Personal Reflections on 2020

I write this knowing that it will likely get lost in the innumerable texts that thousands will write upon this year, for – as goes without saying – 2020 has been very unusual. My final blog post of 2019 looked back upon my time as a PhD student, and I concluded that particular post with the following words:

“As we approach the end of the year, I’m looking forward to what’s coming for the genre in 2020, and even more so, I’m looking forward to the next stages of my own academic electro swing career.”

Little did I know how disruptive 2020 would actually be. The Covid-19 pandemic has infiltrated every aspect of everyday life, and has had a severe impact on essentially everything that this year was expected to bring. The world of music in particular has suffered greatly, and thousands of those throughout the creative industries have lost their livelihoods. From my own personal perspective, this year has been distinctly challenging, as 2020 was supposed to mark the start of my formal academic career. Entering into an already competitive career – in a year in which many are losing jobs – has undoubtedly been an immense struggle, and I’ve spent effectively the entire year on the job-hunt, only securing myself a permanent position in the past few weeks. And I recognise that even by this, I’m one of the lucky ones. This post is going to be somewhat challenging to write, being less of a piece with recognisable flow, and more of a collection of ideas representing my thoughts on 2020. I hope that my own particular situation makes this at least a little unique, and that my words may stand amongst some of the more memorable reflections upon this year.

I know I speak for a lot of people when I say that one of the greatest joys in life is experiencing live music. This is without a doubt the thing that I miss most about normal life, having only been to a grand total of three gigs this year – the most recent being in February, making it almost a full year since the last time I got to enjoy a proper concert. For the sake of interest, those three were the Interrupters, the Inspector Cluzo, and the Hot 8 Brass Band; the last time I went to this few gigs in one year was 2005 – when I would have been 12 years old. The Interrupters stand out as the finest, putting on an absolutely fantastic show, and demonstrating themselves to be one of the genuinely best acts of the modern day. But the thrill of live music is just something that cannot be replaced. The various livestreams that have been broadcast throughout this year have of course been admirable – and I was especially generous with my praise to the Swingamajig livestreamed festival in May – but it’s incomparable to the real thing. My main wish for 2021 is the return of live music, and I know that I’ll be buying as many tickets as I can as soon as we have some confirmation of events actually going ahead.

Of these events, the big question is whether we’ll see the return of festivals in 2021. Indeed, I’ve already mentioned Swingamajig, and I had plans to attend Boomtown, Shindig, and the Edinburgh Fringe as well this year – all of which were of course cancelled. The Glastonbury line-up was also looking excellent, and I’d been hoping I might be able to find a way to make this my first year. For 2021, both Boomtown and Shindig are suggesting that they will be going ahead, and have already begun advertising line-ups and selling tickets, so we can only hope that all will be well by the time that festival season rolls around. There’s nothing better than being in a huge gathering of thousands of music fans, all spending a weekend doing nothing more than enjoying themselves to the fullest extent.

Unfortunately, the cancellation of such festivals and gigs – and the loss of opportunity for so many creatives – hasn’t been the only thing to bring down the music scene in 2020. Of the lucky few who have managed to sustain careers, there’s been several cases of high-profile musicians demonstrating themselves to be incredibly selfish and ungrateful with regard to the year’s lockdown restrictions. In some extremely disheartening cases, these have been musicians who have made amazing art throughout their careers, and it’s unbelievably disappointing to see such nonsense coming out of individuals who we know are capable of such great things. These include Eric Clapton, Van Morrison (seemingly an endless disappointment), Ian Brown, and Noel Gallagher. And this idiotic behaviour has been shown from punters as well, with dozens of illegal raves cropping up throughout the year. The most illogical thing I’ve seen with regard to this is online commentators favourably comparing this string of illegal raves to the original events that occurred throughout the late ’80s and ’90s, as if governmental discrimination of ravers can at all be likened to a global pandemic. Here’s the thing that these people don’t seem to understand: the more these events go ahead, the more the virus will spread, the longer these artists will go without work, and the longer it will be before we can ever hold events like this again.

Luckily, my other world – that of academia – has been a lot more responsible in its response to the pandemic. Having had countless conferences worldwide move to an online format, not only is this safer for everyone involved, but also allows for many to attend who might otherwise not have been able to travel. These were of course the upsides, though of course – like the livestreamed gigs – such online conferences were undoubtedly not always quite as stimulating as they would usually be, and I must confess that I didn’t attend as many as I would have perhaps liked to. I’m optimistically looking forward to the potential return of conventional conferences this coming year, and have already applied to present at several. One of the best parts of this profession is meeting and sharing your research with others who are genuinely interested in what you have to say, and it’s been a real shame that such opportunities have been made impossible.

