Review: War Is Over - Smokey Joe and the Kid

Smokey Joe and the Kid are one of the most universally admired acts across the entirety of electro swing. One of the champions of the French swing hop sound, they burst onto the scene back in 2013 with their debut album Nasty Tricks, and have since gone from strength to strength. War Is Over (is that a Christmas reference? It is the right time of year – though it seems unlikely) is their third album, and features a whole collective of guest MCs alongside this production duo. Indeed, any MC should be willing to jump through hoops to collaborate with these two, such is their reputation. Having been very highly anticipated, the pair released War Is Over to the world last week.

The first track is ‘Motherless Jazz’, with classic lo-fi hip hop vibes, reminiscent of the likes of Guru. It’s a beautiful introduction to the album, and it’s significant that it features the word “jazz” in the title, as this this is most definitely a jazz song. With the beat not even coming in until about halfway through, this song clearly knows how to make the most of itself. It’s then followed by ‘Mama Gave Ya’, which is 100% Smokey Joey and the Kid. With a beat that’s funky as anything, this contains cut samples coming in left and right – including the famous Dyke & the Blazers ‘Sally’ sample – all placed on top of a massive brassy beat. Every single element of the song just makes it more and more hyped. And then we have ‘Let’s Go’, which reminds me a little of some of Caravan Palace’s recent output – particularly ‘Moonshine’. Featuring vocalist CW Jones, this is a bit of a chilled one; with an interesting beat that makes thorough use of the offbeat. The hip hop section comes through quite unexpectedly – representing the first rapped verse – which will be the first of many.

‘Beast on Beat’ then features R.A. The Rugged Man, notable for his feature alongside Marcella Puppini on her ‘The Greatest’ back in 2016. He has an excellent voice for this style, continually pushing forwards, and an unbelievable flow. The song itself fuses elements of bebop with more cinematic, almost classical elements. Then we have ‘Over The Limit’ featuring MysDiggi, which isn’t the best when compared to the rest of the album – but is still a catchy tune. The issue is just that, with the rest of the album being of such a high standard, this comes off as somewhat forgettable. One needn’t worry though, because ‘Stick Up’ brings us back to what we’re expecting again. With horns throughout reminiscent of Pharoahe Monch’s ‘Simon Says’, this track features both Pav4n and Illaman, who each complement each other in the best ways; and the interplay between the instrumentation and the vocals is also measured excellently. This is guaranteed to be an incredible tune when performed live – arguably more so than any other across the release. And then ‘Dirty Waters’ presents us with a really bluesy number, which is lovely to find in the middle of the record. Featuring, NON Genetic, some of the rhymes are seriously impressive, with the rapper alternating between sounding friendly and threatening throughout.

The next track is ‘Prohibition 3’; there has been one of these on each of Smokey Joe and the Kid’s records, and this is the second to feature Yoshi Di Original – who also brings with him the freshness of rapping in French. I wish could understand the lyrics, but what I can definitely translate is the mood, which is just sheer joy and fun. Both Yoshi and the instrumentals manage to create nothing but a good time – it’s kitsch but it’s honest – and supremely enjoyable. We then have ‘No Reflection’ featuring Blackout JA, who previously featured on Mista Trick’s latest release on the track ‘About to Blow’. Bringing obvious dub reggae vibes, there is a slight contrast in the instrumentals, in which the fun and joy of the previous track is continued, which overall creates a real party atmosphere. Although quite unexpected, it works really well. And following this is ‘Culture Clash’, bringing back two MCs who have already featured: MysDiggi and Yoshi Di Original. MysDiggi gets to completely redeem himself on this one – and it’s a really great idea for a piece. Smokey Joe and the Kid always present such a combination of cultures within their music, so why not make reference to this in the actual topics of the songs themselves as well? And it’s done so well – even the semiotic nature of the instrumentation presents this completely clearly. I also love the use of the Monty Python samples too.

‘Get It Done’ then presents another lo-fi hip hop number, with some bebop elements as well. The track features rapper Yudimah, who just sounds so relaxed, totally tying in with the vibe of the music. There’s nothing over the top here; they use only the most necessary elements; and there are some really nice jazzy chords towards the end too. We then have another bluesy one with ‘Hope’ – though not quite as up there as ‘Dirty Waters’. The track features Blake Worrell, though unfortunately is perhaps another missed shot, as it’s not too memorable. However, yet again – the record is of such a high standard that I can’t complain. Like the previous number, it doesn’t overdo anything, so one can definitely acknowledge the great use of restraint demonstrated in the production. And finally, the title track ‘War Is Over’ closes the record, featuring some trip hop elements that sound really quite dreamlike and experimental. There’s an absolutely fantastic, withdrawn beat featured; the drum loop here is superb. And in the horns, the scale that’s made use of is so effective, with each accidental bringing a new feeling with every individual note. ‘Motherless Jazz’ provided a beautiful introduction, and now we have a beautiful conclusion as well. This bookends the album amazingly, and there is no way one could come away from this release having not at least been left impressed by this close.

Smokey Joe and the Kid have once again demonstrated why they are at the absolute top of the electro swing game. I regularly go on about France having the greatest hip hop output at this moment in time, and records such as this perfectly demonstrate why this is also the case. One needn’t think of it as an excellent electro swing record that makes use of hip hop, or an excellent hip hop record that makes use of electro swing; this is an excellent example of both genres, whether being considered in relation to one another or not. And even the slight misses are still better than much else we hear across these scenes. There’s a reason why Smokey Joe and the Kid are adored by both fans and practitioners alike, and through War Is Over, that reputation is not going to change one bit.

