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.