And speaking of this profession brings me to what has been one of the most challenging aspects of the year for myself – the aforementioned job-hunt. Having completed my PhD last year, the entirety of 2020 has been spent on the hunt for suitable employment that I’m actually qualified for. And saying that this has been difficult would be an incredible understatement – I may end up writing an entire post relaying my own experiences, as the entire process has been an enormous eye-opener with regard to how laborious and demoralising it can be. I don’t know if I’ll ever come across another sentence as infuriating as “we are unable to offer you feedback at this stage”. After committing what can regularly amount to several hours to an application – to have a faceless email informing you that you won’t be given even a single bit of their time regarding future advice, is one of the most insulting things a company can do. We’re all well aware that that sentence effectively translates to “we didn’t bother reading your application”, and – again, whilst I may save this full story for another post – I came to realise just how nepotistic and self-serving some institutions (read: Cardiff University) can be. I don’t want to end this post on a low note though, and as stated, I was incredibly fortunate to get myself a new position in the final month of the year – learning support coordinator at BIMM Bristol – which is an absolutely fantastic institution. With this in place, 2021 is due to be a colossal improvement for me – and I really do hope that others in similar situations will experience the same level of good fortune.

So it’s been a rollercoaster of a year – with more negatives than one could ever hope for, but with hope on the horizon – both for me personally, and for the world, with the introduction of these various vaccines. Without doubt, I know that I’ll be getting mine as soon as I possibly can. There’s presumably no way that 2021 can be as disastrous as 2020, so ultimately, we can only be optimistic. I’ll leave by simply wishing everyone a wonderful new year, and I look forward to the day when we will all be able to come together at gigs, festivals, conferences, and more again.

Review: Talybont - Chillbe

Back in January, the first review of 2020 that I posted was Captain Flatcap’s Fowl Play EP, four tracks of pure enjoyment that I described as “one of the first significant releases of the year”. Well, it’s certainly been quite the year – far beyond what any of us were expecting back in January – and as 2020 draws to a close, what will likely be the final review I post concerns Chillbe, the new side-project from Captain Flatcap’s Chris Rotherham. Very different from Captain Flatcap, Chillbe fuses folk and Classical influences, looking away from the bass-heavy dance music that we’re used to, and instead bringing about some of the most relaxing sounds one can aim to produce. Named after the small Welsh village (only a short drive from where I live, in fact), the EP is called Talybont.

The first track is ‘Onwards’, which utilises a fingerpicked and percussive guitar style, along with a wide variety of percussion instruments to create a beautifully atmospheric, naturalistic environment. Rotherham has a mastery of all the instruments he plays: guitar, flute, and ukelele – which he manages to stop from sounding gimmicky or out of place at all. The added electronics are very subtle, remaining reserved but wonderfully placed, and the overall production is fantastic, with all the live sounds being manipulated to just the right extent. The title track ‘Talybont’ then features some really nice harmonies, with Rotherham’s compositional ability truly shining through. The electronics are slightly more prevalent here, but still rather subtle, and not overly done at all. The sound completely takes you away – it’s so so relaxing, and one could have this on for hours. Every element of the piece is completely under control, and what results is a genuinely magnificent sound.

‘Time Stepping’, the interlude, is the most electronics-heavy piece, especially in the drums that emerge, and is certainly a bit of a change-up from the previous two, being quite experimental. The piece fades in very smoothly, with initially just the lowest tones audible, before we gradually begin to register the higher detail. The piece culminates with a sampled quote summing up some of the artist’s philosophical beliefs. Following, ‘Waltz Of The Entities’ is a genuine waltz, with the compositional feel really sounding like a waltz beyond just the 3/4 time. With the staccato stabs of the main backing line alongside the bouncy, antiquated recorder-based melodies, he’s really changing it up here: one will often hear musicians claim Classical influence to try and elevate their music, but in this case, the claim is genuine. The song presents quite the journey, and this second half of the EP represents a slight change in direction away from the first two completely relaxing numbers. Finally, ‘Upwards’ – matching track one in name – is another with excellent guitarwork. Most of the instrumental lines here are quite simplistic, but it’s in the way Rotherham plays them – in such an exquisite way – that makes the piece executed so well. Every part is played to perfection – nothing is skimmed over for the sake of ease. The power of music is such that it can create such intense levels of emotion, and songs like this one manage to showcase that to the highest potential.

The overall EP creates such a beautiful atmosphere, and such strong feelings that simply cannot be overlooked. It’s haunting at times, calm and serene at others, and a wonderful experience from start to finish. Rotherham has been classically trained in the past, and whilst this has had some impact on the music of Captain Flatcap, it’s never been demonstrated to the extent that it is on this release. He’s clearly got real strengths making this type of music, and there should definitely be an audience for it. Ultimately, I really hope that rather than simply remaining a one-off side-project, this EP represents the start of a long endeavour for Chillbe.

Talybont is available from 24/12/2020.

