Why I Love Eurovision

It’s been a week or two since the 2023 edition of Eurovision, held in Liverpool this year who were hosting it for Ukraine – where the rightful winner Käärijä from Finland was beaten into second place by Sweden’s Loreen, her second time winning the contest. Now in its 67^th year, Eurovision continues to be a television highlight for millions across the continent, representing the largest annual music event in the world. I personally love Eurovision, and look forward to it every year – a staple in my calendar. There’s no other event as unique as this, that offers the same joys and delights as this one. And yet many people will scoff at those like me who proudly profess their love for Eurovision – it really does seem to have a love/hate effect upon people. I hope here to convince my readers of several arguments to why the event should be loved by all.

Outright Entertainment Value

One of the commonest criticisms I hear about Eurovision is the regular suggestion that the show should be derided due to its reputation for not presenting ‘serious’ music (whatever that may mean). People are often surprised that someone like myself – who has such a substantial engagement with music – would waste my time getting so involved with something that treats music as something of a joke. Eurovision performances are often recognised for their humour, or their kitschiness, before any supposed ‘musical’ value. Take for instance Ukraine’s entry into the 2007 contest (which I actually view as one of the best entries of all time), Verka Serduchka’s ‘Dancing Lasha Tumbai’.

Music like this would never be considered ‘great art’ by those who choose to think in such ways. Yet all the ridiculousness contained within these performances is precisely what I adore about the contest. Who ever said that one can only judge a performance on the complexity of its composition, or whatever it is that ‘Dancing Lasha Tumbai’ is supposedly lacking? If one gets entertainment from watching an act like this, then whatever the actual source of the entertainment, one is still being entertained. It is an unfortunate individual who has to dissect the specific reasons as to why they may or may not like a piece of music. For me, if I find myself smiling as I watch a performance, I like it. And there is no doubt that many Eurovision performances make me smile.

Experiencing Otherwise Unexplored Cultures

The fun and enjoyment that comes with Eurovision is undoubtedly a big reason as to why I rate it so highly, but there’s a deeper level of appreciation to this as well, in representing more than just pure silliness. This comes with the fact that Eurovision successfully manages to showcase many of the weird and wonderful aspects of various cultures that one might never get to experience. There’s only so much of a culture one can take in from an outside perspective, and even if one visits that respective nation to experience it for themselves, it’s unlikely that they would see much beyond the standard tourist encounters. Yet Eurovision allows each country to fully immerse the viewer right into the heart of their culture, putting on display – if only for a few minutes – some of the odder and more unusual parts of their respective ways of life, and celebrating them. This can be seen in examples such as Pasha Parfeni’s ‘Soarele și Luna’, Moldova’s entry this this year, which incorporates elements of Moldovan folklore; or Keeiino’s ‘Spirit in the Sky’, Norway’s entry in 2019, sung partially in the Northern Sami language.

The amount of different cultures across Europe, all unique in their own way, is significant, and no one could ever hope to encounter all of them in a lifetime – and certainly not to experience some of the more unusual aspects of them. Yet when watching Eurovision, for one night, one can briefly absorb themselves entirely in the many distinct bizarre and momentary phenomena that they would otherwise never have encountered.

Genuinely great music

The cultural experience is without doubt my main reason for enjoying Eurovision, but as an added bonus, one must surely recognise that actually, Eurovision does occasionally put forth some really really good songs. There are of course many acts which, whilst memorable for other reasons, wouldn’t go down as something I would ultimately listen to, but there are also many others which I really do actually enjoy. Go_A’s ‘Shum’, Ukraine’s entry from 2021 has legitimately gone on to become one of my favourite songs of all time; and I also absolutely loved Alvan and Ahez’s ‘Fulenn’, France’s entry from last year, which incidentally was criminally underscored on the night.

Also, whilst I did complain earlier about Käärijä’s ‘Cha Cha Cha’ losing out this year, Loreen’s ‘Tattoo’ was a genuinely phenomenal pop song, and certainly earned its space at the top of the scoreboard. Yes, there are many silly and goofy songs throughout Eurovision, but every now and then you can guarantee some absolute jewels.

Solidarity Across Nations

One final point I wish to raise concerns the political implications of an event like Eurovision. We’re all well aware of the cynical political voting that goes on (which actually is part of the fun), but underneath that all, what an event like Eurovision does is present a spirit of togetherness, bringing together all of Europe to appreciate one another and celebrate together. Indeed, the official slogan of the event is ‘United By Music’, and whilst this sort of message does come across as somewhat shallow and meaningless, it is still undeniable that this uniting of disparate and distinct people is a very heart-warming thing to witness. And this togetherness is made no more evident than in instances such as last year, when Ukraine’s Kalush Orchestra were voted the winner for their song ‘Stefania’ – with the highest ever score received in the contest’s history. This wasn’t simply a patronising vote either, for again, the song was genuinely excellent – demonstrating that despite all the turmoil occurring in their country, such musicians were able to overcome such awful circumstances to create incredible music.