Review: Race To Nowhere (Part One) - Mr Bruce

Ever since Mr Bruce first announced his solo project, many fans have been eagerly anticipating his first release. Across this scene, Mr Bruce is arguably one of the most respected musicians, and certainly one of the most respected singers one can find. And following the tragic death of Chucks, the other half of the Correspondents last year, there has been a lingering question as to what Mr Bruce would do next. Race To Nowhere (Part One) is the answer to that question, ironically showcasing a very important record for the electro swing scene – despite not featuring any electro swing itself. Working alongside producer Angus Kemp, Bruce here presents us with five original pieces.

The EP opens with the title track, ‘Race To Nowhere’ which is both recognisable as something we’re familiar with, whilst also sounding like something entirely original. He possesses such a distinctive voice, and it completely fits the style – with some noticeably dark lyrics as well which will be a theme across this release. Kemp includes many subtle individual parts throughout the production; with the song building throughout – especially towards the end – and setting the EP off with a bang. One can definitely recognise this as a successor to the Correspondents, taking the best of what they created and yet moving in an altogether new direction. The next track is ‘I Am Disaster’, in which the lyrics are even darker, introspectively exploring Bruce’s feelings of guilt and personal responsibility for the problems of the world. Partly acapella, many of the instruments are made up of his own processed vocals; and there’s a very clear drum ’n’ bass influence, with endless energy. The track is perfectly designed to absolutely go off live – it’s phenomenal. Without a doubt one of the best songs of 2021.

Following this is ‘Easier’ – a moment of respite we’re given in the middle of the EP. It feels like one should possibly have a moment of relaxation to this, and yet it’s impossible to shake that unmistakable feeling of dread and unease. Very different from the rest of the release, but of course - it's just like Mr Bruce to present us with something different and unexpected. And as a side note – this song has one of the most creative music videos I've ever seen. The energy then comes back up for ‘I Must Confess’, which starts off sounding almost like something from an acid house Ibiza rave. The vocals are rapid in this – he's been largely singing on the record so far – but this song reminds us of his prowess as an MC as well. It's amazing how he can present such energetic music for such downbeat lyrics – and yet the fusion is flawless. There's no slowing down at all here, and the breakdown toward the end providing just a further moment of commotion. And finally, the EP ends with ‘Volatile Times’, featuring a bit of a garage influence, even bringing this in within his vocal inflections. Whilst it’s not quite as powerful as the other fast numbers, there is more diversity within this one, and the final few moments in particular I love. Whilst this song ends the EP with a message that is still disheartening overall, there is perhaps a little more optimism here than in the remainder of the release.

With this release, Mr Bruce has proven that he can absolutely hold his own as a solo artist. The death of Chucks was of course heartbreaking, and the music that the two produced as a duo was fantastic. But working alongside Angus Kemp now, Bruce is showing that he is not letting anything get in the way of his talent. These songs are brilliant, and there is so much potential demonstrated within them. This potential is especially potent when considering future live performances; and one may note his plans for a solo tour next Spring. Personally, I already have tickets for the Cardiff show, and coming off the back of this record, I genuinely cannot wait.

Review: Lies Here - Alanna Lyes

Since emerging on the scene as the frontwoman for Grinny Grandad, Alanna Lyes has quickly become the go-to singer for contemporary electro swing. From Duke Skellington, Atom Smith, and Riff Kitten, to LVDS, and Emma Clair, Lyes has firmly established herself as one of the most productive practitioners on the scene. So it was only a matter of time before she released her own, solo debut album. Yet this comes as something of a shift away from any previous associations of hers – this is not what one would call a standard electro swing release. Instead, Lyes has worked on developing her own unique sound, which is showcased across this record – produced alongside Atom Smith and Riff Kitten – Lies Here.

 

The album opens with ‘Back Around’, featuring a very lilting, gentle rhythm, which reminds me of some of Parov Stelar’s really early work – before he developed his signature sound. There’s a nice live feel to it all, with some reserved electronics that don’t ever overdo it – and a middle-eight section with a very loose, almost hip hop vibe. ‘Mine’ is a folky pop number, really smooth, with beautiful vocals over the top of the somewhat restrained instrumentation. It’s a great vocal showcase, with some parts that completely isolate the vocals, whilst others build fantastic harmonies upon itself. And the brass parts shine through just as much, in both homophonic and solitary sections. Following, some interesting bass timbres introduce ‘Wonder’, although they’re used only sparingly; and the vocals continue to come from all different directions. I often talk of jazz as being an approach rather than a sound, and this song perfectly exemplifies this – through its use of new and innovative ideas. It brings in elements of contemporary pop, but includes them in completely unique, almost unrecognisable ways – brilliant.

 

Up next is ‘Both Feet’, in which a simple piano introduces a similarly simple vocal melody, which gradually grows into a kind of Beatles-esque progression – and indeed, parts of this song sound almost like psychedelia. The chorus melody comes off as rather haunting and unnerving, yet oddly comforting at the same time; I can imagine this being played at a festival against the setting sun. We’re then greeted by the swinging clarinet that introduces ‘Broken Paradise’. Again, the vocal layering across this release is superb, and this song showcases it perhaps more than any other. There are other sections too in which the vocal line remains on one note, demonstrating how interest can be attained through rhythm alone; and the counterpoint displayed in the instruments throughout is a masterclass in compositional technique. More contemporary pop comes through in ‘Loving Me Is So Much Better’, which although not as unique or innovative as the others, stands out for its catchiness and memorability. With elements of acid jazz in parts, the production is brilliant – and the instrumentation stands out again. I can't even always tell what all the various instruments and sounds are, but I know I want to hear more.