Review: Golden Days - LVDS

I've heard it said several times now that electro swing has reached the point where it no longer stands as a genre of its own. There’s so much variety within the style, and so many subgenres that one could gladly categorise themselves as a fan of swing ’n’ bass – for example – whilst loathing swing house – or vice versa. To say one is a fan of electro swing is to simply say that one appreciates any particular style that has had this flavour added to it. And one of the most prominent of these particular styles, is swing hop. Pioneered by the likes of Chinese Man, and Smokey Joe & The Kid, swing hop is of course hip hop with the addition of swing. And one of the newest artists to be attempting to make a name for himself in this select genre is LVDS – a producer from the Netherlands, due to release his debut album this week: Golden Days.

A steady hip hop beat underscores a Dixieland melody in the album’s introduction, before we set off with the title track, ‘Golden Days’, featuring singer Sonia Elisheva. Now despite being from Portugal, Elisheva sings in a rather London-esque accent, suggesting a degree of hip hop legitimacy. There’s a nice minimalistic beat that provides a catchy backing; it’s a little repetitive, but LVDS closes the song just before the beat is about to get stale – demonstrating a good sense of musical timing. Then, a ragtime piano introduces ‘Mr Sherlock’, in which singer Iolanda Boban’s silky voice places us into a 1920s speakeasy. The instrumental lines are very smooth and accompany the voice effortlessly, and there is some nice lyrical wordplay here as well. After this we have ‘Blue Skies’, in which the optimism of the song’s title is reflected in the music: this is an incredibly upbeat number, which will easily put a smile on one’s face. It’s reminiscent of some of Boogie Belgique’s earlier stuff – and any comparison to Boogie Belgique can only be a compliment. There’s a lovely bounce, and an excellent choice of samples. Overall, I really enjoy it, although there’s a very strange, chiptune sample featured halfway through that really interrupts the vibe. Other than that, the song is lovely.

LVDS then invites Szigeti Juli for a cover of Chaka Khan’s ‘Ain’t Nobody’. I’ve been hearing a lot about this band lately, although I must confess that this is one of the first times I’ve actually had a proper listen. The song features a very steady, standard electro swing, stride piano beat; it’s not overly innovative, but I can’t say I didn’t enjoy it. And notably, the vocal editing in particular is flawless. ‘Be With U’ begins with a kind of Caravan Palace vibe initially, perhaps from the way the guitar is being played, before quickly developing into a swing ’n’ bass offering. There are several clichés of this particular stylistic niche thrown in; again, it’s not particularly innovative, but there’s still enough to entertain. Next up, a forlorn trumpet sets the tone for ‘Long Gone’ which is classic, swingy trip hop, with more than a touch of the blues. It’s really very good actually; the production is spotless, and the song really stands as a whole piece of music. A great piece, the best so far, making me think that maybe this is the best direction for LVDS, with these more downbeat numbers.

Another instrumental then features with ‘Café Noir’. LVDS brings back that ragtime piano to begin, and again we have the trip hop beat – more upbeat than the previous, but still standing out. Aside from a slightly strange eight bars in the middle that don’t really flow, it seems to be in these instrumentals that LVDS really excels. Iolanda Boban’s identifiable voice features again in ‘Steps on the Moon’, very reminiscent of Kathrin deBoer of Belleruche. The song features a strong swing hop beat, although at this point I note that the album has yet to feature any rapping. It would certainly work excellently over this particular track, with the potential for real improvement. Still, it’s a good song. ‘1925’’s title suggests an immediate year, and it definitely seems that all of these songs are very much leaning towards the influence of early jazz, as opposed to specifically the swing era. And this is good – it works for LVDS, and he’s managing to utilise this style as his trademark sound. ‘1925’ features some unusual sounds scattered throughout too – a commendable choice of timbres. And then – if there’s one thing we can expect from a 2020 electro swing release – it’s the inclusion of Alanna Lyes. ‘One Taste’ is pretty poppy, but also with an almost Western feel to it. You’d think these influences might not flow together too well, but the fusion is fantastic. This is another standout track, and along with ‘Long Gone’, LVDS is really showing his versatility in many ways. And finally – here on track 11 – we have some rap, courtesy of Fatherlyshrimp, who is completely competent.

The next song, ‘Am I Real’ also features Lyes, and is a much more standard electro swing number, with the return of the stride piano. Again, it’s very poppy, which is what Lyes brings best. It’s really really catchy, though it’s kitschy as hell; I noted this for a few tracks on my Bart&Baker review – it might be a bit too much for some. Though personally, I think it’s excellent, and held back just enough; the build up to the chorus in particular is a moment of musical genius. ‘Am I Real’ is the last “official” song of the release, although we then have two instrumentals of songs we’ve already heard: ‘Steps on the Moon’, and ‘Golden Days’. These don’t provide anything extra at all, but both do manage to prove their worth as solid backing tracks that a rapper could easily rhyme over. And finally, we have the bonus track: ‘This is Swing Hop’. Featuring many of the guest artists already heard on this release, as well as rapper Brice Robell, these collective tracks are always fun, and LVDS manages to showcase each of his featured artist’s strengths, using samples from several of the songs, as well as original material. It’s a great idea, and works as an effective minimix. And of course, it also showcases his own talents – as a producer, compiler, and collaborator.

