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.