Personal Reflections on 2020

I write this knowing that it will likely get lost in the innumerable texts that thousands will write upon this year, for – as goes without saying – 2020 has been very unusual. My final blog post of 2019 looked back upon my time as a PhD student, and I concluded that particular post with the following words:

“As we approach the end of the year, I’m looking forward to what’s coming for the genre in 2020, and even more so, I’m looking forward to the next stages of my own academic electro swing career.”

Little did I know how disruptive 2020 would actually be. The Covid-19 pandemic has infiltrated every aspect of everyday life, and has had a severe impact on essentially everything that this year was expected to bring. The world of music in particular has suffered greatly, and thousands of those throughout the creative industries have lost their livelihoods. From my own personal perspective, this year has been distinctly challenging, as 2020 was supposed to mark the start of my formal academic career. Entering into an already competitive career – in a year in which many are losing jobs – has undoubtedly been an immense struggle, and I’ve spent effectively the entire year on the job-hunt, only securing myself a permanent position in the past few weeks. And I recognise that even by this, I’m one of the lucky ones. This post is going to be somewhat challenging to write, being less of a piece with recognisable flow, and more of a collection of ideas representing my thoughts on 2020. I hope that my own particular situation makes this at least a little unique, and that my words may stand amongst some of the more memorable reflections upon this year.

I know I speak for a lot of people when I say that one of the greatest joys in life is experiencing live music. This is without a doubt the thing that I miss most about normal life, having only been to a grand total of three gigs this year – the most recent being in February, making it almost a full year since the last time I got to enjoy a proper concert. For the sake of interest, those three were the Interrupters, the Inspector Cluzo, and the Hot 8 Brass Band; the last time I went to this few gigs in one year was 2005 – when I would have been 12 years old. The Interrupters stand out as the finest, putting on an absolutely fantastic show, and demonstrating themselves to be one of the genuinely best acts of the modern day. But the thrill of live music is just something that cannot be replaced. The various livestreams that have been broadcast throughout this year have of course been admirable – and I was especially generous with my praise to the Swingamajig livestreamed festival in May – but it’s incomparable to the real thing. My main wish for 2021 is the return of live music, and I know that I’ll be buying as many tickets as I can as soon as we have some confirmation of events actually going ahead.

Of these events, the big question is whether we’ll see the return of festivals in 2021. Indeed, I’ve already mentioned Swingamajig, and I had plans to attend Boomtown, Shindig, and the Edinburgh Fringe as well this year – all of which were of course cancelled. The Glastonbury line-up was also looking excellent, and I’d been hoping I might be able to find a way to make this my first year. For 2021, both Boomtown and Shindig are suggesting that they will be going ahead, and have already begun advertising line-ups and selling tickets, so we can only hope that all will be well by the time that festival season rolls around. There’s nothing better than being in a huge gathering of thousands of music fans, all spending a weekend doing nothing more than enjoying themselves to the fullest extent.

Unfortunately, the cancellation of such festivals and gigs – and the loss of opportunity for so many creatives – hasn’t been the only thing to bring down the music scene in 2020. Of the lucky few who have managed to sustain careers, there’s been several cases of high-profile musicians demonstrating themselves to be incredibly selfish and ungrateful with regard to the year’s lockdown restrictions. In some extremely disheartening cases, these have been musicians who have made amazing art throughout their careers, and it’s unbelievably disappointing to see such nonsense coming out of individuals who we know are capable of such great things. These include Eric Clapton, Van Morrison (seemingly an endless disappointment), Ian Brown, and Noel Gallagher. And this idiotic behaviour has been shown from punters as well, with dozens of illegal raves cropping up throughout the year. The most illogical thing I’ve seen with regard to this is online commentators favourably comparing this string of illegal raves to the original events that occurred throughout the late ’80s and ’90s, as if governmental discrimination of ravers can at all be likened to a global pandemic. Here’s the thing that these people don’t seem to understand: the more these events go ahead, the more the virus will spread, the longer these artists will go without work, and the longer it will be before we can ever hold events like this again.

Luckily, my other world – that of academia – has been a lot more responsible in its response to the pandemic. Having had countless conferences worldwide move to an online format, not only is this safer for everyone involved, but also allows for many to attend who might otherwise not have been able to travel. These were of course the upsides, though of course – like the livestreamed gigs – such online conferences were undoubtedly not always quite as stimulating as they would usually be, and I must confess that I didn’t attend as many as I would have perhaps liked to. I’m optimistically looking forward to the potential return of conventional conferences this coming year, and have already applied to present at several. One of the best parts of this profession is meeting and sharing your research with others who are genuinely interested in what you have to say, and it’s been a real shame that such opportunities have been made impossible.

And speaking of this profession brings me to what has been one of the most challenging aspects of the year for myself – the aforementioned job-hunt. Having completed my PhD last year, the entirety of 2020 has been spent on the hunt for suitable employment that I’m actually qualified for. And saying that this has been difficult would be an incredible understatement – I may end up writing an entire post relaying my own experiences, as the entire process has been an enormous eye-opener with regard to how laborious and demoralising it can be. I don’t know if I’ll ever come across another sentence as infuriating as “we are unable to offer you feedback at this stage”. After committing what can regularly amount to several hours to an application – to have a faceless email informing you that you won’t be given even a single bit of their time regarding future advice, is one of the most insulting things a company can do. We’re all well aware that that sentence effectively translates to “we didn’t bother reading your application”, and – again, whilst I may save this full story for another post – I came to realise just how nepotistic and self-serving some institutions (read: Cardiff University) can be. I don’t want to end this post on a low note though, and as stated, I was incredibly fortunate to get myself a new position in the final month of the year – learning support coordinator at BIMM Bristol – which is an absolutely fantastic institution. With this in place, 2021 is due to be a colossal improvement for me – and I really do hope that others in similar situations will experience the same level of good fortune.

So it’s been a rollercoaster of a year – with more negatives than one could ever hope for, but with hope on the horizon – both for me personally, and for the world, with the introduction of these various vaccines. Without doubt, I know that I’ll be getting mine as soon as I possibly can. There’s presumably no way that 2021 can be as disastrous as 2020, so ultimately, we can only be optimistic. I’ll leave by simply wishing everyone a wonderful new year, and I look forward to the day when we will all be able to come together at gigs, festivals, conferences, and more again.

Review: Talybont - Chillbe

Back in January, the first review of 2020 that I posted was Captain Flatcap’s Fowl Play EP, four tracks of pure enjoyment that I described as “one of the first significant releases of the year”. Well, it’s certainly been quite the year – far beyond what any of us were expecting back in January – and as 2020 draws to a close, what will likely be the final review I post concerns Chillbe, the new side-project from Captain Flatcap’s Chris Rotherham. Very different from Captain Flatcap, Chillbe fuses folk and Classical influences, looking away from the bass-heavy dance music that we’re used to, and instead bringing about some of the most relaxing sounds one can aim to produce. Named after the small Welsh village (only a short drive from where I live, in fact), the EP is called Talybont.

The first track is ‘Onwards’, which utilises a fingerpicked and percussive guitar style, along with a wide variety of percussion instruments to create a beautifully atmospheric, naturalistic environment. Rotherham has a mastery of all the instruments he plays: guitar, flute, and ukelele – which he manages to stop from sounding gimmicky or out of place at all. The added electronics are very subtle, remaining reserved but wonderfully placed, and the overall production is fantastic, with all the live sounds being manipulated to just the right extent. The title track ‘Talybont’ then features some really nice harmonies, with Rotherham’s compositional ability truly shining through. The electronics are slightly more prevalent here, but still rather subtle, and not overly done at all. The sound completely takes you away – it’s so so relaxing, and one could have this on for hours. Every element of the piece is completely under control, and what results is a genuinely magnificent sound.