Overall, LVDS has some potential to make a real name for himself. His production skills are excellent, and there are several occasions that demonstrate real versatility. Where he sometimes stumbles, are several minor moments here and there in which one very small section blemishes the rest of the piece. Indeed, there is work to be done in terms of compositional and songwriting techniques; but as a young producer coming onto the scene, this debut album is a noteworthy achievement. With a whole host of prominent collaborators, and impeccable production abilities, LVDS is certainly one to watch. Swing hop is a very exciting genre right now, and producers such as him are only going to further reinforce this to be the case.

Golden Days is available from 18/12/2020.

Review: Electro Swing Party Vol. 3 by Bart&Baker - Various artists

Bart&Baker’s regular electro swing compilations have become iconic throughout this scene. Having been around since way back in the early days of the genre, these compilations have routinely showcased the finest artists throughout electro swing, and have acted as a platform for many to discover countless new artists as well. There is no doubt that careers have been made on the back of these compilations, and the release of each new one is always an important date in the electro swing calendar. Out in time for Christmas, the newest instalment is their Electro Swing Party Vol. 3, running through 22 of some of the more memorable releases to have come out this past year.

The release opens with a cover of ‘Diamonds Are A Girl's Best Friend’ from Alfredo Roy and his Orchestra. This is your very cheesy, over-the-top electro swing style that Bart&Baker love to play out, and Alexandra Miletta’s voice is very reminiscent of the classic Hollywood musical dames of the 1940s. The piece could do with a bit more bass, but overall it sets the tone for the compilation well. Parov Stelar is then featured with his ‘Red Cat’ – which on my review of Voodoo Sonic Pt. 3, I placed as one of the stronger tracks of the release. It stands great here too – a fantastic example of Stelar’s more recent work. ‘Hey You! (I Heard You Wanna Party)’ is the first of Bart&Baker’s own tracks on the release. The sound is very reminiscent of the Electric Swing Circus, who have an obvious influence over this work. And it pays off – this could certainly be an ESC piece, and it’s thus a very strong song. Up next is Anèt’s ‘L'amour Est Un Enfant De Bohême’, a really enjoyable remix of the original Bizet composition, which manages to sound quite dark, and representative of underground sounds in parts – whilst very bright and poppy in others. And surprisingly, it works – flowing fantastically. And then we have ‘Sidonie’ from the Scratchophone Orchestra – a great uptempo number fusing some jazz manouche sounds with an almost trip hop beat in parts. The electronic element is fairly simplistic, which successfully works to highlight the strong jazzy prowess over the top of it all.

The next track is ‘Miss Annie’ from Jive Me, showcasing more jazz manouche, mixed with French hip hop vibes. This is a really great number, keeping constant movement, and carefully balancing the perfect level of anticipation. The Swinghoppers sadly broke up earlier this year, but their ‘Party Like It’s 1920’, produced alongside Wolfgang Lohr, reminds us just how enjoyable their songs were. As I said in my review of their Speakin’ Easy, they were easily one of the most fun acts of the whole genre, and this song definitely exemplifies that – only made better by Lohr’s solid beats. Another track that’s quite minimal on the electro side is DJ Farrapo & The Swingin’ Junkies’ ‘Behind Dark Eyes’. There seems to be several remixes of ‘Mack the Knife’ coming out right now – Tallulah Goodtimes just did one too – and this version features more strong gypsy jazz, the feature that seems to be the standout sound of the compilation thus far. The rap flow in this one is actually really quite good, and definitely stands out over the more standard vocals also featured. Then, Julie Huard’s ‘Le Danseur De Charleston’ is another loud-and-proud cheesy number; the sound of the ragtime piano defines this one. It’s certainly upbeat and enjoyable, although the overt brightness and cheerfulness will undoubtedly be too much for some.

Now I really enjoy Klischée’s music, so I was very glad to see them be a part of this compilation, even if only for their remix of the Brass Department’s ‘Welcome To The Brass Department’. I actually love this one – it hits harder than anything else on the compilation – with solid bass, solid vocals, and fantastic production. As the name suggests, the brass here is excellent too – the whole song is just brilliant. Bart&Baker’s next featured track of their own is a remix of the Puppini Sister’s ‘Dance Dance Dance’, Again with their distinctive sound, with regular stride piano accompanying throughout – this track is exactly what Bart&Baker fans will love. And the Puppini Sisters also manage to showcase their great vocal harmonies. The next track – PiSk’s ‘Horny’ – I actually know very well, as Becca and I were in fact featured dancing in the video. PiSk is an incredibly talented producer, and this track – whilst being very silly and unserious – still demonstrates just how skilful he is at mixing and arranging. And then Atom Smith’s ‘Comin’ Up Swinging’ is another track which I’ve already discussed – in my review of his Bass Age Big Band. As I noted there, it’s a great dance number, which will surely get people moving.