 

‘Disappear’ makes obvious use of the famous James Bond motif, and as a result comes off as a noticeably cinematic piece. It’s far from just a homage to cinema however, standing as its own piece as well, with some almost glitchy elements included as the song develops – though kept respectfully subtle. I’ve got to mention Lyes' excellent vocals here too; again, there's a clear reason why she's so in-demand. ‘Diver’ is then a particular highlight, immediately quite different from the rest with a strong house beat. The chorus is catchy and melodic, the sax line really stands out, and the production is again fantastic – with some of the post-chorus sections provoking an almost physical reaction. I can definitely see this one becoming a fan favourite. And then ‘Overnight’ exhibits a huge range of influences, sounding especially elegant as the piece moves between some beautiful trumpet parts, and others that sound almost Renaissance-inspired. The piece seems particularly composed as a display of vocal talent, with Lyes using her voice in all sorts of different ways, showing off both her range and agility.

 

Track 10, ‘Supernova’ features more slightly unfamiliar instrumentation, beginning with the sounds of the flute. It reminds me more than quite a bit of Boogie Belgique – but with an added emphasis on the vocals of course. We again find a subtle hip hop influence; and there are some excellent bass modulations that underpin the piece, really adding a layer of tension. This is potentially the best track on the album – with some great vocal counterpoint, as well as a whole array of elements that emerge toward the end – it’s terrific. ‘My House’ then follows, in which Lyes shows off her fine ability to express strong emotions, and we can feel every word. The added electric guitar provides this piece with a rockier element - and the hip hop influence finally comes out in full here, with a rapped verse from Maria Laveau. With backing vocals from Kumiho too, this is a real melting pot of genres – all very inspired, and all placed together incredibly smoothly. I've nothing bad to say. The final track is ‘To My Former Self’, ending the record with a slow, relaxed number. Introduced by a solo piano, it gradually develops into an exquisitely constructed chorus. Again, we can feel the emotion here, but in this case it’s one of lament. A beautiful composition – this was without doubt the right way to end the album – leaving us on a bittersweet note, but with a newfound recognition and admiration for Lyes and her music.

 

It’s not often that an artist comes along with a totally unique sound, but that is what Alanna Lyes has managed to do here. I really have to commend her for breaking out of her electro swing mould – and showcasing her ability in a truly original and innovative way. This isn’t what one would expect coming to it straight from her existing featured tracks – but regardless, any listener will not find themselves disappointed. Lyes has fully demonstrated her singing prowess, and has proven herself worthy of a solo career, if that’s the direction she chooses to take. Either way, this record will only serve to put her in even higher demand.

 

Lies Here is available from 22/10/21.

Review: You - Mista Trick

Mista Trick’s You is very much the Chinese Democracy of the electro swing world. With the crowdfunder having been first launched back at the start of 2018, many wondered if this album would ever see the light of day. There have been several setbacks throughout its production, but as of the other week, You has finally been released to the world – the latest on Freshly Squeezed. Known for being one of the pioneers of the ever-popular swing ’n’ bass sound, this release has seen Mista Trick with one hand stuck firmly to his roots – and the other, reaching into altogether new creative territory. And as with SwinGrowers’ Hybrid, also on Freshly Squeezed, the album demonstrates what can be created when completely forgoing samples in favour of entirely live instrumentation.

The first track is ‘Do What You Do’, featuring the sultry vocals of Slamboree’s Kathika, who shows her prowess beyond the crowd-commanding vocals that we're used to from her. This piece starts off as a lovely jazz number, before crescendoing into the DnB of Mista Trick that we know and love – with some fantastic saxophone lines underneath everything throughout. The music manages to create a sense of limitlessness, feeling – more than anything else – empowering. Following this we have ‘Drive’ – the first of four in a row to feature frequent collaborators Elle & The Pocket Belles, whose close harmonies always shine; no one else in the UK can do it as well as they can. With an influence of soul on top of everything else, the progressions in this piece are so smooth, with every part flowing beautifully into the next, and every layer adding something new. This shows some excellent compositional maturity – Mista Trick certainly has his signature sound, but he’s far from a one-trick pony. And then next up, we have ‘Golden Sound’, with more traditional jazz vocals. The first track to not feature drum ’n’ bass overtly, there is a brilliant use of brass, and Mista Trick demonstrates his fresh scratching skills – this is something I haven't really seen from him before, but I love it – he’s got a great ability. Lyrically, this track can be said to be a summation of the overall sound – presenting an excellent reflection of the music itself.

‘Kick Up Your Skirt’ begins with the sensation of a live show, emulating that spontaneity that comes with such a performance. It’s probably the most classic swing sounding track of the release – very upbeat and toe-tapping, although not without several hints of something darker throughout. And it’s the type of song that could work just as well either as an a cappella performance, or in a filthy remix – a sign of a fine composition. After this, ‘Playing To Lose’ – with its Caribbean island vibes – features a clear Caro Emerald influence. There’s some great interplay between the horns, and featured trumpeter Jackson Mathod’s solo is exceptional. This is all underscored by some very subtle synth lines throughout, which add an undeniable extra tone. I can’t help feeling that the next song – ‘Shambala’ – should be considered the third in a series, following Slamboree’s ‘Big Bada Boomtown’, and the Electric Swing Circus’s ‘Swingamajig’. This is a deliberate attempt to recreate the sounds of one of the UK's most-loved genres for vintage remix, and with similar lyrical themes to ‘Golden Sound’, creates a feel of a straight good time. This is 100% a song to listen to on a sunny day. The DnB has returned for this one, although it’s quite held back; Mista Trick is really managing to display his dexterity here. And following, ‘Lost in a Glaze’ features HypeMan Sage's hyperactive flow, distinctive and instantly recognisable. It’s a quite unique song, and Sage’s first verse feels a little like a separate piece that's been stitched on – whilst they both work well on their own, I'm not completely sure if they fit perfectly together. That said though, the instrumentation is very well placed throughout, with constant little details to be picked up on all the way through.

