without a doubt the biggest date in the global electro swing calendar, and it was even more special this year, for it was the first time it has been held at its full scale since 2019. I spoke in 2020 about the online version of the event that was held under lockdown, and the festival also put on a scaled-down version of the party in September 2021, but this was the first time for three years that the organisers managed to put together a whole entire festival on the scale of past events.

Once again using the Birmingham Botanical Gardens, which is starting to feel like a wonderful new home for the event, the festival was sized up somewhat from 2019’s edition. Like in 2019, the main stage extended the venue’s bandstand for the larger acts throughout the day; and two of the indoor spaces within the grounds were used as well: one stage for the cabaret performances; along with the venue’s ballroom for the more traditional swing acts and dance classes. But on top of these, this year also saw the addition of the excellent Phat Sam’s Disco stage (pictured), built out of a classic Citreon and programming DJs throughout the day; along with the Speakeasy stage accommodating the more upbeat live acts. There was also a smaller sixth stage, programmed by Birmingham’s Swingmatism group.

As with 2019’s festival, once the Botanical Gardens closed for the night, the event carried on in a separate location, this time being at the Hockley Social Club on the other side of town. This was the first time Swingamajig had made use of this venue, and it was actually wonderful. Very very spacious, with both a big dancefloor but also multiple places to sit and chill out, it provided the perfect space to continue the party. The second room wasn’t as suitable as the main room admittedly, but it still provided ample opportunity to have a dance – with some excellent programming from Scour Records.

I’m not going to do and act-by-act rundown of everyone I saw in turn, but there were certainly some highlights. Elle & the Pocket Belles set the day off to a great start from the very beginning; and Mista Trick who performed with them also shone later on with his own live band. It’s the first time I’ve caught his new act, and the performance was exemplary – arguably the best of the daytime. Phat Sam and Emma Clair both played brilliant sets on the aforementioned Phat Sam’s Disco stage – which the former was of course running all day. And the Electric Swing Circus were consistently fantastic as ever, with some of their newest songs carrying considerable weight. It was a treat to see DJ Yoda headline, and although his set wasn’t too imaginative, it was nice to see him branch out into the electro swing genre. At the afterparty, Tuxedo Junction were phenomenal – those boys can simply do no wrong – and I also really enjoyed getting to see Spekrfreks perform for the first time too.

Yet again, the organisers of Swingamajig have pulled it all together to put on one of the best events of the season. I can only imagine how much work goes into running an event like this, and I have to applaud everyone involved for making the effort. Without fail, this is one of the highlights of my year, and with next year being the tenth anniversary, I am already preparing myself for the build-up. It’s interesting to keep track of the electro swing scene’s development; and whilst in certain areas it has somewhat stagnated, here – at the first and original festival for the genre – it is still alive, well, and entertaining crowds to the same degree it always has.

Review: Wet Leg - Wet Leg

Wet Leg seem to have sprung up out of nowhere. This time last year they hadn’t released a single song, and yet fast-forward several months and they are starting to make some real waves throughout the music world. I must confess that I only heard of them myself for the first time a few months ago, but I – like many others – have since become hooked, eagerly awaiting each and every new single. The duo, made up of Rhian Teasdale and Hester Chambers, released their self-titled debut album last week.

The track ‘Being In Love’ introduces the album, with the vocals beginning on the very first beat, and the chorus entering after fewer than 20 seconds. With a track length of 2 minutes, this song aims to demonstrate immediately what Wet Leg are about. There’s limited instrumentation too – both in quantity and range, and Teasdale’s vocals are similarly restrained in the manner that she’s become known for. Everything about this track shows that you don't need much to create a great sound. Following this is ‘Chaise Longue’, their debut single and best-known song that came out last summer. Reminiscent of acts like Sleater Kinney – particularly in the guitarwork – Wet Leg could have fitted in easily with the riot grrrl movement of the ’90s. And of course, the song features its notoriously witty lyrics, laden with trademark innuendo. Next up, layers of reverb give ‘Angelica’ rather a nostalgic feel, sounding retro whilst not exactly clear what for. There’s quite a difference with this one in that there’s so many different parts texturally, with countless subtle elements throughout that one can pick up on with each new listen. But it’s also one of the most dancey on the record.