Eurovision is always one of the dates I look forward to most, year on year, and I hope to have communicated my reasons why. As one of the best demonstrations of the vast variety of cultures and musics of Europe, I hope for more people to forget their cynicism, take themselves a little less seriously, and embrace all the camp and silliness that the contest has to offer. I feel sorry for those who do not share my enthusiasm.

Swingamajig 2023 write-up

 

Without doubt, it’s the most important event for electro swing across the globe: Swingamajig. I’ve spoken about the festival countless times on this blog before, with reports detailing the 2022, 2020, and 2019 events. And this year’s edition, held on the 30^th of April, was of course extra special, with it being the 10^th anniversary. I remember attending the very first Swingamajig back in 2013 (and have discussed the evolution of the festival since then here). I’d only recently discovered the genre of electro swing, and would have had no idea as to whether this music had the strength to still carry an entire festival a decade on. Undoubtedly however, it did. Each and every year, Swingamajig continues to prove just how powerful and entertaining this style is.

Held in Birmingham’s Botanical Gardens – now for the third time – Swingamajig was separated into a day party and night party, an arrangement which is proving increasingly practical for them. The layout of the grounds had changed somewhat this year, with the main stage now located slightly away from the bandstand that it had previously been positioned around. This stage showcased some of the best live acts throughout the day, including Little Violet, headliners Tankus the Henge, and of course the Electric Swing Circus themselves. My favourite stage, which I highlighted last year as well, was Phat Sam’s Disco, hidden around the back of the main stage. Featuring some of the genre’s lesser-known DJs, this stage programmed a constant soundtrack keeping revellers on their feet all day. Huge shoutout to DJ Towlie, who I hadn’t encountered before, but who’s set provided one of the highlights of the whole festival. Other stages included the Woodland Stage, with further live acts, and the Cabaret Ballroom, all of which featured excellent entertainment throughout.

After the day’s main entertainment had concluded, we travelled across town to the afterparty held at The Mill in Digbeth – a venue which previous attendees would have recognised from a prior life, when it played host to the Ragtime Records Warehouse and Vintage Terrace stages in 2016 and 2017. Jamie Berry’s set in particular was a serious highlight here, with him once again demonstrating why he remains at the top of the electro swing game. I also loved getting the chance to see Atom Smith for the first time, who was over performing from the USA. I’ve said it before, but the way in which the festival breaks into two halves, catering both to the family-friendly audience during the day, and the more hardcore ravers at night, is a brilliant tactic, ensuring that every partygoer is able to enjoy and appreciate the best of both worlds. And the afterparty really did prove to be as energetic and wild as any hardcore raver could wish for.

Swingamajig 2023 was again a wonderful event, and I would expect nothing less of the organisers at this point. It really is a hugely monumental achievement for electro swing music to have powered on over an entire decade, and it just shows the lasting quality of this genre. I am already anticipating 2024’s event, and would strongly encourage anyone to attend. There is something for everyone here, and I genuinely cannot imagine a single person not having a fantastic experience. Before we know it, we’ll be at 2033’s edition – and who knows what the festival will look like by then.

Review: Pecking Order - Too Many Zooz

It’s been a while since I updated the blog, but having seen the surprise release of Too Many Zooz’ Pecking Order EP last week, I couldn’t help but put in an effort to give my two cents. It’s fair to say that’s there’s no other act quite like Too Many Zooz. With a sound that falls somewhere in between jazz, house, hip hop, and New Orleans brass – and featuring the unmistakable baritone sax style of founding member Leo P – the band are distinctly unique within today’s music scene. And that’s without even mentioning the fantastic playing ability of each of the trio. With this new release, they have once again given themselves the opportunity to showcase their noteworthy talents.

Opening track, ‘Cane Dangler’, begins with Leo P’s trademark bari sax, with some classic New Orleans brass coming in soon after afterward. An electronic sounding bass then quickly emerges, underpinning the whole sound. It’s impressive to note how the majority of the song is simply based on one repeating refrain, yet they manage to do so much with it – arousing such interest and intrigue along the way. And then the slight chord changes that do appear in the chorus section add that extra layer of harmonic spice upon their arrival. Of course, we also have featured an excellent sax solo, demonstrating real virtuosity.

‘Command No Go’ then features another similar intro from the bari sax, with the whole band suddenly kicking in from nowhere, feeling like a punch to the chest. This song has some serious high level energy, and doesn’t hold back at all. Instrumentally, this is a great display of how one can play lead lines whilst simultaneously maintaining the underlying rhythm. The many layers we also hear really beef up the sound too – it’s exceptionally groovy. And the song just never seems to want to end – it could easily go on for many many more refrains.