Elle & The Pocket Belles return for ‘Skitter Skat’, providing backing vocals for the inimitable Ashley Slater, of whom it was a fantastic decision to get him on the album. The bass is starting to get a little bit dirty again here, and towards the end, one can tell exactly what direction the album is heading in by this point. But the cheerful vocals remain over the top, with Slater – ever the entertainer – performing two short scat solos as well, and the contrast works perfectly. I’d go so far as to say that this is arguably the most enjoyable piece on the record. Next, I haven’t come across Harriet Hayes before, but her vocals on ‘Something's Rising’ are a lovely addition, really emphasising the sound whilst showcasing her own ability. The horns provide an excellent refrain as well, constantly underscoring the vocals; and towards the end Gambit Ace steps in to feature on a verse. A particularly talented rapper who’s worked with Mista Trick several times before, I rate Gambit Ace very highly, and I’m very glad to see him feature here again. This piece is another that continuously builds to some intense levels, and features some more great scratching again towards the end. Finally, with ‘About to Blow’, one may note that these last two songs tell a very short story titularly – which perfectly reflects the close of this album. We've built to a fantastic level, with the final piece displaying the huge energy that Mista Trick is known for, characterised by both his live performances and the iconic mixtapes that launched his career. Tenisha Edwards and Blackout JA add great elements to the piece – creating a fantastic overall sound; it’s an energetic end to the album, and a very memorable one.

It’s been a long wait for this album, but it has certainly been worth it. Every piece on the record stands out in its own way, and the creativity, innovation, and versatility on show are masterful examples of how one may approach this genre. There will no longer ever be justification for considering Mista Trick simply the swing/drum ’n’ bass guy. Through You, he has demonstrated to a serious extent just how imaginative one can be with this sound. He has by now earned his place as one of the major players in the UK scene, and can stand alongside any other act or producer. I may possibly place You as the best electro swing release to come out this year. Unless something significant comes out in the next few months, I think it likely will be.

Review: Bootleggers & Hep Cats - Mr Automatic

One of my all-time favourite electro swing experiences was in April 2019, when I travelled over to Chicago for the Roaring City festival. The two days were an excellent showcase of some of the genre’s most exciting upcoming artists, and I loved getting the chance to see many of those whom I had never seen perform before. This whole event came together thanks to two people – Vourteque, and Mr Automatic, who did a fantastic job overseeing it all. It’s such the case then, that I hold the both of them in very high regard, and so I was glad to see this week that Mr Automatic has released his latest EP, Bootleggers & Hep Cats.

The EP opens with ‘Booby Traps’, a remix of the Andrew Sisters’ performance of ‘Strip Polka’. The piece starts with some iconic muted trumpets before delving straight into an electronic beat, and Mr Automatic makes extensive use of samples, each one building on the last. Following the introduction, there are some seriously heavy bass drops, and the contrast between this and the vocal sample is so distinctive – but it fits excellently. There’s many different layers to this one, ending with a robotic, funky bass – and the whole piece reminds me of Green Queen Music’s Ghetto Swing compilation, released back in 2013, of which this could have fit perfectly.

Following this we have ‘The Bogeyman (Goes to Ypsilanti)’. Again, there are all sorts of samples utilised throughout; with the song also featuring a noticeably unusual progression compositionally – with major chords played over a minor bassline – which certainly catches the ear. I can’t help feeling that this song is not quite as directional as the other two however – there are some fantastic ideas, but I'm not always completely sure where they're leading. There is a lot of excitement though, and the overall piece is mastered excellently.

The final track is ‘In the $$$’, in which he once again demonstrates his real knack for finding those samples that give off hugely vintage associations. There’s that great contrast between the heavy bass and the upbeat retro vibes again, which he’s able to achieve effortlessly, and the track can be summed up – more than anything else – as great fun. Through the wacky samples, the distinctive swing-era vibe, the dancey basslines – Mr Automatic has managed to create the exact feel that he's going for. Overall, this one is slightly more laidback than the rest, providing a nice way to finish the EP. It's been a short journey, but undoubtedly – it’s been fun.

On top of everything else, I also feel that it’s worth mentioning the artwork – which Mr Automatic has designed entirely himself, due to his additional work as a graphic designer. It fits the feel of the release incredibly well, and seems to completely encapsulate his sound in visual form. Ultimately, I really enjoyed this one, and was very happy to see that it had been released this week. Fans of Mr Automatic will undoubtedly appreciate it too: whilst taking a slightly new direction, the music is still distinctively his. I very much hope I can get the chance to see him perform live again some day, and if so – that some of these songs make it onto the set list.

