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.