And then track three, the title track, is ‘Pecking Order’. Alongisde the bari, this song’s intro makes excellent use of percussion from the King of Sludge within the introduction. There’s some great Latin vibes to this one, placing the listener right within the centre of carnival. And it also utilises elements of the classic house genre – it’s no wonder they refer to their style as brass house. Of course, we once have again another virtuosic solo from Leo P, like no other can. Indeed, no other band at all can quite make one want to dance like these do. The many layers build and build until we’re left with the sound of what is seemingly the best party one can imagine.

Too Many Zooz are one of the most consistently impressive acts out there. There’s occasionally something of a divide between bands who are the most impressive in terms of musical talent, and those who make the catchiest songs – yet Too Many Zooz show that this need not be the case. With all three members being very accomplished musicians, and with their ability to write some of the most entertaining and original music to have emerged over the past few years, the act have demonstrated their uncanny ability to create music that’s enjoyable on all levels. Pecking Order is yet another example of that.

Boomtown Fair 2022 write-up

 

Boomtown Fair is without a doubt one of the UK’s most unique and eccentric festivals. I attended my first Boomtown in 2014, returning every year since, however – due to having two years off – this year’s edition was now the first time it had been held since 2019. With three years away, like many other revellers I was desperate to get back to the festival, and keen to return to one of the greatest parties in the country.

In that time though, the festival had undergone some significant changes. No longer making use of the uptown and downtown areas, the entirety of the festival’s stages were squeezed into the downtown bowl, meaning that travel between each of the venues was quite reduced. I was concerned that this would result in huge queues and difficulty with audience flow, moving around the site – but I didn’t actually find any problems in this regard at all. With the festival’s storyline resetting this year as well, many new stages and micro-venues were revealed – along with old favourites of courses; but some highlights included the Fool’s Leap stage, and undoubtedly the Engine House as well – which served up the perfect festival bands all weekend. Indeed, the majority of the acts I will mention below performed at the Engine House across the weekend.

Boomtown had in fact faced a bit of criticism in the lead-up to this year’s event. Only revealing the line-up with just a few days to go before the event, there were effectively no headliners – no huge names playing across the weekend. And whilst I personally wasn’t too fussed by this – it’s not a festival experience built around headline acts after all – I can understand the criticism, particularly when 2020’s edition was set to include such acts as Underworld and the Wu-Tang Clan. But there were still absolutely fantastic performances to be found across the whole festival, and for me personally, it’s much less about the size of the act, and much more about the quality.

For quality was certainly to be found. It would be impossible for me to list every single act I saw, but I will go through some of the highlights from each day of the event:

Thursday:
DJ Hiphoppapotamus provided the perfect sunny introduction to the festival; the Beatles Dub Club certainly demonstrated a unique approach to presenting such music; and Afro Cluster – one of my all-time favourite bands – put on as good a performance as they always do.

Friday:
The Big Band of Boom (Tom Hyland from the Electric Swing Circus’s new project) set the day off nicely; A Little Sound showcased some lovely summery DnB; before Bob Vylan provided one of the best sets of the whole weekends, with ridiculous energy, passion, and intensity; Kae Tempest’s set was glorious, made even better by the onstage appearance of Murphy the dog; Slamboree were excellent as ever; and Squarepusher played another highlight set, sounding unlike anything else I heard across the entire weekend.

Saturday:
One of my favourite sets came with the Riot Jazz Brass Band, who livened everyone up with a paint bomb fight; then Lazy Habits provided a stellar performance as well; De La Soul – whilst only having one member turn up – Posdnuos, as well as guest performer Talib Kweli – still provided a memorable set; Smokey Joe and the Kid were phenomenal – particularly so as this is the first time I’ve seen them perform with MC Yoshi Di Original; then Fabio and Grooverider put on an excellent show alongside the Outlook Orchestra – another real highlight; and the Electric Swing Circus once again showcased why they’re amongst the best of those who do what they do.

Sunday:
Of the Sunday performances, Eva Lazarus provided some quality entertainment; before Molotov Jukebox absolutely tore it up with one of their most energetic sets I’ve seen them play yet; Kool and the Gang arguably provided the most fun times of the whole weekend, with tune after tune of party anthems; and at the very end of the programming, Sonic Boom Six didn’t relent as they also performed a standout set.

I don’t think I could pick a single set as the best of the weekend, but my top three would easily be Bob Vylan, the Riot Jazz Brass Band, and Kool and the Gang: all acts that I hadn’t seen before, and all acts that did not rest for one second, storming through their sets with admirable passion and talent.

The music was fantastic then; the new approach to the festival layout worked very well, and overall the festival was an amazing experience. Although there is one elephant in the room that I have not yet mentioned: the heat. Boomtown was absolutely scorching this year, and at times difficult to properly enjoy oneself due to the ridiculous heatwave occurring. And worst of all, this resulted in the ground being so dry and dusty that dirt and dust was being continually kicked up everywhere; I don’t even want to think about how much I breathed in over the weekend, or what damage it’s done to my body. I was certainly not feeling my best come Monday morning, and it’s taken about a week to finally feel fully recovered.