Review: Swing Sisters - Various artists

This particular album has been quite highly anticipated, being the first fully-female centred compilation throughout the genre. Electro swing has scores of incredibly talented women making wonderful music, so it only makes sense to showcase many of them together across one release. Curated by Emma Clair, what’s also great about this compilation is that it’s very much an international affair, featuring performers from the UK, Italy and the United States. The project has an absolutely stellar line-up, and with so much talent, there is a clear potential for it to be one of the most significant releases for the genre this year.

The album opens with ‘Sisters Are Doin’ It For Themselves’ – a cover of the Eurhythmics and Aretha Franklin classic from Emma Clair and Alanna Lyes. This was first released as a single back in May for International Women’s Day, and it’s a very appropriate opener for this sort of project, being loud and proud, and demonstrating a clear feminist message. Featuring a classic European house style sound, this is a typical Emma Clair number, sounding almost French in its production, reminiscent of the likes of Bart&Baker. We next have ‘Legend’ from Kumiho, whom I first encountered on Duke Skellington’s most recent EP last year. With a clear Jamie Berry-esque production style, this again has a very housey vibe, fitting what seems to be the feel of the album. I feel there could be a little bit more of an emphasis on the vocals – Kumiho has a lovely voice, which is the best part of the piece, and isn’t utilised quite enough. And then we have Rosantique’s ‘Bambola (Tu Mi Fai Girar)’, sung in her native Italian. We’re starting to hear more foreign language electro swing, which I absolutely love, and this reminds me of SwinGrowers’ ‘Precipitiamo’. It’s largely house again, with a slightly unusual breakdown towards the end – and whilst I’m starting to wish for a bit more variety, this is arguably the best song so far. It’s impossibly dancey, the bounce is limitless, and there’s great production. And it’s cheesy, but that’s very much the intent.

This cheese continues into ‘Don’t Girl’ by Madam Misfit. Again, more house, but with the singer’s distinctive chap hop sound – although maybe we need to find a female version of that term? The song has a pretty catchy chorus, and it’s generally what one would expect from Madam Misfit. Emma Clair returns for ‘Hey Sister’, a reworking of Patti LaBelle’s ‘Lady Marmalade’ alongside Italian singer Dani Milano. I’ve been hearing more and more about Milano lately, and this track features your very stereotypical electro swing sound, with the almost ragtime-esque piano, and the solo reed lines over the top of it all This is nothing more than just plain fun, and those who appreciate their classic electro swing will certainly like it. And then we have Natalie Nightingale’s ‘Dancing Shoes’. I haven’t come across Nightingale before, and whilst we still have this clear house influence, it’s slowed down a bit to allow for more variety. As such, this track stands out somewhat amongst the rest. There’s more of a jazz influence as well – I get the sense that she comes from more of an actively musical background; and there’s an interesting breakdown too, with some very poppy overtones.

Following this we have ‘Running Wild’, a three-way collaboration between Emma Clair, Maria Laveau, and Tallulah Goodtimes. This presents something quite different; from the very start, it stands out as unique to the rest of the album. With a very driving rhythm, and a memorable bassline, this is probably my favourite of the release. I’m a big fan of Goodtimes, as shown in my review of her debut, and again her prowess shines here; and Laveau’s verse is a highlight too. Blush Fox Trio’s ‘Play It Hot’ starts off quite Glenn Miller-esque, with that classic swing-influenced sound; as with Natalie Nightingale, I get the sense that they may be a bit more used to this sort of style. There are similarities to Kumiho’s track too, in that the whilst the backing instrumentation isn’t the best, the vocals are excellent, and their close harmonies really pull the track up. The production is very reminiscent of that kind of early, ’08-’09 era electro swing, though I get more into it as it goes on. By the end I’m really enjoying it. And finally we have ‘Disco Swing’, once again from Emma Clair and Alanna Lyes. Still very housey, this is what we’ve come to expect from this duo – it’s what they do best. With that classic, Chicago house style vibe, this is guaranteed to go down great in clubs; and I really enjoy the disco influence too – I would like to see more of this across the genre. It’s nice to hear a track mention electro swing by name too. There’s a fantastic use of the samples, and Lyes’ vocals shine, resulting in a great closer and one of the best tracks of the album.

I really like the intention of this album, and I love the fact that it specifies it is Volume One – I’m definitely looking forward to the sequel. I will criticise the fact that there’s too much house across the whole record, and I’d certainly like to see more variety in future releases. But Emma Clair has done a really honourable job in compiling this release. The female producers and performers across this genre need to be proudly showcased, as there are some truly marvellous individuals. I’m very glad that this compilation has been made, and I expect it to make a serious impact.

Swing Sisters is available from 24/09/21.

What I've been up to

We’re exactly six months into 2021 now, exactly half a year, and I’m a little bit embarrassed to acknowledge that I’ve only posted three entries to this blog so far this year. In contrast, by this time last year, I’d posted 25 times, so I’m certainly not keeping the blog as up to date as I was in 2020. Admittedly, I spent half of 2020 locked inside, with an inordinate amount of free time, so perhaps I shouldn’t be too hard on myself. And as I will presently explain, I have had a lot on this year. So this post will simply serve as a bit of an update, to exhibit all that I’ve been doing in the past six months, as well as what I’m currently working on.

As I expressed in my final blog post of 2020, 2021 was the start of a new step in my career, taking on the role of Learning Support Coordinator at BIMM Bristol. So along with being six months into the year, this week also marks six months in the new job. It’s been a brilliant experience, and I genuinely love the work that I’ve been doing. I’ve had some fantastic experiences, and I’m eagerly anticipating the next six months and beyond.