‘Time Stepping’, the interlude, is the most electronics-heavy piece, especially in the drums that emerge, and is certainly a bit of a change-up from the previous two, being quite experimental. The piece fades in very smoothly, with initially just the lowest tones audible, before we gradually begin to register the higher detail. The piece culminates with a sampled quote summing up some of the artist’s philosophical beliefs. Following, ‘Waltz Of The Entities’ is a genuine waltz, with the compositional feel really sounding like a waltz beyond just the 3/4 time. With the staccato stabs of the main backing line alongside the bouncy, antiquated recorder-based melodies, he’s really changing it up here: one will often hear musicians claim Classical influence to try and elevate their music, but in this case, the claim is genuine. The song presents quite the journey, and this second half of the EP represents a slight change in direction away from the first two completely relaxing numbers. Finally, ‘Upwards’ – matching track one in name – is another with excellent guitarwork. Most of the instrumental lines here are quite simplistic, but it’s in the way Rotherham plays them – in such an exquisite way – that makes the piece executed so well. Every part is played to perfection – nothing is skimmed over for the sake of ease. The power of music is such that it can create such intense levels of emotion, and songs like this one manage to showcase that to the highest potential.

The overall EP creates such a beautiful atmosphere, and such strong feelings that simply cannot be overlooked. It’s haunting at times, calm and serene at others, and a wonderful experience from start to finish. Rotherham has been classically trained in the past, and whilst this has had some impact on the music of Captain Flatcap, it’s never been demonstrated to the extent that it is on this release. He’s clearly got real strengths making this type of music, and there should definitely be an audience for it. Ultimately, I really hope that rather than simply remaining a one-off side-project, this EP represents the start of a long endeavour for Chillbe.

Talybont is available from 24/12/2020.

Review: Golden Days - LVDS

I've heard it said several times now that electro swing has reached the point where it no longer stands as a genre of its own. There’s so much variety within the style, and so many subgenres that one could gladly categorise themselves as a fan of swing ’n’ bass – for example – whilst loathing swing house – or vice versa. To say one is a fan of electro swing is to simply say that one appreciates any particular style that has had this flavour added to it. And one of the most prominent of these particular styles, is swing hop. Pioneered by the likes of Chinese Man, and Smokey Joe & The Kid, swing hop is of course hip hop with the addition of swing. And one of the newest artists to be attempting to make a name for himself in this select genre is LVDS – a producer from the Netherlands, due to release his debut album this week: Golden Days.

A steady hip hop beat underscores a Dixieland melody in the album’s introduction, before we set off with the title track, ‘Golden Days’, featuring singer Sonia Elisheva. Now despite being from Portugal, Elisheva sings in a rather London-esque accent, suggesting a degree of hip hop legitimacy. There’s a nice minimalistic beat that provides a catchy backing; it’s a little repetitive, but LVDS closes the song just before the beat is about to get stale – demonstrating a good sense of musical timing. Then, a ragtime piano introduces ‘Mr Sherlock’, in which singer Iolanda Boban’s silky voice places us into a 1920s speakeasy. The instrumental lines are very smooth and accompany the voice effortlessly, and there is some nice lyrical wordplay here as well. After this we have ‘Blue Skies’, in which the optimism of the song’s title is reflected in the music: this is an incredibly upbeat number, which will easily put a smile on one’s face. It’s reminiscent of some of Boogie Belgique’s earlier stuff – and any comparison to Boogie Belgique can only be a compliment. There’s a lovely bounce, and an excellent choice of samples. Overall, I really enjoy it, although there’s a very strange, chiptune sample featured halfway through that really interrupts the vibe. Other than that, the song is lovely.

LVDS then invites Szigeti Juli for a cover of Chaka Khan’s ‘Ain’t Nobody’. I’ve been hearing a lot about this band lately, although I must confess that this is one of the first times I’ve actually had a proper listen. The song features a very steady, standard electro swing, stride piano beat; it’s not overly innovative, but I can’t say I didn’t enjoy it. And notably, the vocal editing in particular is flawless. ‘Be With U’ begins with a kind of Caravan Palace vibe initially, perhaps from the way the guitar is being played, before quickly developing into a swing ’n’ bass offering. There are several clichés of this particular stylistic niche thrown in; again, it’s not particularly innovative, but there’s still enough to entertain. Next up, a forlorn trumpet sets the tone for ‘Long Gone’ which is classic, swingy trip hop, with more than a touch of the blues. It’s really very good actually; the production is spotless, and the song really stands as a whole piece of music. A great piece, the best so far, making me think that maybe this is the best direction for LVDS, with these more downbeat numbers.

Another instrumental then features with ‘Café Noir’. LVDS brings back that ragtime piano to begin, and again we have the trip hop beat – more upbeat than the previous, but still standing out. Aside from a slightly strange eight bars in the middle that don’t really flow, it seems to be in these instrumentals that LVDS really excels. Iolanda Boban’s identifiable voice features again in ‘Steps on the Moon’, very reminiscent of Kathrin deBoer of Belleruche. The song features a strong swing hop beat, although at this point I note that the album has yet to feature any rapping. It would certainly work excellently over this particular track, with the potential for real improvement. Still, it’s a good song. ‘1925’’s title suggests an immediate year, and it definitely seems that all of these songs are very much leaning towards the influence of early jazz, as opposed to specifically the swing era. And this is good – it works for LVDS, and he’s managing to utilise this style as his trademark sound. ‘1925’ features some unusual sounds scattered throughout too – a commendable choice of timbres. And then – if there’s one thing we can expect from a 2020 electro swing release – it’s the inclusion of Alanna Lyes. ‘One Taste’ is pretty poppy, but also with an almost Western feel to it. You’d think these influences might not flow together too well, but the fusion is fantastic. This is another standout track, and along with ‘Long Gone’, LVDS is really showing his versatility in many ways. And finally – here on track 11 – we have some rap, courtesy of Fatherlyshrimp, who is completely competent.

The next song, ‘Am I Real’ also features Lyes, and is a much more standard electro swing number, with the return of the stride piano. Again, it’s very poppy, which is what Lyes brings best. It’s really really catchy, though it’s kitschy as hell; I noted this for a few tracks on my Bart&Baker review – it might be a bit too much for some. Though personally, I think it’s excellent, and held back just enough; the build up to the chorus in particular is a moment of musical genius. ‘Am I Real’ is the last “official” song of the release, although we then have two instrumentals of songs we’ve already heard: ‘Steps on the Moon’, and ‘Golden Days’. These don’t provide anything extra at all, but both do manage to prove their worth as solid backing tracks that a rapper could easily rhyme over. And finally, we have the bonus track: ‘This is Swing Hop’. Featuring many of the guest artists already heard on this release, as well as rapper Brice Robell, these collective tracks are always fun, and LVDS manages to showcase each of his featured artist’s strengths, using samples from several of the songs, as well as original material. It’s a great idea, and works as an effective minimix. And of course, it also showcases his own talents – as a producer, compiler, and collaborator.

Overall, LVDS has some potential to make a real name for himself. His production skills are excellent, and there are several occasions that demonstrate real versatility. Where he sometimes stumbles, are several minor moments here and there in which one very small section blemishes the rest of the piece. Indeed, there is work to be done in terms of compositional and songwriting techniques; but as a young producer coming onto the scene, this debut album is a noteworthy achievement. With a whole host of prominent collaborators, and impeccable production abilities, LVDS is certainly one to watch. Swing hop is a very exciting genre right now, and producers such as him are only going to further reinforce this to be the case.

Golden Days is available from 18/12/2020.

Review: Electro Swing Party Vol. 3 by Bart&Baker - Various artists

Bart&Baker’s regular electro swing compilations have become iconic throughout this scene. Having been around since way back in the early days of the genre, these compilations have routinely showcased the finest artists throughout electro swing, and have acted as a platform for many to discover countless new artists as well. There is no doubt that careers have been made on the back of these compilations, and the release of each new one is always an important date in the electro swing calendar. Out in time for Christmas, the newest instalment is their Electro Swing Party Vol. 3, running through 22 of some of the more memorable releases to have come out this past year.