With that one exception though, Boomtown Fair was once again a phenomenal experience. This has been my seventh now, and whilst I’m not entirely sure yet if I will be making it back next year – if this has been my last, it’s definitely gone out with a bang. I’d encourage anyone who hasn’t been before to attend a future event, and with this year’s as a measure of its continued quality, the festival remains at a very high standing.

Swingamajig 2022 write-up

A little over two weeks okay was a great day; in fact, my favourite day of the year: Swingamajig. This festival – which is coming up to ten years now – is without a doubt the biggest date in the global electro swing calendar, and it was even more special this year, for it was the first time it has been held at its full scale since 2019. I spoke in 2020 about the online version of the event that was held under lockdown, and the festival also put on a scaled-down version of the party in September 2021, but this was the first time for three years that the organisers managed to put together a whole entire festival on the scale of past events.

Once again using the Birmingham Botanical Gardens, which is starting to feel like a wonderful new home for the event, the festival was sized up somewhat from 2019’s edition. Like in 2019, the main stage extended the venue’s bandstand for the larger acts throughout the day; and two of the indoor spaces within the grounds were used as well: one stage for the cabaret performances; along with the venue’s ballroom for the more traditional swing acts and dance classes. But on top of these, this year also saw the addition of the excellent Phat Sam’s Disco stage (pictured), built out of a classic Citreon and programming DJs throughout the day; along with the Speakeasy stage accommodating the more upbeat live acts. There was also a smaller sixth stage, programmed by Birmingham’s Swingmatism group.

As with 2019’s festival, once the Botanical Gardens closed for the night, the event carried on in a separate location, this time being at the Hockley Social Club on the other side of town. This was the first time Swingamajig had made use of this venue, and it was actually wonderful. Very very spacious, with both a big dancefloor but also multiple places to sit and chill out, it provided the perfect space to continue the party. The second room wasn’t as suitable as the main room admittedly, but it still provided ample opportunity to have a dance – with some excellent programming from Scour Records.

I’m not going to do and act-by-act rundown of everyone I saw in turn, but there were certainly some highlights. Elle & the Pocket Belles set the day off to a great start from the very beginning; and Mista Trick who performed with them also shone later on with his own live band. It’s the first time I’ve caught his new act, and the performance was exemplary – arguably the best of the daytime. Phat Sam and Emma Clair both played brilliant sets on the aforementioned Phat Sam’s Disco stage – which the former was of course running all day. And the Electric Swing Circus were consistently fantastic as ever, with some of their newest songs carrying considerable weight. It was a treat to see DJ Yoda headline, and although his set wasn’t too imaginative, it was nice to see him branch out into the electro swing genre. At the afterparty, Tuxedo Junction were phenomenal – those boys can simply do no wrong – and I also really enjoyed getting to see Spekrfreks perform for the first time too.

Yet again, the organisers of Swingamajig have pulled it all together to put on one of the best events of the season. I can only imagine how much work goes into running an event like this, and I have to applaud everyone involved for making the effort. Without fail, this is one of the highlights of my year, and with next year being the tenth anniversary, I am already preparing myself for the build-up. It’s interesting to keep track of the electro swing scene’s development; and whilst in certain areas it has somewhat stagnated, here – at the first and original festival for the genre – it is still alive, well, and entertaining crowds to the same degree it always has.

Review: Wet Leg - Wet Leg

Wet Leg seem to have sprung up out of nowhere. This time last year they hadn’t released a single song, and yet fast-forward several months and they are starting to make some real waves throughout the music world. I must confess that I only heard of them myself for the first time a few months ago, but I – like many others – have since become hooked, eagerly awaiting each and every new single. The duo, made up of Rhian Teasdale and Hester Chambers, released their self-titled debut album last week.

The track ‘Being In Love’ introduces the album, with the vocals beginning on the very first beat, and the chorus entering after fewer than 20 seconds. With a track length of 2 minutes, this song aims to demonstrate immediately what Wet Leg are about. There’s limited instrumentation too – both in quantity and range, and Teasdale’s vocals are similarly restrained in the manner that she’s become known for. Everything about this track shows that you don't need much to create a great sound. Following this is ‘Chaise Longue’, their debut single and best-known song that came out last summer. Reminiscent of acts like Sleater Kinney – particularly in the guitarwork – Wet Leg could have fitted in easily with the riot grrrl movement of the ’90s. And of course, the song features its notoriously witty lyrics, laden with trademark innuendo. Next up, layers of reverb give ‘Angelica’ rather a nostalgic feel, sounding retro whilst not exactly clear what for. There’s quite a difference with this one in that there’s so many different parts texturally, with countless subtle elements throughout that one can pick up on with each new listen. But it’s also one of the most dancey on the record.