Elsewhere on that same post, I discussed the transition of conferences to the online format, and suggested that I would make an extra effort to attend more of these, as well as hopefully getting the chance to attend some more in-person events. Whilst we’ve yet to encounter the return of such physical events, I’m happy to say that I have managed to maintain more of a presence at the online replacement events. One which I will mention was particularly unique for me – presenting a TEDx talk, which is a first. It was an interesting experience for me to present my research in more of a public-facing and accessible manner; the subsequent video can be seen below. And at this weekend just gone, I delivered a paper at the international Documenting Jazz conference, hosted by the University of Edinburgh, entitled: ‘Electro Swing in Europe: Hopping the Atlantic to Become a Dance Music Phenomenon’

I’ve also been very busy writing this year, and have had two publications out so far over the course of 2021. The first of these was for the latest issue of the Journal of Popular Music Education, with a chapter called ‘Focus Wales: A Showcase Festival of Music Performance and Education’. And not long after this came the release of the book The Evolution of Electronic Dance Music, featuring a chapter of mine entitled ‘Second-hand Stardom: Connotations of Sampling for Electro Swing’. Whilst any publication is exciting, I especially love getting featured in a book, and subsequently receiving an actual physical copy of the thing with your own words in print.

And there are plenty more publications still to come. I have an upcoming chapter about the Swingamajig festival and the Rainbow Venues in Birmingham, in an upcoming collection about lost venues. I’m collaborating with the brilliant Dr Ashley Morgan on a paper about the Running Punks. And I have another exciting project in the pipeline which I don’t want to reveal too much about yet. But most thrilling of all, I have recently had my contract through for my first ever book of my own! Publishing with Routledge, I am converting my PhD thesis into a full monograph, and aim to have it out by next summer. This is by far the most exciting of all the projects I’m currently working on, and although it’s going to take an outrageous amount of hard work, I can’t wait to release it to the world.

So things are moving along very nicely in 2021 – the only downside being that I’ve consequently neglected this blog. I’d like to say that I hope this will change in the second half of the year, but I know in all likelihood that this is almost certainly not the case. But I will still try to post as often as I can. There are several key releases coming up this year that I fully intend to review, and I’ll post here and there whenever I can. Ultimately, this post is simply to say: I’m still here! Yes, I have a lot on – but that is undoubtedly a good thing.

Review: Electric Swing Circus Remixed Vol. 2 - Electric Swing Circus

I’ve covered a lot of Ragtime Records releases on this blog, and with good reason. As one of the UK’s most significant labels for electro swing, there’s always a deal of anticipation leading up to anything that they put out. On Tuesday, the label released Electric Swing Circus Remixed Vol. 2, with many of the genre’s favourite producers collectively creating various remixes of tracks from the past few years of the ESC’s output. Featuring six tracks, this release has multiple remixes of ‘Connected’, ‘Minotaur’, and ‘Invisible Man’, the three tracks featured on their most recent EP, which I reviewed back in 2019. As I spoke so highly of that particular EP upon its release, I was imminently curious as to how this would compare.

The first remix is Featurecast’s version of ‘Connected’, which brings housey vibes, along with his characteristic bass. There’s a nice contrast between the brass and the electronic elements, being mixed perfectly – both in production, and composition; and the breakdown halfway through gives the song an almost quite emotional quality. This is a fantastic track to start on, and it’s going to take some beating. Next up, it wouldn’t be a Ragtime Records release without a C@ in the H@ feature, and despite working across so many styles, he always manages to maintain such a distinctive sound. I remember him once telling me how the best thing about electro swing is the fact that you can take your tracks in so many different directions, and do such creative things with them; through its various tempo shifts, and all sorts of different ideas being brought to the forefront, this remix of ‘Minotaur’ exemplifies that to the fullest effect.

The only remix of ‘Invisible Man’ comes from Wolfgang Lohr, of which I think this is his first feature on the label – and he immediately brings his recognisable house influence. It sounds like it could be a little tame and standard at first, but as soon as the beat drops – these worries are completely scattered – as we’re thrown into a whirlwind of chaos. The standard is absolutely first-rate – a complete tour de force. And then we have another remix of ‘Minotaur’, courtesy of Duke Skellington. He’s really been bringing these dark EDM tones lately, and they’re put on full display again here. There’s a lot going on in the lower end of this mix, so I’d definitely advise listening with a good pair of headphones. It’s undoubtedly a change-up from the rest of the release – going in much less of an obvious party direction than every other producer has chosen to; again, this really shows the dexterity of the electro swing genre.

On the complete other end of the scale, Tuxedo Junction are 100% fun, which is immediately signalled through the sampling of a cheesy jazz intro for their remix of ‘Connected’. That being said though, the bass drop is filthy, demonstrating that this duo can turn their hand to a very wide variety of moods and feels. There isn’t actually too much of the source material utilised either, so it’s an inventive take on the ESC original, and another great addition to the release. And finally, perhaps the track I was the most intrigued about is the final remix of ‘Minotaur’, from Tom Hyland himself – guitarist for the band. Hyland has been DJing for a good while now, and this is his first foray into production. His infectious in-person energy has absolutely translated across to this remix, bringing upbeat vibes, and maximising each and every element of the original track – with just a hint of disco as well. He’s nicely changed some of the harmonies through his compositional choices too. This whole release has been really great fun, and this ending is just ideal.

