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.

Review: Bass Age Big Band - Atom Smith

Freshly Squeezed have got a particularly busy October coming up. As one of the finest electro swing labels around – they’ll be putting out three new albums over the course of the month, and have very kindly agreed to give me early access to the lot. The first of this set is Atom Smith’s debut album, Bass Age Big Band, set to be released tomorrow. Hailing from Los Angeles, Smith is one of several artists really pushing this sound in the United States. I mentioned in my Duke Skellington review the extent to which the style is really starting to make waves over in the States, and through this release, Smith is continuing this great work.

The album opens with ‘Bring The Heat’, and immediately, there’s no holding back – from note one you’re in the centre of the action. “Bass Age Big Band” sums up this sound perfectly: there’s a clear influence of the brass, marching band style, but all synth-led in Smith’s distinctive manner. Rapper Burkey features prominently throughout this whole release, and on this track his evident enthusiasm is contagious. ‘Flashin’ Like I’m Gatsby’ is quite a familiar track now, first released over two years ago with its star-studded music video – but I remember when it came out just how fun the whole thing was. Smith, Burkey, and everyone involved just seem to be having a great time. And there’s definitely a distinctive American sound so far: there’s no subtlety here – a track like this couldn’t have come from Europe, so there’s certainly a noticeable distinction. Next up, ‘Voodoo Queen’ features some driving synths which compliment the brass real nicely. Collaborator Miss Emmma’s vocals are excellent too, and there’s a nice little breakdown with a really fun sax solo. Everything about this album just seems to be pushing and pushing, and a track like this could not be deserving of the dance label.

‘Girl Lookin’ Good’ then follows with a slight tempo drop, but there’s still nothing held back. The bassline on this one is groovy and infectious, and feels like it’s penetrating your whole body. And still, ‘Comin’ Up Swinging’ provides more massive dance stimulation once everything kicks in after the clarinet-based intro. This one’s quite a traditional swingy tune – tying in with the name – and it’s always good to include a track like this to demonstrate how much one’s aware of their roots. Continuing, ‘Bright Like Hollywood’ opens with the famous ‘Sing Sing Sing’ drum sample, and I can’t get over the extent to which this album simply forces itself upon you – it’s like the musical equivalent of fast food; even during the breakdown, there’s still nothing held back. Burkey’s vocals really shine in this one – it’s his best track from a purely hip hop perspective, in terms of flow. And then ‘Strange Weather’ offers us our first chance at any respite whatsoever. Seemingly situated in a speakeasy-type location, it’s lovely and smooth, with classic jazz vibes – instrumentally, texturally, and tonally.

‘Ridin’ Dirty’ is another slowish one, beginning with a kind of exotic feel. The verses here are a little bit plain tonally, but the chorus is certainly catchy, and manages to make up for it. There are some subtle Duke Ellington references too, which is appreciated – almost like a musical easter egg. Then despite its title, ‘Fast Girls’ is again quite a slow song; I’m almost longing to get back to the energy of the first half. But again, Miss Emmma’s vocals are fantastic: completely unabashed and showy, and perfect for the song’s allusory lyrics. ‘It’s Not Over’ features a bit of a drum ’n’ bass influence, with an almost liquid feel in the sense that it’s still quite understated. It’s not so much a standout track, but it’s one that you can sit and listen to, and really enjoy all the interlaced little details. By this point in the album, one can really notice that the second half has a significantly different feel to the first. With a few songs left, there’s still various places left to go – as the song says: it’s not over.

‘Not Sorry Charlie’ is then a very interesting track, which feels very musical theatre-esque. The vocals are flashy, and the supporting music has all sorts of different effects highlighting certain lines – there’s even a bit of a scat solo. I’ve heard the idea of an electro swing musical thrown around – an idea I also mentioned in my Dutty Moonshine review regarding ‘The Arrest’ – and something like this could also work very well. The only problem is the sudden, unexpected ending – more could have been done here. The energy from the first half of the album returns for ‘Blaze’, with its Germanic lyrics – an interesting touch, and also featuring British singer Alanna Lyes – making it for sure the most international track on the album. Lyes’ vocals fit the production very nicely; however there are some slightly underdeveloped glitchy ideas towards the end which could have had a bit more work. ‘Stickup Kid’ features the return of Burkey, with some real uptempo energy bringing the feel of the first half back for sure. The production on this track is absolutely fantastic – every piece fits perfectly like a jigsaw; and there’s a really captivating bassline underscoring the chorus. Finally, a cover of ‘Rapper’s Delight’ concludes the album. With its heavy rap influence, and very American sound, one couldn’t have picked a more suited cover to finish the album. Lyrically, it’s just a straight cover, and the vocals don’t really add anything, so the real interest comes in the instrumental arrangement – which no one could deny is delightful.

I had various overall thoughts when listening to this album. The first is that it’s just so optimistic across the whole thing – it kind of reminded me of the Swinghoppers, in that there’s such a clear sense of pure joy throughout. On top of this, it’s undoubtedly a dance album. In whatever sense of the word one can take from that – whether that be EDM, or simply music made with the intention of dancing – it’s all present here. The production is of a considerably high standard too; but what came across most significantly was that this is the sound of American electro swing. Whilst I adore Duke Skellington, I’m sure he would agree that his own style is seriously influenced by British sounds. In contrast, Atom Smith’s music genuinely feels like the new embodiment of this now transatlantic genre.