Following on from this, Ginkgoa’s ‘Make U Happy’ features more of the typical stride piano that exemplifies this particular breed of electro swing. There’s an interesting take on the vocals here – being a bit of a cross between rapping and singing – which is very unique; and the production manages to highlight some of the fine timbres found throughout. Lamuzguele’s ‘Triple Lutz’ then introduces some almost lo-fi sounds; it’s certainly nice to have more of a laidback number amongst the rest of the throng. There are some contemporary RnB influences here as well; I love it – it’s one of the best songs of the compilation. Next up is Waldeck’s ‘One Of These Days’. Now some of the other songs have been subtly hinting at this, but I’ve been waiting for some real trip hop throughout the compilation, and ‘One Of These Days’ finally brings it. Waldeck has been doing this genre for ages now, and he’s one of the best at this type of sound; Patrizia Ferrara's vocals provide a nice accompaniment too, but it’s undoubtedly the instrumental track that really stands out above everything else. After this one, we have Emma Clair’s ‘Walking On A Cloud’, featuring Alanna Lyes. I’ve noted Emma Clair doing more and more production lately, and she’s only getting better; and I only have great things to say about Alanna Lyes too. The swing house sound featured here is certainly cheesy, but I feel that that’s exactly what she wants. ‘Big Bad Wolf’ is then Madam Misfit’s contribution, who seems to be making waves at the moment with her chap hop inspired sound. It’s certainly quite fun; however her sound is a bit of a love-it-or-hate-it thing – and personally, it’s not really for me.

Another Bart&Baker remix then follows with ‘The Mosquito’ – by Louie Austen and Club27. This may be the strongest of the three so far, with some great bass, and a sound that’s not at all reliant on clichés. There are some nice, quite Latin vibes featured as well. Towards the end, a sudden tempo change in the breakdown provides an unusual change-up – which isn’t totally necessary – but it’s still a very decent tune overall. Lyre Le Temps’ ‘Summer Leaves’ is then one of those songs that manages to sound like a remix of itself – there’s so many layers, and different elements all happening simultaneously. It’s a real strong production effort – and the song benefits greatly from all the different, distinct features over the course of its duration. I already praised ‘All I Wanna Do Is Swing’ very highly in my review of Tallulah Goodtimes’ Interstellar Swing. As I said there, it’s a great, comparatively laidback number, with all sorts of brilliant effects and timbres utilised throughout. There are also some fantastic vocals from Goodtimes too, which I feel I perhaps didn’t pick up on enough in my previous review. And the final track, concluding the release, is ‘Istanbul 2K20’ – Aleksey Kraft’s remix of Bart&Baker’s infamous reworking of the classic tune. Some minor chords are initially added to make the piece sound suitably cinematic at first, before breaking into an absolutely massive drop, with all sorts of filthy synths flying in every direction. It’s a genuinely brilliant way to close the compilation, and I’m very glad it's been included.

These compilations from Bart&Baker are such an essential part of the electro swing scene, and I imagine they will only continue to thrive. The inclusion of a song on one of these will be a significant milestone for any artist making music in this genre, and this third volume in the Party series has acted to maintain this reputation. Yes, some of their choices will lean towards the brighter, kitschier end of electro swing, and there certainly isn’t too much of the dark, more challenging variant of the genre – but this is what we’ve come to know and love them for. It certainly will be a party with the involvement of these two French gents, and their overall contribution to the scene is exceptional.

Electro Swing Party Vol. 3 is available from 11/12/2020.

Review: The Longest March - David Bennett

As someone who writes about music online, I try to keep myself in the loop of others who are doing similar things. One thing I’ve often been tempted to do with this blog is to discuss certain elements of music theory, an effort which has so far only been represented by my ‘Playing With Time’ article – but one of the main reasons why this output has been so limited is because almost everything I’d like to write about has already been discussed by David Bennett, whose YouTube channel regularly presents such discussions spectacularly – much better than I ever could. Bennett is by far the best of his cohort of music theory YouTube peers, and as well as producing the short videos that he does, he is also an excellent pianist. This month, Bennett released his debut EP, The Longest March, and as a pianist myself, I was certainly interested in listening to what he has produced.