I really enjoyed the various remixes throughout this release. I love the extent to which the complete freedom of electro swing has been thoroughly explored throughout, demonstrating just how much potential there is for this genre directionally. There’s certainly a lot of house, but there’s also elements of funk, dubstep, disco, and much more. Whilst sticking largely to the Ragtime Records family of Hyland, C@ in the H@, Duke Skellington, and Tuxedo Junction, the fact that they’re branching out and including tracks by Featurecast and Wolfgang Lohr is also a great addition, and will be much appreciated by fans. All of these producers can certainly stand strong in their own right, and when working with an act like the Electric Swing Circus, can create something exceptional.

Review: Hybrid - SwinGrowers

With the return of gigs on the horizon, I know I’m not alone in eagerly anticipating the chance to see some amazing live acts again soon. In the electro swing world, whilst the genre is largely populated by DJs, many of the most prominent standout acts are those who make up a full live band, and one of the more significant of such acts is the Italian SwinGrowers. Having started life as a duo, the act quickly evolved into a five-piece, before scaling down slightly to become a quartet for their latest incarnation, and their latest release, Hybrid. Now based in the UK, and regularly releasing through Freshly Squeezed, SwinGrowers have something of a legacy throughout the scene, and expectations are always high. It is upon this reputation that they will be releasing this – their fourth album.

The intro track, ‘In the Blink of an Eye’ opens with lyrical references to ‘Butterfly’ off of their previous album Outsidein, and is quite a different tone to what we’re used to. The use of free time gives a very ambient feel, and the spoken word introduction presents a kind of mystical, mysterious quality. After launching into ‘Hybrid’ however, we’re initially straight back in with that familiar SwinGrowers sound. There’s a persistent counterpoint to the brass, emphasising everything else, and the interplay between the bass and vocals in the build up to the chorus sets a real mood of anticipation. When this hits, it’s not as big of a sound as some of their past releases, but this slightly restrained quality signals that this is much more than just a party track. ‘Follow the Stars’ features a very clear Caravan Palace influence.  With its smooth vocals, soaring over the top of everything else, it’s equally spaced between being an upbeat dance number, and something more in the vein of classic songwriting – as shown by the half-tempo mid-section which demonstrates an almost Gershwin-esque jazz sound. And then, ‘Seven Million Faces’ is more downtempo, straddling all sorts of influences – with a hip hop beat, somewhat Britpop guitarwork, and a build up towards the end that’s almost Europop sounding. There are some really catchy vocal melodies in the chorus, which is also added to by the saxophone; and a very nice breakdown toward the end as well.

Next up is ‘Precipitiamo’, with some excellent harmonic choices, constantly dancing around the tonic but rarely settling. I love to hear different languages in electro swing – as we did with Deluxe’s En Confinement – and this Italian inclusion is a great addition. The synths and saxophone blend in a great way which just washes over you; and there’s even an unexpected hint of drum ’n’ bass towards the end, interspliced with some rock ’n’ roll guitar over the top of it all. Following, ‘Dreamland (Say Goodbye Bye Bye)’ features the sound of classic uptempo, big band jazz – with the brass foregrounding the belted vocals, and more brilliant guitarwork. Many original electro swing compositions strive to sound like something the pioneering bandleaders of the swing era could have come up with before being remixed – and SwinGrowers have achieved this here. And then ‘Wannabe’ comes in with its Charleston-esque influences; this is absolutely the tune that I want to hear once the bars are back open again. There’s a fair bit of playing with structural expectations here – keeping it interesting and going against the norm; and also a noticeably retrofuturistic sound – with its space-age bleeps and bloops.

This sound continues into ‘Invisible Army’ and the notion of retro doesn’t stop there either, as there’s a clear ’90s sound along with the more vintage aspects – through the use of R&B reminiscent of that particular style and era. Through this, there’s something of a hip hop element as well. As the piece progresses, all sorts of layers are gradually introduced throughout its duration, and plenty of points of interest are resultingly maintained. ‘I Don’t Know (How to Love)’ features more rock ’n’ roll, along with a clear funk influence too. I also welcome the lyrics, with some cheeky references to everyone’s favourite Duke Ellington number. Again, there’s more than a bit of a ’90s R&B influence, with the saxophone performance noticeably reminiscent of this era’s propensity for that instrument. And finally, the album end with more Charleston – through ‘Rose’. Elements of this track are clearly made to sound like they’ve been lifted directly from a vintage recording – and the extra effort is appreciated. ‘Rose’ has a solid beat, a little bit of gypsy jazz, and some more Caravan Palace inspiration – evident in the synths. Again, we also find some more unusual compositional choices, which really pay off in eluding some of our familiar expectations.

Hybrid is a fine addition to both the SwinGrowers, and the Freshly Squeezed catalogue. My one criticism is that there aren’t necessarily any of the standout tracks that we’ve heard in the past – think ‘Via Con Me’; ‘Butterfly’; ‘That’s Right!’. But overall, the album has no low points, and manages to maintain a consistent quality throughout. Acts like SwinGrowers manage to do the electro swing sound in exactly the way it’s done best, leaving the listener completely satisfied. In terms of sustaining one’s fondness for the style – you can’t get much better than this: it’s so inescapably electro swing. SwinGrowers are amongst the best of all the acts on Freshly Squeezed’s roster, and with releases like this, they can only expect to maintain that reputation.

Hybrid is available from 26/03/2021.