The release opens with a cover of ‘Diamonds Are A Girl's Best Friend’ from Alfredo Roy and his Orchestra. This is your very cheesy, over-the-top electro swing style that Bart&Baker love to play out, and Alexandra Miletta’s voice is very reminiscent of the classic Hollywood musical dames of the 1940s. The piece could do with a bit more bass, but overall it sets the tone for the compilation well. Parov Stelar is then featured with his ‘Red Cat’ – which on my review of Voodoo Sonic Pt. 3, I placed as one of the stronger tracks of the release. It stands great here too – a fantastic example of Stelar’s more recent work. ‘Hey You! (I Heard You Wanna Party)’ is the first of Bart&Baker’s own tracks on the release. The sound is very reminiscent of the Electric Swing Circus, who have an obvious influence over this work. And it pays off – this could certainly be an ESC piece, and it’s thus a very strong song. Up next is Anèt’s ‘L'amour Est Un Enfant De Bohême’, a really enjoyable remix of the original Bizet composition, which manages to sound quite dark, and representative of underground sounds in parts – whilst very bright and poppy in others. And surprisingly, it works – flowing fantastically. And then we have ‘Sidonie’ from the Scratchophone Orchestra – a great uptempo number fusing some jazz manouche sounds with an almost trip hop beat in parts. The electronic element is fairly simplistic, which successfully works to highlight the strong jazzy prowess over the top of it all.

The next track is ‘Miss Annie’ from Jive Me, showcasing more jazz manouche, mixed with French hip hop vibes. This is a really great number, keeping constant movement, and carefully balancing the perfect level of anticipation. The Swinghoppers sadly broke up earlier this year, but their ‘Party Like It’s 1920’, produced alongside Wolfgang Lohr, reminds us just how enjoyable their songs were. As I said in my review of their Speakin’ Easy, they were easily one of the most fun acts of the whole genre, and this song definitely exemplifies that – only made better by Lohr’s solid beats. Another track that’s quite minimal on the electro side is DJ Farrapo & The Swingin’ Junkies’ ‘Behind Dark Eyes’. There seems to be several remixes of ‘Mack the Knife’ coming out right now – Tallulah Goodtimes just did one too – and this version features more strong gypsy jazz, the feature that seems to be the standout sound of the compilation thus far. The rap flow in this one is actually really quite good, and definitely stands out over the more standard vocals also featured. Then, Julie Huard’s ‘Le Danseur De Charleston’ is another loud-and-proud cheesy number; the sound of the ragtime piano defines this one. It’s certainly upbeat and enjoyable, although the overt brightness and cheerfulness will undoubtedly be too much for some.

Now I really enjoy Klischée’s music, so I was very glad to see them be a part of this compilation, even if only for their remix of the Brass Department’s ‘Welcome To The Brass Department’. I actually love this one – it hits harder than anything else on the compilation – with solid bass, solid vocals, and fantastic production. As the name suggests, the brass here is excellent too – the whole song is just brilliant. Bart&Baker’s next featured track of their own is a remix of the Puppini Sister’s ‘Dance Dance Dance’, Again with their distinctive sound, with regular stride piano accompanying throughout – this track is exactly what Bart&Baker fans will love. And the Puppini Sisters also manage to showcase their great vocal harmonies. The next track – PiSk’s ‘Horny’ – I actually know very well, as Becca and I were in fact featured dancing in the video. PiSk is an incredibly talented producer, and this track – whilst being very silly and unserious – still demonstrates just how skilful he is at mixing and arranging. And then Atom Smith’s ‘Comin’ Up Swinging’ is another track which I’ve already discussed – in my review of his Bass Age Big Band. As I noted there, it’s a great dance number, which will surely get people moving.

Following on from this, Ginkgoa’s ‘Make U Happy’ features more of the typical stride piano that exemplifies this particular breed of electro swing. There’s an interesting take on the vocals here – being a bit of a cross between rapping and singing – which is very unique; and the production manages to highlight some of the fine timbres found throughout. Lamuzguele’s ‘Triple Lutz’ then introduces some almost lo-fi sounds; it’s certainly nice to have more of a laidback number amongst the rest of the throng. There are some contemporary RnB influences here as well; I love it – it’s one of the best songs of the compilation. Next up is Waldeck’s ‘One Of These Days’. Now some of the other songs have been subtly hinting at this, but I’ve been waiting for some real trip hop throughout the compilation, and ‘One Of These Days’ finally brings it. Waldeck has been doing this genre for ages now, and he’s one of the best at this type of sound; Patrizia Ferrara's vocals provide a nice accompaniment too, but it’s undoubtedly the instrumental track that really stands out above everything else. After this one, we have Emma Clair’s ‘Walking On A Cloud’, featuring Alanna Lyes. I’ve noted Emma Clair doing more and more production lately, and she’s only getting better; and I only have great things to say about Alanna Lyes too. The swing house sound featured here is certainly cheesy, but I feel that that’s exactly what she wants. ‘Big Bad Wolf’ is then Madam Misfit’s contribution, who seems to be making waves at the moment with her chap hop inspired sound. It’s certainly quite fun; however her sound is a bit of a love-it-or-hate-it thing – and personally, it’s not really for me.

Another Bart&Baker remix then follows with ‘The Mosquito’ – by Louie Austen and Club27. This may be the strongest of the three so far, with some great bass, and a sound that’s not at all reliant on clichés. There are some nice, quite Latin vibes featured as well. Towards the end, a sudden tempo change in the breakdown provides an unusual change-up – which isn’t totally necessary – but it’s still a very decent tune overall. Lyre Le Temps’ ‘Summer Leaves’ is then one of those songs that manages to sound like a remix of itself – there’s so many layers, and different elements all happening simultaneously. It’s a real strong production effort – and the song benefits greatly from all the different, distinct features over the course of its duration. I already praised ‘All I Wanna Do Is Swing’ very highly in my review of Tallulah Goodtimes’ Interstellar Swing. As I said there, it’s a great, comparatively laidback number, with all sorts of brilliant effects and timbres utilised throughout. There are also some fantastic vocals from Goodtimes too, which I feel I perhaps didn’t pick up on enough in my previous review. And the final track, concluding the release, is ‘Istanbul 2K20’ – Aleksey Kraft’s remix of Bart&Baker’s infamous reworking of the classic tune. Some minor chords are initially added to make the piece sound suitably cinematic at first, before breaking into an absolutely massive drop, with all sorts of filthy synths flying in every direction. It’s a genuinely brilliant way to close the compilation, and I’m very glad it's been included.

These compilations from Bart&Baker are such an essential part of the electro swing scene, and I imagine they will only continue to thrive. The inclusion of a song on one of these will be a significant milestone for any artist making music in this genre, and this third volume in the Party series has acted to maintain this reputation. Yes, some of their choices will lean towards the brighter, kitschier end of electro swing, and there certainly isn’t too much of the dark, more challenging variant of the genre – but this is what we’ve come to know and love them for. It certainly will be a party with the involvement of these two French gents, and their overall contribution to the scene is exceptional.

Electro Swing Party Vol. 3 is available from 11/12/2020.

Review: The Longest March - David Bennett

As someone who writes about music online, I try to keep myself in the loop of others who are doing similar things. One thing I’ve often been tempted to do with this blog is to discuss certain elements of music theory, an effort which has so far only been represented by my ‘Playing With Time’ article – but one of the main reasons why this output has been so limited is because almost everything I’d like to write about has already been discussed by David Bennett, whose YouTube channel regularly presents such discussions spectacularly – much better than I ever could. Bennett is by far the best of his cohort of music theory YouTube peers, and as well as producing the short videos that he does, he is also an excellent pianist. This month, Bennett released his debut EP, The Longest March, and as a pianist myself, I was certainly interested in listening to what he has produced.

