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.
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