‘I Don’t Wanna Go Out’ is texturally quite impressive too. Whilst there aren’t as many layers, it’s all been produced to sound so full – especially in the chorus – and somehow ends up sounding both sparse and dense at the same time. Every part can be heard clearly and is exactly where it should be; and the melodies are just lovely. The suggestive lyrics return for ‘Wet Dream’, a lot more blatantly this time around – for a track which is without doubt one of the album’s highlights. The second single released, there are some great guitar lines backing up the chorus too, and the vocals are so so catchy. We then have some introductory minor chords underscoring ‘Convincing’, providing a good level of mystery and intrigue. There’s a very poppy chorus, with some ’60s-style backing vocals. Ultimately, this song isn’t going to remain as memorable as some of the others, but on this album that will of course be rather a hard job.

After this is ‘Loving You’, which with it’s incredibly smooth bassline carries elements of R&B. One of the standout elements to this track is undoubtedly Teasdale’s vocals, which – whilst usually fairly restrained – here demonstrate clearly just how talented she actually is. Arguably the best of the non-singles, it’s beautiful. Released just a few days ahead of the album, ‘Ur Mum’ is then another of their best tracks – a highlight on an album of highlights. Endlessly catchy and dancey, they’ve managed to include multiple fantastic hooks into one song. And the lyrics are great fun too. Following this is ‘Oh No’ – an unusual choice for a single, which although it’s since grown on me, I wasn’t so keen the first time I heard it. The verses seem to deliberately eschew any sort of melody whatsoever, although there is a great guitar line that follows each one; and the breakdown halfway through the song is handled very well. This is certainly a bit of an experimental one, so even if it hasn't hit the mark perfectly, I'm glad to have something a little more unusual and different.

‘Piece Of Shit’ then starts off fairly acoustic, which really highlights the contrast in the few unexpected 8-bit elements that emerge. After a short while an electric guitar enters with its own expressive melody. This is quite a short song in total, but it makes up for its length with the quality of its songwriting. We then have ‘Supermarket’, a fairly slow, 'end-of-the-night' style song featuring a big singalong that I’ll bet will go down very well at their shows. There’s an interesting and rather effective effect used in the mix, in which most of this song is EQ’d down quite low, forcing the few high parts to really stand out. A nice touch. And then the album concludes with ‘Too Late Now’ – another track that’s definitely one of the best. With its spacey, dreamlike elements – like the rest of the album, the production is superb – and there are many parts one can pick up on throughout that clearly demonstrate this. It’s such a genuinely lovely song, and an important message of self-acceptance to leave on as well.

I’m very very glad to have discovered Wet Leg, and I will continue to follow their career. It’s not common for an album – especially a debut album – to have at least half its songs be of absolutely excellent quality; and the remainder are all great here too – there isn’t a single miss. The best thing about this release though is simply the approach of the performers – they have embraced their own eccentricities, and the result is a truly unique sound. There are obvious parallels that are going to be drawn to the riot grrrl movement, but they are also bringing in their own contemporary elements as well. If this is the standard of music that we can expect from the 2020s, then we are living through a brilliant era.

Review: Pleasure Seekers - Electric Swing Circus

 

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.

Review: War Is Over - Smokey Joe and the Kid

Smokey Joe and the Kid are one of the most universally admired acts across the entirety of electro swing. One of the champions of the French swing hop sound, they burst onto the scene back in 2013 with their debut album Nasty Tricks, and have since gone from strength to strength. War Is Over (is that a Christmas reference? It is the right time of year – though it seems unlikely) is their third album, and features a whole collective of guest MCs alongside this production duo. Indeed, any MC should be willing to jump through hoops to collaborate with these two, such is their reputation. Having been very highly anticipated, the pair released War Is Over to the world last week.

The first track is ‘Motherless Jazz’, with classic lo-fi hip hop vibes, reminiscent of the likes of Guru. It’s a beautiful introduction to the album, and it’s significant that it features the word “jazz” in the title, as this this is most definitely a jazz song. With the beat not even coming in until about halfway through, this song clearly knows how to make the most of itself. It’s then followed by ‘Mama Gave Ya’, which is 100% Smokey Joey and the Kid. With a beat that’s funky as anything, this contains cut samples coming in left and right – including the famous Dyke & the Blazers ‘Sally’ sample – all placed on top of a massive brassy beat. Every single element of the song just makes it more and more hyped. And then we have ‘Let’s Go’, which reminds me a little of some of Caravan Palace’s recent output – particularly ‘Moonshine’. Featuring vocalist CW Jones, this is a bit of a chilled one; with an interesting beat that makes thorough use of the offbeat. The hip hop section comes through quite unexpectedly – representing the first rapped verse – which will be the first of many.