The EP opens with ‘Mother’s Day’, unexpectedly beginning with some reversed sound effects, before he delves into his distinctive piano style. The piece is very minimalistic in technique, relying almost exclusively on arpeggios – a very effective technique in drawing out the expressive harmonies and creating a strong mood. Reminiscent of the likes of Ludovico Einaudi, the right-hand melodic lines subtly demonstrate Bennett’s advanced playing ability. And the piece isn’t only piano: halfway through, some synthesised strings enter, and although they’re clearly synthetic – Bennett’s strength is in performance, not production – they still convey the exact feel he is going for. The piece ends with some similar effects to those we heard at the start, and overall, he manages to express a great deal through comparatively little throughout. Comparatively, ‘Clap’ – the shortest piece on the EP by quite some margin – is a display of composition over performance, with hardly any piano – instead being largely percussive, with both tuned and untuned instruments used extensively. Particularly timbrally interesting, it’s the metallic sounds that stand out the most. There are a few sections here that don’t flow perfectly, but these criticisms are only minor, and really quite nitpicky.

Back to the piano, it’s clear from the off that ‘Kneel’ is another display of performance – in fact, even more so that ‘Mother’s Day’ in fact, as it’s immediately obvious that this is very advanced in its nature. Again, Bennett is utilising the arpeggios, but not in as minimal a way as ‘Mother’s Day’ – there are plenty of changes found here. Some of the lower tones are beautifully placed; and the additional synths toward the end work excellently too, and are a great addition. The piece ends with the most minimal outro of the whole EP – relying only on single notes for an extended section; and with it’s fantastic harmonies, exceptional playing, and fine display of compositional ability, the piece stands as the best of the EP. Finally, in ‘The Longest March’, Bennett uses his favourite technique once again, arpeggiating the chordal changes to draw out all the notes as clearly as possible, fully realising the harmonies. He’s used those unfortunate synthetic strings again here, which is a little distracting, but there’s no denying that the tonal choices are fantastic – and I’d love to hear what it sounds like with an actual string section. The piece is quite slow-moving, and takes a while to go anywhere, so the resultant emotion isn’t as forthcoming as the other pieces, but the journey is still quite the spectacle; and once the bass enters about halfway through, it becomes clear just how much of a storyteller Bennett is with his music – every emotion he creates is ultimately received exactly the way it is intended.

I have absolutely nothing but positive things to say about Bennett’s music theory videos, and with this debut EP, I’m pleased to report that his skill is also apparent in his playing and composition abilities. I was perhaps expecting something a little more jazzy, but am nonetheless still very impressed. With influences from the world of minimalism, as well acts such as Penguin Café Orchestra or the Cinematic Orchestra known for expertly fusing pop with more Classical influences, Bennett has developed a playing style that is distinctly and recognisably his. It’s a very relaxing listen, and just the type of thing to gently soothe us as we approach the end of 2020. A brilliant debut EP; and from one pianist to another, I can only congratulate Bennett.

Review: Greatest Hits - Little Big

I’ll be very honest in starting this review, and admit that I partially just wanted an excuse to talk about Little Big. This certainly isn’t a standard album or EP, the likes of which I usually discuss, and whilst I’ve written about compilations in the past (see Sleaford Mods’ All That Glue), this collection is even more unusual in that it’s a vinyl-only release. Nevertheless, Little Big are without a doubt one of the most interesting acts of the present day, with their fusion of punk, rave, and pop giving them a completely unique style that sounds something like the Prodigy-meets-AronChupa-meets-Die Antwoord. With an absolutely tremendous following in their native Russia, it’s genuinely quite hard to fathom just how popular they are. For context, on YouTube – where they seem to have the biggest presence – six of their songs have over 100 million views, with the highest viewed approaching half a billion. Their Greatest Hits, stylised as “Ungreatest Shits” showcases 16 of their most-loved songs.

The first track is ‘Uno’, which was in fact due to be performed as Russia’s entry to the 2020 edition of Eurovision, before the show was cancelled. Demonstrating their recent transition to a more pop sound, ‘Uno’ is sheer joy. It’s ludicrously catchy – due largely to the simple motif repeated throughout, but this is all that’s needed to create the mood of 100% enjoyment. ‘Give Me Your Money’ follows, featuring frequent collaborator, rapper Tommy Cash. With its Russian sounding melodies, and traditional vocals in the chorus, here the band are signalling their origins, whilst also showcasing their own distinctive sound. Cash’s vocals add an interesting element, although it’s singer Ilia Prusikin’s voice that stands out the most. The title of ‘Punk’s Not Dead’ signals the genre that this track will largely focus on, with very heavy elements of both punk, and EDM too – certainly reminiscent of the Prodigy. This specific sound is definitely a strong signifier of their early style that brought them initial fame. And then ‘AntiPositive’ continues this feeling, again including elements of traditional Russian vocals like in ‘Give Me Your Money’. A live recording, it was a good idea for the band to include this, as it really demonstrates the sheer ridiculous amount of energy it holds, with inspiration from both punk, and drum ’n’ bass.

Next up is ‘Skibidi’, one of their best-known tracks – not only for the dance craze it inspired, but also for just how fun the song is, with its nonsensical lyrics, samples of animal noises, and the unstoppably bouncy backing track. This is Little Big at their best, particularly so for their more recent, pop-based pieces. ‘Faradenza’ then really manages to bridge the sound from their earlier, heavier dance music to their modern pop releases. One of their few songs not to be sung in English, this again features the bounciest backing track one could wish for – it’s as catchy as anything and will certainly get a crowd moving. ‘LollyBomb’ is probably the track with the least influence of punk rock: with no real heavy elements at all, this is pure EDM. Whilst it may take a few listens to really appreciate, there’s a lot to enjoy here once it’s cracked you, and it’s another that could easily get stuck in your head for days. And then side A ends with ‘To Party’ – featuring more traditional Russian influences mixed with the heavier end of dance music – similar to ‘AntiPositive’. The bounce is as explicitly prevalent as possible here, and whilst there are some slightly questionable harmonic choices – with certain parts that don’t really work – there’s no denying that the energy is as high as it could conceivably be.

‘Go Bananas’ opens Side B – on a similar level to ‘Skibidi’ in terms of silliness. As the title exemplifies, this isn’t a remotely serious song, and the whole piece is just an outlet for as much nonsense as possible. When recognising the piece in light of these intentions, it’s fantastic. And then we have ‘Life in da Trash’, one of their earliest songs; like ‘Punk’s Not Dead’, this is the sound that made Little Big what they are. Some of the vocals found here are really quite disturbing, and the band are very effective at creating this disturbing feel whilst still ensuring that the music is enjoyable – with various classic EDM clichés used completely unironically. ‘Voice of Hell’ is definitely one of their lesser known pieces, managing to include some hip hop elements, in both the beat and the vocal flow – at least in the verses. It’s only subtle, but noticeably there. Whilst other parts are comparatively minimal, the chorus brings us back to the unstoppable energetic heights familiar from other tracks – in fact, it’s one of the most energetic choruses of them all. And then ‘AK-47’ is a little unique, in that it seems to fuse this relentless energy of the earlier songs with the silliness of their later style. Like ‘Faradenza’, this is definitely a transition to the poppier tracks, with elements of modern R&B thrown in as well.

‘Rock-Paper-Scissors’ is a real highlight – one of their rockiest numbers, whilst still keeping the very recognisable elements of EDM that has defined their sound. Again, it’s extremely catchy, and I’d be tempted to place it as their best song. It’s certainly up there, though there’s undoubtedly very strong competition – which is a testament to how many memorable songs Little Big have produced. ‘I’m OK’ will likely be the most preferable to regular readers of this blog, as it really demonstrates that big band ’n’ bass sound. With some of the most genuinely hilarious lyrics I’ve come across, this is a solid drinking tune, and will go down brilliantly in clubs. Towards the end of the release, ‘Hateful Love’ has a seriously unique sound – definitely standing out as being somewhat different to every other track found on this collection. Fusing various styles from the heavier end of EDM – including elements from both drum ’n’ bass and hardstyle – the harshness of the sound is reflected in the lyrics as well, which are absolutely brutal. But the song is genuinely great, and if you’re into this kind of heavy styling, it’s one of their best. And finally, ‘Big Dick’ presents some of the most juvenile lyrics ever composed, which to be honest – are awful – but that’s exactly what they’re intended to be, so it would be worthless to be critical of them. Again, this is a reminder that Little Big don’t take themselves seriously at all, and perhaps that’s why they’ve chosen to close with this one – as a blatant reminder not to overanalyse the band.