‘I Don’t Wanna Go Out’ is texturally quite impressive too. Whilst there aren’t as many layers, it’s all been produced to sound so full – especially in the chorus – and somehow ends up sounding both sparse and dense at the same time. Every part can be heard clearly and is exactly where it should be; and the melodies are just lovely. The suggestive lyrics return for ‘Wet Dream’, a lot more blatantly this time around – for a track which is without doubt one of the album’s highlights. The second single released, there are some great guitar lines backing up the chorus too, and the vocals are so so catchy. We then have some introductory minor chords underscoring ‘Convincing’, providing a good level of mystery and intrigue. There’s a very poppy chorus, with some ’60s-style backing vocals. Ultimately, this song isn’t going to remain as memorable as some of the others, but on this album that will of course be rather a hard job.

After this is ‘Loving You’, which with it’s incredibly smooth bassline carries elements of R&B. One of the standout elements to this track is undoubtedly Teasdale’s vocals, which – whilst usually fairly restrained – here demonstrate clearly just how talented she actually is. Arguably the best of the non-singles, it’s beautiful. Released just a few days ahead of the album, ‘Ur Mum’ is then another of their best tracks – a highlight on an album of highlights. Endlessly catchy and dancey, they’ve managed to include multiple fantastic hooks into one song. And the lyrics are great fun too. Following this is ‘Oh No’ – an unusual choice for a single, which although it’s since grown on me, I wasn’t so keen the first time I heard it. The verses seem to deliberately eschew any sort of melody whatsoever, although there is a great guitar line that follows each one; and the breakdown halfway through the song is handled very well. This is certainly a bit of an experimental one, so even if it hasn't hit the mark perfectly, I'm glad to have something a little more unusual and different.

‘Piece Of Shit’ then starts off fairly acoustic, which really highlights the contrast in the few unexpected 8-bit elements that emerge. After a short while an electric guitar enters with its own expressive melody. This is quite a short song in total, but it makes up for its length with the quality of its songwriting. We then have ‘Supermarket’, a fairly slow, 'end-of-the-night' style song featuring a big singalong that I’ll bet will go down very well at their shows. There’s an interesting and rather effective effect used in the mix, in which most of this song is EQ’d down quite low, forcing the few high parts to really stand out. A nice touch. And then the album concludes with ‘Too Late Now’ – another track that’s definitely one of the best. With its spacey, dreamlike elements – like the rest of the album, the production is superb – and there are many parts one can pick up on throughout that clearly demonstrate this. It’s such a genuinely lovely song, and an important message of self-acceptance to leave on as well.

I’m very very glad to have discovered Wet Leg, and I will continue to follow their career. It’s not common for an album – especially a debut album – to have at least half its songs be of absolutely excellent quality; and the remainder are all great here too – there isn’t a single miss. The best thing about this release though is simply the approach of the performers – they have embraced their own eccentricities, and the result is a truly unique sound. There are obvious parallels that are going to be drawn to the riot grrrl movement, but they are also bringing in their own contemporary elements as well. If this is the standard of music that we can expect from the 2020s, then we are living through a brilliant era.

Review: Pleasure Seekers - Electric Swing Circus

 

With Swingamajig just around the corner, it’s a very suitable time for the Electric Swing Circus to be putting out a new release. For those who don’t know, the ESC run, programme, and perform at Swingamajig – the world’s biggest electro swing festival – on a yearly basis. This will of course be the first full-scale edition of the event since 2019, so it is undoubtedly an occasion worth marking. And mark it the ESC have, by a) programming a phenomenal line-up (I will come to write about the festival after it has occurred), and b) releasing their third album in the lead-up to it. Arguably the UK’s number one act for this genre, the band have certainly got some big shoes to fill in terms of approaching this release.

