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.
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