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.