‘Beast on Beat’ then features R.A. The Rugged Man, notable for his feature alongside Marcella Puppini on her ‘The Greatest’ back in 2016. He has an excellent voice for this style, continually pushing forwards, and an unbelievable flow. The song itself fuses elements of bebop with more cinematic, almost classical elements. Then we have ‘Over The Limit’ featuring MysDiggi, which isn’t the best when compared to the rest of the album – but is still a catchy tune. The issue is just that, with the rest of the album being of such a high standard, this comes off as somewhat forgettable. One needn’t worry though, because ‘Stick Up’ brings us back to what we’re expecting again. With horns throughout reminiscent of Pharoahe Monch’s ‘Simon Says’, this track features both Pav4n and Illaman, who each complement each other in the best ways; and the interplay between the instrumentation and the vocals is also measured excellently. This is guaranteed to be an incredible tune when performed live – arguably more so than any other across the release. And then ‘Dirty Waters’ presents us with a really bluesy number, which is lovely to find in the middle of the record. Featuring, NON Genetic, some of the rhymes are seriously impressive, with the rapper alternating between sounding friendly and threatening throughout.

The next track is ‘Prohibition 3’; there has been one of these on each of Smokey Joe and the Kid’s records, and this is the second to feature Yoshi Di Original – who also brings with him the freshness of rapping in French. I wish could understand the lyrics, but what I can definitely translate is the mood, which is just sheer joy and fun. Both Yoshi and the instrumentals manage to create nothing but a good time – it’s kitsch but it’s honest – and supremely enjoyable. We then have ‘No Reflection’ featuring Blackout JA, who previously featured on Mista Trick’s latest release on the track ‘About to Blow’. Bringing obvious dub reggae vibes, there is a slight contrast in the instrumentals, in which the fun and joy of the previous track is continued, which overall creates a real party atmosphere. Although quite unexpected, it works really well. And following this is ‘Culture Clash’, bringing back two MCs who have already featured: MysDiggi and Yoshi Di Original. MysDiggi gets to completely redeem himself on this one – and it’s a really great idea for a piece. Smokey Joe and the Kid always present such a combination of cultures within their music, so why not make reference to this in the actual topics of the songs themselves as well? And it’s done so well – even the semiotic nature of the instrumentation presents this completely clearly. I also love the use of the Monty Python samples too.

‘Get It Done’ then presents another lo-fi hip hop number, with some bebop elements as well. The track features rapper Yudimah, who just sounds so relaxed, totally tying in with the vibe of the music. There’s nothing over the top here; they use only the most necessary elements; and there are some really nice jazzy chords towards the end too. We then have another bluesy one with ‘Hope’ – though not quite as up there as ‘Dirty Waters’. The track features Blake Worrell, though unfortunately is perhaps another missed shot, as it’s not too memorable. However, yet again – the record is of such a high standard that I can’t complain. Like the previous number, it doesn’t overdo anything, so one can definitely acknowledge the great use of restraint demonstrated in the production. And finally, the title track ‘War Is Over’ closes the record, featuring some trip hop elements that sound really quite dreamlike and experimental. There’s an absolutely fantastic, withdrawn beat featured; the drum loop here is superb. And in the horns, the scale that’s made use of is so effective, with each accidental bringing a new feeling with every individual note. ‘Motherless Jazz’ provided a beautiful introduction, and now we have a beautiful conclusion as well. This bookends the album amazingly, and there is no way one could come away from this release having not at least been left impressed by this close.

Smokey Joe and the Kid have once again demonstrated why they are at the absolute top of the electro swing game. I regularly go on about France having the greatest hip hop output at this moment in time, and records such as this perfectly demonstrate why this is also the case. One needn’t think of it as an excellent electro swing record that makes use of hip hop, or an excellent hip hop record that makes use of electro swing; this is an excellent example of both genres, whether being considered in relation to one another or not. And even the slight misses are still better than much else we hear across these scenes. There’s a reason why Smokey Joe and the Kid are adored by both fans and practitioners alike, and through War Is Over, that reputation is not going to change one bit.

Review: Race To Nowhere (Part One) - Mr Bruce

Ever since Mr Bruce first announced his solo project, many fans have been eagerly anticipating his first release. Across this scene, Mr Bruce is arguably one of the most respected musicians, and certainly one of the most respected singers one can find. And following the tragic death of Chucks, the other half of the Correspondents last year, there has been a lingering question as to what Mr Bruce would do next. Race To Nowhere (Part One) is the answer to that question, ironically showcasing a very important record for the electro swing scene – despite not featuring any electro swing itself. Working alongside producer Angus Kemp, Bruce here presents us with five original pieces.