Review: The Reach - Afro Cluster

It’s been a bit of a while since I posted anything to this blog. I’ve certainly had a busy start to 2021 – which I suppose can only be considered a good thing – and resultantly, I haven’t had much opportunity to spend any real extended time writing. But I knew for certain that there was one review I didn’t want to miss, that being The Reach – the debut album from Cardiff’s local heroes Afro Cluster. Afro Cluster have been on the scene for several years now, and I’ve been a massive fan ever since I first came across them in 2017. Fusing funk, Afrobeat, jazz, and hip hop – along with a whole host of other genres, the 8-piece manage to put on a spectacular show with every performance. They also hold the honour of being one of the very last bands I saw before lockdown, due to their show at Cardiff’s Tramshed last February.

The Reach opens with ‘Beasts Of One Nation’. Bass, drums, scratching: it’s all here immediately, signalling their unique and funky sound. The distinctive brass section is also strong, bringing a positive atmosphere, whilst MC Skunkadelic’s deep voice couldn’t fit the sound any better. Halfway through, the keys and sax add a distinctively jazzy flavour, which is a nice addition too. The piece manages to come off sounding like both a party tune, but simultaneously, just as meaningful-sounding as it is fun. ‘Black Hole’ begins with an electric organ which continues throughout the whole thing, and the interplay between the brass and vocals is excellently constructed, whilst DJ Veto showcases some skilful scratching as well. And Skunkadelic has an excellent flow; it’s not inconceivable that he could come to be recognised as one of the best rappers in the contemporary British scene. Next up, ‘Criminal’ sets us off dynamically, urging us forwards into the song. You’ll feel yourself waiting for the brass, and it does not disappoint. Whilst having something of a laidback feel to it, it remains sufficiently active and lively, and as it continues, it builds further and further – the energy just keeps on growing. Towards the end, each of the horns takes some some great solos as well.

‘Stamina’ is a good title, which sets a tone of anticipation before the song has even begun, and the introductory guitar builds upon this notion. There are some fantastically syncopated rhythms utilised, and every instrumental line has been thought out thoroughly – nothing’s been done even remotely lazily or half-hearted. And then ‘Back Into It’ brings one of the highlights of the album. This was released as a single back in March last year, and features the vocals of rapper Ty, who sadly died just a few months later. ‘Back Into It’ is the first track that’s genuinely laidback, and not deceptively so. It’ll still get you moving though, and you’ll find yourself naturally swaying back and forth completely involuntarily. There’s a fantastic chorus – very very catchy – and the song demonstrates some really solid lyrical talent as well, with powerful lines being spit at every opportunity. Ty’s verse is excellent; his voice fits with both the band, and alongside Skunkadelic, and he brings his own set of brilliant bars. And next, ‘Ikebe’ features a real strong influence of West Africa harmonically, with more polyrhythms as well – to the point where it’s not always easy to locate the strong beat. It’s another great scratching showcase, and in fact, I’d also argue that this is the best showcase of Skunkadelic’s vocals – they’re flawless – and the powerful lyrical themes from the last track are continued here too.

We next have something of an interlude with ‘AC Factor’ – a short, chilled track, with plenty of samples. There’s a very strong jazz influence here, and the track really manages to continue and develop the sounds of modern jazz – although I am a little bit surprised by how straight the brass-led bassline is played. Following, ‘Cardigan’ is similar to ‘Beasts’ in that there’s something of a rock influence to be found. It’s a funny song as well, demonstrating the band’s propensity for humour – and I love all the little lyrical references to Wales that an outsider might miss. Afro Cluster bring such an incredible atmosphere to every song – the entire sound just feels 100% complete; they don’t miss a beat – metaphorically, or otherwise. And more funky basslines then introduce ‘Heavy G’. They’ve established their sound and they’re sticking with it – and who can blame them, when it’s as good as this. Skunkadelic’s flow is superb, especially in the verses; and the brass sections jump in and out at the most consistently effective parts. There are some pretty heavy guitar parts as well; and ultimately, why not?

‘Foot To The Floor’ is one of my favourites. I love any band that experiments with complex time signatures, and the majority of this song is played in 7/4. The trick of leaving out the expected beat works exactly as it should, ensuring the song is constantly driving forward, and every instrumental line fits organically within this mould. And special shout-out to anyone who can rap over this too. The title track, ‘The Reach’ is left almost to the end, featuring rappers Sparkz and Truthos Mufasa, who both bring a different feel to the band. There’s a change-up of pace for this one, and it’s an unusual choice for a title track, being somewhat downbeat, and I wonder if it’s been picked more for the semantics of the phrase itself. Some really good brass lines though. And finally, ‘Young Shall Grow’ features more strong African influences, particularly through the percussion used, as well as some great polyrhythms, and some really compelling harmonic choices. From the off, you can tell this piece is going somewhere interesting. Whilst the vocal rhythms are fairly simple, when positioned against the music in the way they have been, they’re incredibly forceful, and I just want it to continue indefinitely. The song also features the vocal talents of both Magugu, and Asha Jane, who’s voice is especially beautiful. And there’s just such a wide array of influences on display – the later breakdown almost has elements of prog rock to it even. It’s a really excellent track, and a great choice to finish on.

Afro Cluster are a sensational band. There really isn’t a single other act who can compare to them in terms of the sound that they put out. It’s big, bold, it’s catchy, it’s relevant, and it’s smart. And they clearly have a great time making it. Every time I’ve caught them live, the show has been impeccable, and this aptitude has undoubtedly translated over onto the record. It’s been a while since We Don Land, the band’s debut EP came out in 2016, and the band haven’t relented one bit in terms of their dynamism. It’s a sure thing that they will continue to do fantastic things in the future, a prediction which can only be confirmed through releases such as this one.

The Reach is available from 19/02/2021.