The EP opens with ‘Mother’s Day’, unexpectedly beginning with some reversed sound effects, before he delves into his distinctive piano style. The piece is very minimalistic in technique, relying almost exclusively on arpeggios – a very effective technique in drawing out the expressive harmonies and creating a strong mood. Reminiscent of the likes of Ludovico Einaudi, the right-hand melodic lines subtly demonstrate Bennett’s advanced playing ability. And the piece isn’t only piano: halfway through, some synthesised strings enter, and although they’re clearly synthetic – Bennett’s strength is in performance, not production – they still convey the exact feel he is going for. The piece ends with some similar effects to those we heard at the start, and overall, he manages to express a great deal through comparatively little throughout. Comparatively, ‘Clap’ – the shortest piece on the EP by quite some margin – is a display of composition over performance, with hardly any piano – instead being largely percussive, with both tuned and untuned instruments used extensively. Particularly timbrally interesting, it’s the metallic sounds that stand out the most. There are a few sections here that don’t flow perfectly, but these criticisms are only minor, and really quite nitpicky.

Back to the piano, it’s clear from the off that ‘Kneel’ is another display of performance – in fact, even more so that ‘Mother’s Day’ in fact, as it’s immediately obvious that this is very advanced in its nature. Again, Bennett is utilising the arpeggios, but not in as minimal a way as ‘Mother’s Day’ – there are plenty of changes found here. Some of the lower tones are beautifully placed; and the additional synths toward the end work excellently too, and are a great addition. The piece ends with the most minimal outro of the whole EP – relying only on single notes for an extended section; and with it’s fantastic harmonies, exceptional playing, and fine display of compositional ability, the piece stands as the best of the EP. Finally, in ‘The Longest March’, Bennett uses his favourite technique once again, arpeggiating the chordal changes to draw out all the notes as clearly as possible, fully realising the harmonies. He’s used those unfortunate synthetic strings again here, which is a little distracting, but there’s no denying that the tonal choices are fantastic – and I’d love to hear what it sounds like with an actual string section. The piece is quite slow-moving, and takes a while to go anywhere, so the resultant emotion isn’t as forthcoming as the other pieces, but the journey is still quite the spectacle; and once the bass enters about halfway through, it becomes clear just how much of a storyteller Bennett is with his music – every emotion he creates is ultimately received exactly the way it is intended.

I have absolutely nothing but positive things to say about Bennett’s music theory videos, and with this debut EP, I’m pleased to report that his skill is also apparent in his playing and composition abilities. I was perhaps expecting something a little more jazzy, but am nonetheless still very impressed. With influences from the world of minimalism, as well acts such as Penguin Café Orchestra or the Cinematic Orchestra known for expertly fusing pop with more Classical influences, Bennett has developed a playing style that is distinctly and recognisably his. It’s a very relaxing listen, and just the type of thing to gently soothe us as we approach the end of 2020. A brilliant debut EP; and from one pianist to another, I can only congratulate Bennett.

Review: Greatest Hits - Little Big

I’ll be very honest in starting this review, and admit that I partially just wanted an excuse to talk about Little Big. This certainly isn’t a standard album or EP, the likes of which I usually discuss, and whilst I’ve written about compilations in the past (see Sleaford Mods’ All That Glue), this collection is even more unusual in that it’s a vinyl-only release. Nevertheless, Little Big are without a doubt one of the most interesting acts of the present day, with their fusion of punk, rave, and pop giving them a completely unique style that sounds something like the Prodigy-meets-AronChupa-meets-Die Antwoord. With an absolutely tremendous following in their native Russia, it’s genuinely quite hard to fathom just how popular they are. For context, on YouTube – where they seem to have the biggest presence – six of their songs have over 100 million views, with the highest viewed approaching half a billion. Their Greatest Hits, stylised as “Ungreatest Shits” showcases 16 of their most-loved songs.

The first track is ‘Uno’, which was in fact due to be performed as Russia’s entry to the 2020 edition of Eurovision, before the show was cancelled. Demonstrating their recent transition to a more pop sound, ‘Uno’ is sheer joy. It’s ludicrously catchy – due largely to the simple motif repeated throughout, but this is all that’s needed to create the mood of 100% enjoyment. ‘Give Me Your Money’ follows, featuring frequent collaborator, rapper Tommy Cash. With its Russian sounding melodies, and traditional vocals in the chorus, here the band are signalling their origins, whilst also showcasing their own distinctive sound. Cash’s vocals add an interesting element, although it’s singer Ilia Prusikin’s voice that stands out the most. The title of ‘Punk’s Not Dead’ signals the genre that this track will largely focus on, with very heavy elements of both punk, and EDM too – certainly reminiscent of the Prodigy. This specific sound is definitely a strong signifier of their early style that brought them initial fame. And then ‘AntiPositive’ continues this feeling, again including elements of traditional Russian vocals like in ‘Give Me Your Money’. A live recording, it was a good idea for the band to include this, as it really demonstrates the sheer ridiculous amount of energy it holds, with inspiration from both punk, and drum ’n’ bass.