Little Big really have a knack for making the catchiest music possible. Not taking themselves even remotely seriously, their music doesn’t contain any sort of depth whatsoever, and that’s entirely intentional. It’s just plain fun and enjoyment – and there’s certainly a lot of enjoyment to be had here. From their earliest recordings with their strong punk influences, through to their latest pop offerings – always with a strong element of various EDM styles mixed in – Little Big’s music is typified by its unique memorability, and the fact that it’s impossible to listen to them and not have a smile on your face. Across their whole catalogue, they’ve created a genuinely distinctive sound – which is a difficult task in the 21^st-century. Having experienced astronomical success across Russia, it’s a wonder that they’re not bigger elsewhere – a consideration which is demonstrated perfectly by the level of entertainment found throughout this collection.

Review: Infinite Things - Paloma Faith

So some may consider this a surprising artist to pop up on this blog, seeing as I generally tend to cover fairly underground – and almost exclusively dance-based music. But I’ve never claimed to cater only to a certain music style or scene, and I’m certainly not one to disparage an artist for the sole reason of their respective success. There’s something that can be fantastic about pop music, and whilst I partly understand the desire to ignore the mainstream, I feel that there are a few select artists who are genuinely making incredible music within this area. This can perhaps be no better exemplified than Paloma Faith, who has been making captivating music since her debut release in 2009. Infinite Things is her fifth album.

The album begins with the 1980s-influenced ‘Supernatural’, which brings all the trends of that era, including the strong synthpop influences, and the powerful vocals reminiscent of the female-led power-pop of the day. Indeed, this is unmistakably both pop and powerful, with plenty of belting to demonstrate her incredible vocal prowess straight away. ‘Monster’ then follows, a real catchy number which instrumentally is more minimal – being a clear display for the vocals. There’s a bit more instrumental addition in the chorus – being very synth-driven – with a simplistic but solid bassline. And then we have the single ‘Gold’, which many have been enjoying for a couple of weeks now, and is absolutely magnificent. With its gospel-inspired backing vocals, and the almost primal cries throughout, this is pure pop perfection; exactly what we’ve come to expect from Faith, and the best display of her style and talent.

‘Falling Down’ is then another heavily vocal-based song, which – when your voice is as good as Faith’s – is a good idea to have as many of as possible. The chorus is admittedly slightly underwhelming, not really building on the verses at all, but it’s still a nice tune. ‘Infinite Things’ is then the title-track – another synth-led piece with a clear ’80s influence. Whilst starting off sounding a little lesser than one might expect, as the piece develops it becomes clear that this was in fact an excellent choice. The slightly subdued nature of the music really highlights and compliments the excellence of the songwriting, demonstrating just how well it stands. There are some really nice harmonic choices in the chorus, and the backing track continues to build, with some suitably orchestral involvement by the end. Next, when ‘If This Is Goodbye’ begins, I can tell I’ll love it immediately. It’s very held back, with just piano and acoustic guitar to start, showcasing the great thing about Faith – that the songwriting is so strong she doesn’t need any fancy tricks or frills – and of course her wonderful vocals are the icing on the cake. With its beautiful chorus, this is easily one of the best tracks of the albums.

‘Better Than This’ was the album’s first single, although it’s not quite as powerful as ‘Gold’; it’s a very typical Faith song – undeniably her, and couldn’t have worked anywhere near as well for anybody else. In some ways though, this might be its own downfall – it’s so definitively her that it’s a little formulaic and predictable – I would have like a few more unexpected elements. That being said though, it’s still a very nice song – especially the chorus. ‘Me Time’ is then another solid pop tune – a little bit jazzy too – and this is what I really wanted to hear from a new Faith album. It’s a bit understated in parts, but elsewhere it’s quite musically advanced; and Faith demonstrates her huge range – from her lowest depths up to her highest capabilities. And then ‘If Loving You Was Easy’ is another that’s very held back – similar to ‘If This Is Goodbye’, though not quite as strong. The backing vocals are great though – being almost choral in parts; and it’s notable that even in these understated songs, there is still a powerful impact. ‘Beautiful & Damned’ is easily the most ’80s inspired of the album, coming off rather cheesy as a result. The drums, the synth, the reverb – all add to the mix to create this effect, although I worry that these elements are somewhat masking the fact that it’s a slightly weaker piece overall. The fact that it’s the shortest song on the album confirms that it’s likely just filler.

‘I’d Die for You’, though, returns us to another firm, upbeat mood, with some quite Latin-inspired, syncopated rhythms. The Western instrumentation makes it a nice example of fusion in a sense then, and there’s certainly quite a contrast between the different sections. Again, this is another song with fairly advanced parts compositionally. Next up, ‘Living with a Stranger’ is another example of pure pop. Whilst catchy, it’s not particularly innovative, and perhaps a little forgettable overall. However, there’s bound to be a few tracks that miss the mark slightly, and it’s still much much better than the derivative nature of much contemporary pop. And it’s a grower too, which one will surely find themselves enjoying more and more as it goes on. And finally, ‘Last Night on Earth’ is indeed a very interesting one. There are all sorts of influences present, and the song manages to sound somehow acoustic, and synth-led at the same time. This effect is achieved through some really top notch production, and whilst this is very far from the type of bass-driven dance music I usually cover, there are some very subtle elements that seem to be utilising some of the same techniques. The chanting sections work exactly as planned – which is excellently; and there’s a great chorus – it’s a great choice to end what is largely a great album.

Inifinite Things is very enjoyable overall, and will certainly be welcomed warmly by Faith’s dedicated fans. Tracks like ‘Gold’ and ‘If This Is Goodbye’ easily stand amongst her best, and the overall strength of the album is seriously impressive. There’s been an interesting deviation from her usual sound here as well – with a really notable influence of the 1980s throughout, when previously her sound was generally typified by pre-1960s sounds. So whilst the distinctive feel of music still very clearly belongs her, there’s been some obvious progression too, which she’s done admirably. Obviously, Faith has an extraordinary voice, a fact which is so undeniable as to almost go without saying; and I’d recommend this release to anyone, even those usually averse to standard pop music – I’d be surprised if this didn’t prick up your ears, and make you pay some attention. I genuinely can’t imagine anyone coming away from this without experiencing some real appreciation; and thus, Infinite Things is a wonderful addition to Faith’s back catalogue.

Review: Interstellar Swing - Tallulah Goodtimes

I’ve certainly been looking forward to this one. Though I may be mistaken – I think that this is the first time I’ll be reviewing something that I’ve helped to fund, via Kickstarter. Nevertheless, I shall remain my usual, impartial self. Interstellar Swing by Tallulah Goodtimes: as a DJ, Tallulah Goodtimes has been on the scene for several years now, and in terms of her tune-selection and mixing ability, she is one of the best. But this is a new for her – her debut album as a producer. Whilst some elect to remain only a DJ, and others prefer creating tracks but never really performing them live, a true test of one’s talent may come in seeing how one can demonstrate their ability in both of these domains. For Miss Goodtimes, this new album represents the culmination of that test.

The album opens with ‘Universal Love’, demonstrating slow and smooth, jazzy influences to begin with. There’s a very live feel to this one, which transcends beautifully into a fantastically catchy beat. Indeed, each different section of the track seems to have its own feel, but there’s no disconnect at all – it flows perfectly. On this track at least, she has definitely proven her production skills; and there’s some nice, positive lyrical themes too, reminiscent of the likes of Captain Flatcap. ‘Zip Zip’ then launches into something different straight away, but still matching the ultimate feel created so far. There’s a really great contrast between the subtle wobbles and gypsy jazz guitar, with very staccato elements interspersed throughout. One level of interest simply isn’t enough here – something new is occurring at every moment; and just when you think you’ve experienced it all, it drops into a new and even better section. This is the type of track that Caravan Palace would have loved to have released early on in their career. And then ‘All I Wanna Do Is Swing’ brings the tone initially down a bit – it’s more laidback, but still very driving. There are some fantastic bass timbres underscoring the rhythm, sounding like a cross between a filthy synth and a sousaphone – and some gorgeous piano parts too. I absolutely love the subtle details scattered throughout each track – and this one is a great example of that.

