With
Swingamajig just around the corner, it’s a very suitable time for the Electric
Swing Circus to be putting out a new release. For those who don’t know, the ESC
run, programme, and perform at Swingamajig – the world’s biggest electro swing
festival – on a yearly basis. This will of course be the first full-scale
edition of the event since 2019, so it is undoubtedly an occasion worth
marking. And mark it the ESC have, by a) programming a phenomenal line-up (I
will come to write about the festival after it has occurred), and b) releasing
their third album in the lead-up to it. Arguably the UK’s number one act for
this genre, the band have certainly got some big shoes to fill in terms of approaching
this release.
The
first track on the album is a short introduction piece entitled ‘Esc Her’. This
kicks things off with a live big band sound, which comes off as particularly
Bond-esque through its mysterious tonalities; and the added layer of
electronics give an initial indication of where the album is headed, actively
building up the anticipation. Next, with catchy lyrics that will stick in one's
head for days, 'Gravity' begins with some close harmonies, with minimal backing
– until the chorus explodes into existence. There’s a strong contrast between
the choruses and verses – which are somewhat cinematic, and bring in the jazz
elements – and this is again contrasted through the upbeat electronics of the
initial breakdown, which transitions so smoothly back into the sounds of jazz.
The Bond-style elements return for 'To Russia for Love', which in some
alternate universe could stand as a theme for the eponymous series. It’s downbeat
and calm, not a dancefloor-filler, but rather, one that a crowd can simply lie
back and enjoy – with some lovely brass solos towards the end too. And then we
have ‘Expectations’, which is another that is smooth, jazzy, and downbeat in
all the best ways. Arguably a complete departure from electro swing, this one's
a purely live, lounge-jazz number reminiscent of the likes of Amy Winehouse.
Next
up, ‘Claustrophobia’ contain a certain element of the marching-band. Along with
the distinctive brass and drums, this features a repetitive melody designed to
dig into one’s head and not let go. Style-wise, certain sections have a
tropical flavour to them here, with even a touch of ska. ‘Kicking Up Dirt’ then
follows with more of a classic electro swing sound; very dancey, with vocals
that bounce all over the place. I note that the drums seem to stand out in this
one; it's not that they’re over-the-top or in-your-face or anything – if
anything, they're quite held back. They're just played very well, to the extent
that the audience will easily pick up on it. And we have some fantastic use of
sequencing towards the end. With a big sound from the off, the combination of
brass and bass signals the clear intent of ‘Freak Me Out’. This song keeps
coming back for more, hitting you with its distinctive sounds again and again.
It’s definitely one of the most memorable – and will likely make it onto
countless DJs setlists over this year’s festival season. And after this, ‘Cuckoo’
is another example of classic ESC, and they will certainly please their
audience here through the combination of big brass and reed parts. Again, this
track doesn't feature too many electronics, and I wonder if the band are
consciously trying to cement their reputation as one of the genre's best live
acts. And there’s an absolutely brilliant chorus – I’d go so far as to say one
of the best across their entire output.
‘Shake’
then features more than a hint of Benny Goodman, with the ESC wearing their
influences on their sleeve. The chorus comes crashing in out of nowhere in this
one, presenting another dancefloor-killer. This is set to go down a storm at
every live show – and I sincerely hope that this is included in the set list at
the upcoming Swingamajig. There’s some nice bluesy guitarwork too. Following
this, some of the harmonies in ‘Greedy’ are somewhat unsettling, which I feel
is a deliberate choice. The chorus presents the source of the album’s title,
and both the pre-chorus and the immediate section afterward are obvious standout
sections. This is essentially a pop song, showing just how pop can be done
right – although I must say that it does cut out a bit too suddenly for my
liking at the end. Some glitchy sounds then introduce ‘Wally Funk’. This builds
for quite some time, at some points seemingly a little directionless, yet
eventually does culminate in an explosive chorus which absolutely roars. This
song really demonstrates the real contrast from track to track on the album,
presenting a wide variety of approaches. And finally, the album closes with ‘Smoke
and Mirrors’. The semiotic sounds of spies have penetrated throughout this
album, so it's only suitable that another song with such sounds brings us to
its close, once again mysteriously leading us away. A beautiful 10-bar chord
sequence comprises the chorus; it's a suitably grand finale, and a sublime way
to close the album.
Plesure Seekers definitely stands out from the Electric Swing Circus’s prior offerings. Whilst there certainly are some very dancey sections, it doesn’t feel like as much of a dance album overall as the previous two. As stated above, there’s something of a sense of the band demonstrating just how much they can do when relying on primarily live instruments. This is the reputation that they’ve built, and it’s only being more solidified by side-projects such as Tom Hyland’s Big Band of Boom. There’s a distinctive feeling throughout this album as well, making the whole thing seem like a complete product as well, which I appreciate. Although some of the songs are a bit short, and I do feel that several could have been drawn out a little longer, the songwriting is of a high standard overall, and the band are living up to what we’d expect of them. There is no doubt at all that this album will stand as an excellent addition to the ESC’s back catalogue.