The first track on the album is a short introduction piece entitled ‘Esc Her’. This kicks things off with a live big band sound, which comes off as particularly Bond-esque through its mysterious tonalities; and the added layer of electronics give an initial indication of where the album is headed, actively building up the anticipation. Next, with catchy lyrics that will stick in one's head for days, 'Gravity' begins with some close harmonies, with minimal backing – until the chorus explodes into existence. There’s a strong contrast between the choruses and verses – which are somewhat cinematic, and bring in the jazz elements – and this is again contrasted through the upbeat electronics of the initial breakdown, which transitions so smoothly back into the sounds of jazz. The Bond-style elements return for 'To Russia for Love', which in some alternate universe could stand as a theme for the eponymous series. It’s downbeat and calm, not a dancefloor-filler, but rather, one that a crowd can simply lie back and enjoy – with some lovely brass solos towards the end too. And then we have ‘Expectations’, which is another that is smooth, jazzy, and downbeat in all the best ways. Arguably a complete departure from electro swing, this one's a purely live, lounge-jazz number reminiscent of the likes of Amy Winehouse.

Next up, ‘Claustrophobia’ contain a certain element of the marching-band. Along with the distinctive brass and drums, this features a repetitive melody designed to dig into one’s head and not let go. Style-wise, certain sections have a tropical flavour to them here, with even a touch of ska. ‘Kicking Up Dirt’ then follows with more of a classic electro swing sound; very dancey, with vocals that bounce all over the place. I note that the drums seem to stand out in this one; it's not that they’re over-the-top or in-your-face or anything – if anything, they're quite held back. They're just played very well, to the extent that the audience will easily pick up on it. And we have some fantastic use of sequencing towards the end. With a big sound from the off, the combination of brass and bass signals the clear intent of ‘Freak Me Out’. This song keeps coming back for more, hitting you with its distinctive sounds again and again. It’s definitely one of the most memorable – and will likely make it onto countless DJs setlists over this year’s festival season. And after this, ‘Cuckoo’ is another example of classic ESC, and they will certainly please their audience here through the combination of big brass and reed parts. Again, this track doesn't feature too many electronics, and I wonder if the band are consciously trying to cement their reputation as one of the genre's best live acts. And there’s an absolutely brilliant chorus – I’d go so far as to say one of the best across their entire output.

‘Shake’ then features more than a hint of Benny Goodman, with the ESC wearing their influences on their sleeve. The chorus comes crashing in out of nowhere in this one, presenting another dancefloor-killer. This is set to go down a storm at every live show – and I sincerely hope that this is included in the set list at the upcoming Swingamajig. There’s some nice bluesy guitarwork too. Following this, some of the harmonies in ‘Greedy’ are somewhat unsettling, which I feel is a deliberate choice. The chorus presents the source of the album’s title, and both the pre-chorus and the immediate section afterward are obvious standout sections. This is essentially a pop song, showing just how pop can be done right – although I must say that it does cut out a bit too suddenly for my liking at the end. Some glitchy sounds then introduce ‘Wally Funk’. This builds for quite some time, at some points seemingly a little directionless, yet eventually does culminate in an explosive chorus which absolutely roars. This song really demonstrates the real contrast from track to track on the album, presenting a wide variety of approaches. And finally, the album closes with ‘Smoke and Mirrors’. The semiotic sounds of spies have penetrated throughout this album, so it's only suitable that another song with such sounds brings us to its close, once again mysteriously leading us away. A beautiful 10-bar chord sequence comprises the chorus; it's a suitably grand finale, and a sublime way to close the album.

Plesure Seekers definitely stands out from the Electric Swing Circus’s prior offerings. Whilst there certainly are some very dancey sections, it doesn’t feel like as much of a dance album overall as the previous two. As stated above, there’s something of a sense of the band demonstrating just how much they can do when relying on primarily live instruments. This is the reputation that they’ve built, and it’s only being more solidified by side-projects such as Tom Hyland’s Big Band of Boom. There’s a distinctive feeling throughout this album as well, making the whole thing seem like a complete product as well, which I appreciate. Although some of the songs are a bit short, and I do feel that several could have been drawn out a little longer, the songwriting is of a high standard overall, and the band are living up to what we’d expect of them. There is no doubt at all that this album will stand as an excellent addition to the ESC’s back catalogue.