The EP opens with the title track, ‘Race To Nowhere’ which is both recognisable as something we’re familiar with, whilst also sounding like something entirely original. He possesses such a distinctive voice, and it completely fits the style – with some noticeably dark lyrics as well which will be a theme across this release. Kemp includes many subtle individual parts throughout the production; with the song building throughout – especially towards the end – and setting the EP off with a bang. One can definitely recognise this as a successor to the Correspondents, taking the best of what they created and yet moving in an altogether new direction. The next track is ‘I Am Disaster’, in which the lyrics are even darker, introspectively exploring Bruce’s feelings of guilt and personal responsibility for the problems of the world. Partly acapella, many of the instruments are made up of his own processed vocals; and there’s a very clear drum ’n’ bass influence, with endless energy. The track is perfectly designed to absolutely go off live – it’s phenomenal. Without a doubt one of the best songs of 2021.

Following this is ‘Easier’ – a moment of respite we’re given in the middle of the EP. It feels like one should possibly have a moment of relaxation to this, and yet it’s impossible to shake that unmistakable feeling of dread and unease. Very different from the rest of the release, but of course - it's just like Mr Bruce to present us with something different and unexpected. And as a side note – this song has one of the most creative music videos I've ever seen. The energy then comes back up for ‘I Must Confess’, which starts off sounding almost like something from an acid house Ibiza rave. The vocals are rapid in this – he's been largely singing on the record so far – but this song reminds us of his prowess as an MC as well. It's amazing how he can present such energetic music for such downbeat lyrics – and yet the fusion is flawless. There's no slowing down at all here, and the breakdown toward the end providing just a further moment of commotion. And finally, the EP ends with ‘Volatile Times’, featuring a bit of a garage influence, even bringing this in within his vocal inflections. Whilst it’s not quite as powerful as the other fast numbers, there is more diversity within this one, and the final few moments in particular I love. Whilst this song ends the EP with a message that is still disheartening overall, there is perhaps a little more optimism here than in the remainder of the release.

With this release, Mr Bruce has proven that he can absolutely hold his own as a solo artist. The death of Chucks was of course heartbreaking, and the music that the two produced as a duo was fantastic. But working alongside Angus Kemp now, Bruce is showing that he is not letting anything get in the way of his talent. These songs are brilliant, and there is so much potential demonstrated within them. This potential is especially potent when considering future live performances; and one may note his plans for a solo tour next Spring. Personally, I already have tickets for the Cardiff show, and coming off the back of this record, I genuinely cannot wait.

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.

Review: Swing Sisters - Various artists

This particular album has been quite highly anticipated, being the first fully-female centred compilation throughout the genre. Electro swing has scores of incredibly talented women making wonderful music, so it only makes sense to showcase many of them together across one release. Curated by Emma Clair, what’s also great about this compilation is that it’s very much an international affair, featuring performers from the UK, Italy and the United States. The project has an absolutely stellar line-up, and with so much talent, there is a clear potential for it to be one of the most significant releases for the genre this year.

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.

What I've been up to

We’re exactly six months into 2021 now, exactly half a year, and I’m a little bit embarrassed to acknowledge that I’ve only posted three entries to this blog so far this year. In contrast, by this time last year, I’d posted 25 times, so I’m certainly not keeping the blog as up to date as I was in 2020. Admittedly, I spent half of 2020 locked inside, with an inordinate amount of free time, so perhaps I shouldn’t be too hard on myself. And as I will presently explain, I have had a lot on this year. So this post will simply serve as a bit of an update, to exhibit all that I’ve been doing in the past six months, as well as what I’m currently working on.

As I expressed in my final blog post of 2020, 2021 was the start of a new step in my career, taking on the role of Learning Support Coordinator at BIMM Bristol. So along with being six months into the year, this week also marks six months in the new job. It’s been a brilliant experience, and I genuinely love the work that I’ve been doing. I’ve had some fantastic experiences, and I’m eagerly anticipating the next six months and beyond.

Elsewhere on that same post, I discussed the transition of conferences to the online format, and suggested that I would make an extra effort to attend more of these, as well as hopefully getting the chance to attend some more in-person events. Whilst we’ve yet to encounter the return of such physical events, I’m happy to say that I have managed to maintain more of a presence at the online replacement events. One which I will mention was particularly unique for me – presenting a TEDx talk, which is a first. It was an interesting experience for me to present my research in more of a public-facing and accessible manner; the subsequent video can be seen below. And at this weekend just gone, I delivered a paper at the international Documenting Jazz conference, hosted by the University of Edinburgh, entitled: ‘Electro Swing in Europe: Hopping the Atlantic to Become a Dance Music Phenomenon’

I’ve also been very busy writing this year, and have had two publications out so far over the course of 2021. The first of these was for the latest issue of the Journal of Popular Music Education, with a chapter called ‘Focus Wales: A Showcase Festival of Music Performance and Education’. And not long after this came the release of the book The Evolution of Electronic Dance Music, featuring a chapter of mine entitled ‘Second-hand Stardom: Connotations of Sampling for Electro Swing’. Whilst any publication is exciting, I especially love getting featured in a book, and subsequently receiving an actual physical copy of the thing with your own words in print.