Next up is ‘Skibidi’, one of their best-known tracks – not only for the dance craze it inspired, but also for just how fun the song is, with its nonsensical lyrics, samples of animal noises, and the unstoppably bouncy backing track. This is Little Big at their best, particularly so for their more recent, pop-based pieces. ‘Faradenza’ then really manages to bridge the sound from their earlier, heavier dance music to their modern pop releases. One of their few songs not to be sung in English, this again features the bounciest backing track one could wish for – it’s as catchy as anything and will certainly get a crowd moving. ‘LollyBomb’ is probably the track with the least influence of punk rock: with no real heavy elements at all, this is pure EDM. Whilst it may take a few listens to really appreciate, there’s a lot to enjoy here once it’s cracked you, and it’s another that could easily get stuck in your head for days. And then side A ends with ‘To Party’ – featuring more traditional Russian influences mixed with the heavier end of dance music – similar to ‘AntiPositive’. The bounce is as explicitly prevalent as possible here, and whilst there are some slightly questionable harmonic choices – with certain parts that don’t really work – there’s no denying that the energy is as high as it could conceivably be.

‘Go Bananas’ opens Side B – on a similar level to ‘Skibidi’ in terms of silliness. As the title exemplifies, this isn’t a remotely serious song, and the whole piece is just an outlet for as much nonsense as possible. When recognising the piece in light of these intentions, it’s fantastic. And then we have ‘Life in da Trash’, one of their earliest songs; like ‘Punk’s Not Dead’, this is the sound that made Little Big what they are. Some of the vocals found here are really quite disturbing, and the band are very effective at creating this disturbing feel whilst still ensuring that the music is enjoyable – with various classic EDM clichés used completely unironically. ‘Voice of Hell’ is definitely one of their lesser known pieces, managing to include some hip hop elements, in both the beat and the vocal flow – at least in the verses. It’s only subtle, but noticeably there. Whilst other parts are comparatively minimal, the chorus brings us back to the unstoppable energetic heights familiar from other tracks – in fact, it’s one of the most energetic choruses of them all. And then ‘AK-47’ is a little unique, in that it seems to fuse this relentless energy of the earlier songs with the silliness of their later style. Like ‘Faradenza’, this is definitely a transition to the poppier tracks, with elements of modern R&B thrown in as well.

‘Rock-Paper-Scissors’ is a real highlight – one of their rockiest numbers, whilst still keeping the very recognisable elements of EDM that has defined their sound. Again, it’s extremely catchy, and I’d be tempted to place it as their best song. It’s certainly up there, though there’s undoubtedly very strong competition – which is a testament to how many memorable songs Little Big have produced. ‘I’m OK’ will likely be the most preferable to regular readers of this blog, as it really demonstrates that big band ’n’ bass sound. With some of the most genuinely hilarious lyrics I’ve come across, this is a solid drinking tune, and will go down brilliantly in clubs. Towards the end of the release, ‘Hateful Love’ has a seriously unique sound – definitely standing out as being somewhat different to every other track found on this collection. Fusing various styles from the heavier end of EDM – including elements from both drum ’n’ bass and hardstyle – the harshness of the sound is reflected in the lyrics as well, which are absolutely brutal. But the song is genuinely great, and if you’re into this kind of heavy styling, it’s one of their best. And finally, ‘Big Dick’ presents some of the most juvenile lyrics ever composed, which to be honest – are awful – but that’s exactly what they’re intended to be, so it would be worthless to be critical of them. Again, this is a reminder that Little Big don’t take themselves seriously at all, and perhaps that’s why they’ve chosen to close with this one – as a blatant reminder not to overanalyse the band.

Little Big really have a knack for making the catchiest music possible. Not taking themselves even remotely seriously, their music doesn’t contain any sort of depth whatsoever, and that’s entirely intentional. It’s just plain fun and enjoyment – and there’s certainly a lot of enjoyment to be had here. From their earliest recordings with their strong punk influences, through to their latest pop offerings – always with a strong element of various EDM styles mixed in – Little Big’s music is typified by its unique memorability, and the fact that it’s impossible to listen to them and not have a smile on your face. Across their whole catalogue, they’ve created a genuinely distinctive sound – which is a difficult task in the 21^st-century. Having experienced astronomical success across Russia, it’s a wonder that they’re not bigger elsewhere – a consideration which is demonstrated perfectly by the level of entertainment found throughout this collection.