‘Dark Eyes’ starts off with some almost Middle-Eastern vibes, before bringing the tempo straight back up, for an insanely fast recreation of ‘Mack the Knife’. We have a continuation of the strong gypsy jazz themes, with this track being the best yet for it: the guitar part is spectacular. Towards the end, the song dissolves into an unexpected operatic performance, quickly developing back into a positively massive bassline, which is incredible – this will absolutely kill at festivals. The guitar then continues seamlessly into ‘Billie’, where its expert skill continues to be utilised, before emerging into a solid house beat. The vocals in this one are very poppy in general, being a bit simplistic in the verses – slightly improved in the chorus – but it wouldn’t hurt to be slightly more dissonant at times. However, the electronic underscoring shines again, particularly so in the chorus, showcasing all its minutely detailed elements. And then there’s an absolutely flawless transition into ‘Brass Tacks (Here For A Good Time)’ – one would be forgiven for thinking it’s part of the same song. The subtitle of this track sums up the sound perfectly – it’s a real party anthem, and definitely one for the dancers. There’s a real fun, synth brass section that introduces the song, and overall, it’s the most explicitly electronic piece of the whole album. Indeed, in the breakdown, we even find a quoted scientific passage, giving the track a genuine space-age, sci-fi feel. More than any other, these three tracks really have something of a trilogy feel about them.

Moving on from this, the title track, ‘Interstellar Swing’ then starts off sounding very much like classic electro swing, with all the familiar characters – the brass, the reeds, the house beat, the phase sweeps. There’s some genuine counterpoint here too, that you don’t often hear in this genre, so props go to Tallulah for including something fairly complex within what would otherwise be quite an expected framework. The track features a nice ending too – suitably grand. And the closing track is ‘Touchdown’, which starts off sounding particularly futuristic, bringing together all the elements to contribute to the album’s overall theme. There’s a great, offbeat house pulse, with a tight focus on the downbeat, which creates a very pleasing rhythmic feel. The breakdown towards the end is very sudden and unexpected; and overall, this track doesn’t feel quite as grand as the previous – perhaps not so much like a traditional closer – though given the album’s general themes, it is arguably placed perfectly.

Conclusively then, one can plainly recognise that Tallulah Goodtimes’s DJing skill has transcended magnificently over to her production abilities. She’s clearly got a fantastic eye for detail, and manages to bring a great and identifiably new sound to the overall electro swing style. The clear inspiration from gypsy jazz fuses wonderfully with the futuristic, science-fiction-esque tone to the overall album, giving one a lovely contrasting feel which works excellently. And there are some really nice vocals throughout as well. I for one certainly hope that she continues along this production pathway, and going by what we’ve heard upon this debut, there’s some real potential for her to become a seriously major player across the entire wider scene.

Interstellar Swing is available from 14/11/20.

Review: Cats & Caboodle - Balduin

The majority of the electro swing artists I feature on this blog are those who populate the UK scene – the region I’m clearly the most familiar with. And regular readers will have noted that some of my more recent reviews have delved into the music coming out of the US. But anyone familiar with electro swing will know that the scene’s roots lie firmly in mainland Europe – primarily in countries such as France, Austria, and Germany. The number of significant artists who have emerged out of Germany in particular is immense, and pioneers of the sound have included such acts as Tape Five, Alice Francis, Club des Belugas, and Sound Nomaden. A relatively recent artist of note is Balduin, a production duo from Frankfurt who’ve been on the scene since 2016. This coming Friday sees the release of Cats & Caboodle, their latest EP.

The first track is ‘Music Box’, which kicks us off with a highly-quantised, piano-based intro that sets the tone for how the EP will play out. It’s a very digital sound, with no real live instruments other than a few vocal lines. However, it’s actually a really motivating tune, and would certainly get a dancefloor moving. Above all, the most noticeable feature is the distinctly European sound – which is very reflective of the act’s origins. This classic electro swing sound is even more prominent in ‘Dirty Dazzler’, but despite this, it manages to sound very modern, taking a lot from cutting-edge pop; in this sense, it reminds me of what I was saying about Riff Kitten’s ‘Nine Lives’. The verses are the standout part – whilst the chorus is slightly clichéd – the verses are real smooth, and add a largely unheard sound to the mix. There’s a nice breakdown towards the end too. ‘Swing It Like Mike’ is a very short song, coming in at less than two minutes, and with a title strangely reminiscent of Klischée’s ‘Swing It Like Roger’. Another digital piano introduces the piece, and largely dominates the track, other than a bit of brass which enters midway. The piece itself is quite simplistic – but in a kind of refreshing way – Balduin are taking super familiar electro swing tropes, but managing to put their own spin on them.

The next song, ‘Move Your Behind’, is the act’s attempt at a hip hop offering, with a noticeable influence of old-school hip hop reminiscent of the Sugarhill Gang, or Kurtis Blow. The flow could be a little stronger however, as nothing jumps out as being too impressive; resultingly, the track isn’t quite as energetic as it could be. I do really appreciate the bass in this one though, which carries a great sound. We then hear that familiar piano again at the start of ‘Love Drug’ – beginning to sound like a bit of a signature. Like with ‘Dirty Dazzler’, the vocals here are strong, and this fusion with contemporary pop really works for Balduin – though it’s not quite as contemporary here, taking more from the influence of ’90s R&B. This song generally has more of a live feel to it than the others, and is possibly the best one – certainly the most innovative. And then the EP finishes with ‘Gloomy Kitten’, which features some nice dark tones punctuated by a lone trumpet – reminiscent of some of Parov Stelar’s latest experimentations on the Voodoo Sonic trilogy (my reviews available here and here). Instrumentally, this is probably the most skilful track, and it’s a great way to end the EP, leaving the listener quite fulfilled – although it could certainly have been drawn out more. Like with ‘Swing It Like Mike’, the track is not even two minutes long.

Cats & Caboodle is an enjoyable little listen, with some easily digestible tunes and nothing at all challenging. My main criticism would be the general brevity – a lot of the songs are really quite short, and have a lot of space for potential innovation; there are several moments of missed opportunity throughout. But aside from this, I still liked the record. One will get what they expect here; if you’re not a fan of the classic European electro swing style, then this may not be for you – but if you know that you do love this sound, then you won’t be disappointed. And this is definitely much more than paint-by-numbers electro swing as well; Balduin succeed in taking what is by now a very recognisable sound, and they push these ideas forward. Whilst there may still be much room left to be pushed into, the songs that make up Cats & Caboodle will leave the fans of this classic style very satisfied indeed.

Cats & Caboodle is available from 30/10/20.

Chucks - In Memoriam

The electro swing world suffered a major shock yesterday, when it was announced on the Correspondents’ official Facebook page that Tim Cole – AKA Chucks – had unexpectedly died the preceding Sunday. As the man behind the music of one of the most exciting acts to emerge in the 21^st-century, not just for the electro swing genre, but across the entire spectrum of contemporary dance music – this news hit considerably hard for a great number of people. Chucks was loved by many, and it cannot be overstated just how influential and innovative the music he produced was.

The Correspondents began their journey in 2007, when electro swing was still in its infancy, and had barely reached the shores of Britain. Primarily a duo, the band was made up of Mr (Ian) Bruce on vocals, with Chucks handling production duties. Whilst never intending to explicitly make electro swing, they were without doubt pioneers of the genre, and songs such as ‘What’s Happened To Soho?’, and ‘Washington Square’ acted as blueprints for literally hundreds to follow. In 2013, the band headlined the first ever Swingamajig festival in Birmingham; and continued to expand their sound, as evidenced by the two albums they put out, 2014’s Puppet Loosely Strung, and 2017’s Foolishman. Foolishman in particular saw the act reach incredible new heights, exploring every genre seemingly imaginable, and effectively rewriting the rules of each as they did so. Songs such as ‘Boss’ beautifully demonstrated Chucks’ tremendous ability to create strong contrasting feelings within the music; whilst ‘Pelo Amor’ was an explosion of influences, showcasing the enormous sound that could captivate audiences every night without fail. More recently, songs such as ‘Who Knew’ developed and pushed their sound even further.