And there are plenty more publications still to come. I have an upcoming chapter about the Swingamajig festival and the Rainbow Venues in Birmingham, in an upcoming collection about lost venues. I’m collaborating with the brilliant Dr Ashley Morgan on a paper about the Running Punks. And I have another exciting project in the pipeline which I don’t want to reveal too much about yet. But most thrilling of all, I have recently had my contract through for my first ever book of my own! Publishing with Routledge, I am converting my PhD thesis into a full monograph, and aim to have it out by next summer. This is by far the most exciting of all the projects I’m currently working on, and although it’s going to take an outrageous amount of hard work, I can’t wait to release it to the world.

So things are moving along very nicely in 2021 – the only downside being that I’ve consequently neglected this blog. I’d like to say that I hope this will change in the second half of the year, but I know in all likelihood that this is almost certainly not the case. But I will still try to post as often as I can. There are several key releases coming up this year that I fully intend to review, and I’ll post here and there whenever I can. Ultimately, this post is simply to say: I’m still here! Yes, I have a lot on – but that is undoubtedly a good thing.

Review: Electric Swing Circus Remixed Vol. 2 - Electric Swing Circus

I’ve covered a lot of Ragtime Records releases on this blog, and with good reason. As one of the UK’s most significant labels for electro swing, there’s always a deal of anticipation leading up to anything that they put out. On Tuesday, the label released Electric Swing Circus Remixed Vol. 2, with many of the genre’s favourite producers collectively creating various remixes of tracks from the past few years of the ESC’s output. Featuring six tracks, this release has multiple remixes of ‘Connected’, ‘Minotaur’, and ‘Invisible Man’, the three tracks featured on their most recent EP, which I reviewed back in 2019. As I spoke so highly of that particular EP upon its release, I was imminently curious as to how this would compare.

The first remix is Featurecast’s version of ‘Connected’, which brings housey vibes, along with his characteristic bass. There’s a nice contrast between the brass and the electronic elements, being mixed perfectly – both in production, and composition; and the breakdown halfway through gives the song an almost quite emotional quality. This is a fantastic track to start on, and it’s going to take some beating. Next up, it wouldn’t be a Ragtime Records release without a C@ in the H@ feature, and despite working across so many styles, he always manages to maintain such a distinctive sound. I remember him once telling me how the best thing about electro swing is the fact that you can take your tracks in so many different directions, and do such creative things with them; through its various tempo shifts, and all sorts of different ideas being brought to the forefront, this remix of ‘Minotaur’ exemplifies that to the fullest effect.

The only remix of ‘Invisible Man’ comes from Wolfgang Lohr, of which I think this is his first feature on the label – and he immediately brings his recognisable house influence. It sounds like it could be a little tame and standard at first, but as soon as the beat drops – these worries are completely scattered – as we’re thrown into a whirlwind of chaos. The standard is absolutely first-rate – a complete tour de force. And then we have another remix of ‘Minotaur’, courtesy of Duke Skellington. He’s really been bringing these dark EDM tones lately, and they’re put on full display again here. There’s a lot going on in the lower end of this mix, so I’d definitely advise listening with a good pair of headphones. It’s undoubtedly a change-up from the rest of the release – going in much less of an obvious party direction than every other producer has chosen to; again, this really shows the dexterity of the electro swing genre.

On the complete other end of the scale, Tuxedo Junction are 100% fun, which is immediately signalled through the sampling of a cheesy jazz intro for their remix of ‘Connected’. That being said though, the bass drop is filthy, demonstrating that this duo can turn their hand to a very wide variety of moods and feels. There isn’t actually too much of the source material utilised either, so it’s an inventive take on the ESC original, and another great addition to the release. And finally, perhaps the track I was the most intrigued about is the final remix of ‘Minotaur’, from Tom Hyland himself – guitarist for the band. Hyland has been DJing for a good while now, and this is his first foray into production. His infectious in-person energy has absolutely translated across to this remix, bringing upbeat vibes, and maximising each and every element of the original track – with just a hint of disco as well. He’s nicely changed some of the harmonies through his compositional choices too. This whole release has been really great fun, and this ending is just ideal.

I really enjoyed the various remixes throughout this release. I love the extent to which the complete freedom of electro swing has been thoroughly explored throughout, demonstrating just how much potential there is for this genre directionally. There’s certainly a lot of house, but there’s also elements of funk, dubstep, disco, and much more. Whilst sticking largely to the Ragtime Records family of Hyland, C@ in the H@, Duke Skellington, and Tuxedo Junction, the fact that they’re branching out and including tracks by Featurecast and Wolfgang Lohr is also a great addition, and will be much appreciated by fans. All of these producers can certainly stand strong in their own right, and when working with an act like the Electric Swing Circus, can create something exceptional.