In 2017, the Correspondents played a ten-year anniversary show at London’s Electric Brixton – featuring support from such mighty names as DJ Yoda, Krafty Kuts, Chris Tofu, and BBC1’s Rob Da Bank – and it came as no surprise to any that their career had managed to sustain itself for so long. The fantastic thing about them was that – whenever they were playing a stage – no matter how many times you had seen them perform previously, you’d always want to go again, such was their spectacular performance. Evidence of this comes in the fact that, in almost a decade of Swingamajigs, they’re the only act to have headlined twice – three times if you count the joint headline in 2015. And whilst Mr Bruce would often steal the show due to his outlandish dance moves, it was always Chucks holding down the music, the ever-present force at the back of the stage keeping everything together.

If I may be so bold as to reflect upon my own memories of the Correspondents, that first Swingamajig that they headlined was the first ever electro swing event I attended, and I distinctly remember them being the act I was most excited for. I’ve since seen them many many times – including at Boomtown 2016 with the full live band – and most recently at their Cardiff show last November. That particular show clashed with another gig the same night by Primal Scream, and whilst I was frustrated at the time that I missed out on the Primal Scream tickets, I’m now incredibly grateful that I got to see the Correspondents one last time. Many of their songs are amongst my favourites of the extended electro swing genre, but if I had to pick one it would likely be ‘Carnival’, an unreleased track which was always an absolute highlight of the live show. And whilst I didn’t have the good fortune to have known Chucks personally in any way other than in passing, I’m being truly honest when I say that every mutual friend of ours spoke only highly of him.

The band are undoubtedly one of the most important acts in electro swing, and I’d probably go so far as to say the most important act in the genre to have come out of Britain – and Chucks was the backbone of that. As a result of this tragic news, Freshly Squeezed has made What’s Happened To Soho? – the band’s debut EP freely available here, and I’d recommend a listen to anyone wishing to really appreciate Chucks’ skilful level of production. His work will continue to stand unparalleled, and the sound that defined the Correspondents’ music will remain a testament to his visionary and creative spirit.

Review: Kitty Litter - Riff Kitten

The third and final Freshly Squeezed release I’ll be reviewing this month comes from Riff Kitten, with the album Kitty Litter. Like Atom Smith, Riff Kitten is also a producer hailing from the United States, but unlike Smith – who has been in the game for quite some time now – Riff Kitten, the pseudonym of producer Andrew Reilly, is only just presenting himself to the world – this being his debut album. Having studied as a Classical composer, Reilly’s music reflects this influence strongly, and his music has much of a cinematic feel to it. In this case, that influence is particularly pertinent, as the album is largely being promoted as Halloween-styled music, right in time for the holiday on October 31^st.

‘Little Dancing Skeletons’ begins by putting this Classical element on display with a sharp piano riff. The track definitely starts the album as it means to go on, and the minor tonalities and archetypal melodies create a spooky feeling straight away. The musical timbres sum up the exact ethos of his sound, with what sounds like a synthesised harpsichord (possibly created with a stylophone?) making the music sound both very old and also new. It’s not really a dancey track at all, but certainly has that kind of soundtrack feel to it – a good introductory song, certainly something that could accompany the opening credits of a film. ‘Hide & Seek’ has a bit more of a jazzy flavour to it – though still with the dark, minor harmonies and timbres. The vocals present this feeling well too, with even the lyrics carrying it to a subtler degree – every element coming together to bring this mood completely to the forefront. The mixing comes off a little bit choppy at times, but when it properly kicks in, it kicks in nicely, and gets everything moving to an effective tempo.

The next track is ‘Fallen World’, featuring vocalist Kumiho, whom we’ve already heard on Duke Skellington’s Devils, Dames N Debauchery. The spooky feeling penetrates in this one incredibly well – like you’re on a ghost train, or walking through one of those haunted houses. There’s some great instrumental contrast too, even featuring what sound like a theremin at one point. Then, ‘Nothing to You’ is the first piece to start off really sounding like a dance track, if a little downtempo. There’s a solid bass that goes right through you, and really great production overall; the track is very poppy in all the best ways – being exactly what pop should be. I especially like the piano solo, the minimalism of which is very effective – using only the elements necessary to create the desired effect, and not being at all superfluous. ‘Blue Moon Groove’ starts with a similar vibe to ‘Hide & Seek’ – being as bluesy as that one was jazzy; and like ‘Little Dancing Skeletons’, the timbres are ideally developed to sound both old and new. The track has something of an interlude feel to it, which explains its placement – thought it could still stand on its own. It’s incredibly smooth all the way through, never sounding at all forced.

Following on, ‘Where’s the Love?’ continues with this blues feeling, bringing in elements of country too, and thereby managing to showcase Riff Kitten’s ability to work with all sorts of musical styles and feels. For instance, the inclusion of a banjo, whilst fairly subtle, manages to be one of the most important elements in creating this track’s desired mood. There’s quite a fast tempo considering the standards for this particular genre, and one may also note that the Halloween, spooky feeling has completely gone by this point – which one may welcome or not, depending on what they’re wishing for from the album. ‘Star Saloon’ has been placed ideally in the tracklist, starting with very slight elements of the blues to continue from the feel of the last track, but bringing the darker elements back in, before crashing straight into the electro swing-esque reeds we all know so well in the genre. It’s a nice little instrumental – nothing too great or memorable overall – but I’ve nothing bad to say either. And then we have ‘Catatonic’ – featuring Alanna Lyes. I’m amazed at the amount of times Lyes’ name has popped up on this blog – she genuinely seems to be featured on every current release in the genre, only further solidifying her already fantastic reputation. There’s a good use of double tracking here, and the song also has a very strong synth game – especially on the bass timbres. The piano once again stands out – having something of a Nina Simone feel about it, which I guess is that Classical feel coming through. The only downside is the rather weird ending – the effect works in the way in which it was intended, but I just think it was that good of a stylistic choice.

‘You Make Me Dizzy’ has a nice onomatopoeic musical effect to it, if such a term can be put to use here. It really does make one feel dizzy; everything about this song goes round and round, at high speeds, with all sorts of ideas spinning around the listener’s head. The saxophone is clearly artificial, which is a bit of a shame, but the rest of the piece works well, with some noticeably Parov Stelar-esque vocal samples too. Next up is ‘Nine Lives’ – with its title of course fitting with the artist’s moniker. Again, the spooky feeling seems all but gone, but regardless, this is a great piece of electro swing. Not only – as with the genre – does it sound simultaneously old and now, but the piece even manages to sound like both old and new electro swing – as in, resembling the genre’s classic sounds of the past 10 years whilst also sounding very much like something from 2020. And finally we have ‘The Dirge’, which ends the way we began. Where ‘Little Dancing Skeletons’ could have accompanied a film’s opening credits, this could easily be placed over the closing ones. It even sounds slightly video game-esque actually – the choice of synth timbre is definitely somewhat influenced by chiptune. And the harmonies are suitably epic as well – sounding not just like the soundtrack of a Halloween film, but like the accompaniment to an entire fantasy world.

Riff Kitten’s introduction to the electro swing world is certainly memorable. Whilst the decision to release a Halloween-inspired album may seem somewhat gimmicky, the final result is not, and manages to successfully demonstrate that Riff Kitten is more than just a one-trick pony. Indeed, many of the tracks will perfectly accompany the coming holiday, but many others could be easily played at any point throughout the year. I love the inclusion of Classical music as an influence too, even if only minimal, but the few moments really manage to demonstrate his compositional prowess. I, for one, certainly look forward to what the future may bring for Riff Kitten.

Kitty Litter is available from 16/10/20.

Review: Honky Bardo - Swing Ninjas

Following my Atom Smith review towards the end of last week, the next album to be released in this busiest of months for Freshly Squeezed is Honky Bardo, the latest release from Brighton-based band, the Swing Ninjas. Swing Ninjas take a little bit more of a traditional approach to the swing style, ignoring electronics in favour of advanced musical ability and instrumental arrangements. They’re a fine example of an act who belong in this contemporary scene as a result of their modern attitude and approach, as opposed to any specific technological attribute. As such, they can certainly be considered a crossover act, and I’d recommend a listen to anyone from the most ardent revivalist to the more adventurous radical.

‘Do Ya Hallelujah’ opens the record, a bluesy number with slight gospel influences as well. Already, one can tell that the act is definitely catering to the lindy hoppers, and there’s all sorts of opportunity to demonstrate one’s dancing flair. There are some excellent harmonies, and fantastic piano lines – the musicianship on display here is top notch. This is then followed by ‘Joy She Brings’, the lead single, with its simplistic melody that will be stuck in your head for days. Again, there are some great piano lines, and the same for the harmonica – as well as an effortless saxophone solo; like I said in my recent Deluxe review, this really just feels like a band jamming together and loving it. And a song like this totally demonstrates what I mean about the vintage ethos combined with a modern attitude: there’s clearly a degree of revivalism, but it’s also undoubtedly 21^st-century.

The vocal of ‘Lovin’ for You’ is a little derivative in the verses, but the choruses are catchy as hell. There’s some fantastic interplay between the piano and organ; and throughout this record, the band are really managing to capture the feel of a live act. Then in ‘Forgive Me’, the electric guitar brings with it a bit of an early ’60s rock ’n’ roll feel. This one’s generally quite stripped back texturally; and it’s one of those songs that still manages to keep up the swing feel despite being play quite straight. And ‘Keep on Lovin’ You’ brings with it the return of the harmonica, featuring strongly throughout, and even getting its own extended solo. There’s a slightly syncopated vocal line in the verses, which contrasts nicely with the tutti simultaneous playing in the bridge. And again, the piano is incredibly strong, excellently combining dramatic glissandos with more contained playing.

Continuing on, ‘The Day I Go’ has a very retro feel to it, sounding like something from the golden age of cinema. Featuring a different, female singer with a bit more of the traditional classic jazz vocal style, there’s an apparent influence of the “sweet” style – indeed, this could certainly pass for a Glenn Miller number. ‘Money in Your Pocket’ is another early rock ’n’ roll style tune – something Sun Records could have put out in the ’50s. With its slightly sultry backing vocals, this is a nice change of feel towards the end of the record. And finally, ‘The Thing I’ve Found’ closes the release with another different singer. There’s some lovely tenor sax in the background, providing minimal but effective accompaniment, and the piano continues to stand out. It’s quite an understated end to the album, but it certainly feels appropriate.

Listening to Honky Bardo, I was pleasantly surprised with how many styles the Swing Ninjas have successfully managed to fuse. Swing is of course the main influence, and it’s very bluesy throughout, but there’s also inspiration from rock ’n’ roll, soul, gospel, and beyond. The balance between traditional and contemporary styles is managed to perfection, and as a result, this record would fit beautifully in any jazz collection. There’s a great deal of instrumental talent on display here, with the piano undoubtedly being the standout instrument. And the overall impression one gets from this album is the sense of listening to fine musicians, who know exactly how good they are, and just perform great music without having any reservations about their playing ability whatsoever.

Honky Bardo is available from 9/10/20.

Review: Super Fresh Bits - WBBL

I was quite surprised upon beginning this review to realise that I’ve yet to actually do a proper feature on WBBL. He’s been mentioned once or twice, including his contribution to Extra Medium’s Hot Jazz Rollers on ‘The Beat Goes On’, and of course my Deezguyz review – but that is pretty much the full extent. Indeed, as I mentioned in my review of X-Ray Ted’s On the Floor, there’s a group of seriously funky DJs based in Bristol who I often consider as belonging together, and WBBL would certainly be right up there with the best of them. Super Fresh Bits is not so much of an original album from WBBL, but more a collection of bootleg-type remixes and edits, and the extra incentive to get a quick listen in is that it’s only available for download this weekend. Thus, I made sure to get my own hands on all ten tracks as quickly as possible.

The first track is ‘The Good Shit’, with a very appropriate title, for a song whose immediate slap bass sets off making things as funky as it can get straight away. WBBL is of course known for his funk-based music, and he won’t be letting anyone down here – this is exactly what one would want from him. There’s great energy levels, ideas that work across several layers, and pure positivity throughout. Next up is a remix of Gwen McCrae’s 1981 track, ‘Funky Sensation’. The original has been sped up a bit, and WBBL’s added instrumentation supports the vocals flawlessly, giving the song a brand new flavour. I really like the smooth piano that’s been left in – the best part of the track – and the disco feeling we find is strong. Like with my latest Atom Smith review, it’s clear that this is music meant to make people dance. ‘Griztronics’ is then a remix of GRiZ and Subtronics’ original – this one slowed down slightly. But this is one of those occasions where it’s actually an improvement on the original. It takes a while to really appreciate, but once the main drop kicks in it’s an absolute beast – keeping all the energy of the original, but making it way more interesting.

It then feels like quite the shift to go from the chaos of that into ‘1000’, which brings back the funk with its clever cutting up of its Wilson Pickett sample – managing to make all sorts of new melodies out of it. This is another of those songs that’s been sampled a million times, and whilst no one will be claiming that this is the best example, it’s certainly an original contribution to the collection. ‘Ain’t No Other’ then provides the seemingly compulsory drum ’n’ bass track, with a remix of Christina Aguilera. This is clearly another dancefloor killer, with unbelievable energy – one can feel how much this will go off live, even on just a casual listen. ‘It Runs Through Me’ is then a remix of the fairly recent Tom Misch track, and is definitely funky, but in a different way almost – it’s the best example of what might be called neo-funk on the release. Nicely laid back and chilled, the production is top notch, and the result is an almost futuristic sound. And then ‘Funky Feeling’ is another of those songs that seems to perfectly personify WBBL’s sound – one could easily play this to someone as a distinguishing example of his style. There are also some really brilliant timbres found here throughout.

Coming up to the end of the release, ‘Bad Mama Jama’ remixes the Carl Carlton original, also from 1981, and is a really nice addition to the release. The electronics are held back a bit on this one – at least to start with – and whilst there’s a bit more activity once it properly sets off, they’re still comparatively subtle, with several great little features popping out throughout. ‘Island Bully’ then stands out as a bit of an anomaly on the release; with its loud, punky, cockney vocals, this song has a very different feel to the rest of the ten tracks. Even the electronic parts don’t sound like WBBL, and the piece doesn’t really stand so well here. Although, whilst this would be a problem on a proper album, this is of course a collection of random tracks, so it doesn’t really matter so much in that sense. And then ‘Bullet’ also comes off as an extra addition that wouldn’t really fit elsewhere. Sampling Rage Against the Machine, this is another entirely different approach to funk, and this track simply plays the original for over a minute before featuring any edits. At this point though, WBBL brings in an absolutely massive build up leading to a fantastic DnB drop, and it ends up being one of the best tracks on the release.

So there’s a really good quality collection of bootlegs from WBBL here. It’s of course very sample-heavy, and I’m looking forward to the more original stuff on his upcoming album next year, but this is a great release to keep his fans going in the meantime. Whilst some of these tracks can be a bit formulaic – one doesn’t really need to change this formula when it works so well; Super Fresh Bits certainly doesn’t showcase the finest songwriting or musicality prowess – but its great fun, and provides us with the opportunity for a fantastic time. As I mentioned, this release is only available for one weekend; if you miss it now, you’ll just have to wait until all these tracks are undoubtedly featured on the dancefloor.