Review: Infinite Things - Paloma Faith

So some may consider this a surprising artist to pop up on this blog, seeing as I generally tend to cover fairly underground – and almost exclusively dance-based music. But I’ve never claimed to cater only to a certain music style or scene, and I’m certainly not one to disparage an artist for the sole reason of their respective success. There’s something that can be fantastic about pop music, and whilst I partly understand the desire to ignore the mainstream, I feel that there are a few select artists who are genuinely making incredible music within this area. This can perhaps be no better exemplified than Paloma Faith, who has been making captivating music since her debut release in 2009. Infinite Things is her fifth album.

The album begins with the 1980s-influenced ‘Supernatural’, which brings all the trends of that era, including the strong synthpop influences, and the powerful vocals reminiscent of the female-led power-pop of the day. Indeed, this is unmistakably both pop and powerful, with plenty of belting to demonstrate her incredible vocal prowess straight away. ‘Monster’ then follows, a real catchy number which instrumentally is more minimal – being a clear display for the vocals. There’s a bit more instrumental addition in the chorus – being very synth-driven – with a simplistic but solid bassline. And then we have the single ‘Gold’, which many have been enjoying for a couple of weeks now, and is absolutely magnificent. With its gospel-inspired backing vocals, and the almost primal cries throughout, this is pure pop perfection; exactly what we’ve come to expect from Faith, and the best display of her style and talent.

‘Falling Down’ is then another heavily vocal-based song, which – when your voice is as good as Faith’s – is a good idea to have as many of as possible. The chorus is admittedly slightly underwhelming, not really building on the verses at all, but it’s still a nice tune. ‘Infinite Things’ is then the title-track – another synth-led piece with a clear ’80s influence. Whilst starting off sounding a little lesser than one might expect, as the piece develops it becomes clear that this was in fact an excellent choice. The slightly subdued nature of the music really highlights and compliments the excellence of the songwriting, demonstrating just how well it stands. There are some really nice harmonic choices in the chorus, and the backing track continues to build, with some suitably orchestral involvement by the end. Next, when ‘If This Is Goodbye’ begins, I can tell I’ll love it immediately. It’s very held back, with just piano and acoustic guitar to start, showcasing the great thing about Faith – that the songwriting is so strong she doesn’t need any fancy tricks or frills – and of course her wonderful vocals are the icing on the cake. With its beautiful chorus, this is easily one of the best tracks of the albums.

‘Better Than This’ was the album’s first single, although it’s not quite as powerful as ‘Gold’; it’s a very typical Faith song – undeniably her, and couldn’t have worked anywhere near as well for anybody else. In some ways though, this might be its own downfall – it’s so definitively her that it’s a little formulaic and predictable – I would have like a few more unexpected elements. That being said though, it’s still a very nice song – especially the chorus. ‘Me Time’ is then another solid pop tune – a little bit jazzy too – and this is what I really wanted to hear from a new Faith album. It’s a bit understated in parts, but elsewhere it’s quite musically advanced; and Faith demonstrates her huge range – from her lowest depths up to her highest capabilities. And then ‘If Loving You Was Easy’ is another that’s very held back – similar to ‘If This Is Goodbye’, though not quite as strong. The backing vocals are great though – being almost choral in parts; and it’s notable that even in these understated songs, there is still a powerful impact. ‘Beautiful & Damned’ is easily the most ’80s inspired of the album, coming off rather cheesy as a result. The drums, the synth, the reverb – all add to the mix to create this effect, although I worry that these elements are somewhat masking the fact that it’s a slightly weaker piece overall. The fact that it’s the shortest song on the album confirms that it’s likely just filler.

‘I’d Die for You’, though, returns us to another firm, upbeat mood, with some quite Latin-inspired, syncopated rhythms. The Western instrumentation makes it a nice example of fusion in a sense then, and there’s certainly quite a contrast between the different sections. Again, this is another song with fairly advanced parts compositionally. Next up, ‘Living with a Stranger’ is another example of pure pop. Whilst catchy, it’s not particularly innovative, and perhaps a little forgettable overall. However, there’s bound to be a few tracks that miss the mark slightly, and it’s still much much better than the derivative nature of much contemporary pop. And it’s a grower too, which one will surely find themselves enjoying more and more as it goes on. And finally, ‘Last Night on Earth’ is indeed a very interesting one. There are all sorts of influences present, and the song manages to sound somehow acoustic, and synth-led at the same time. This effect is achieved through some really top notch production, and whilst this is very far from the type of bass-driven dance music I usually cover, there are some very subtle elements that seem to be utilising some of the same techniques. The chanting sections work exactly as planned – which is excellently; and there’s a great chorus – it’s a great choice to end what is largely a great album.

Inifinite Things is very enjoyable overall, and will certainly be welcomed warmly by Faith’s dedicated fans. Tracks like ‘Gold’ and ‘If This Is Goodbye’ easily stand amongst her best, and the overall strength of the album is seriously impressive. There’s been an interesting deviation from her usual sound here as well – with a really notable influence of the 1980s throughout, when previously her sound was generally typified by pre-1960s sounds. So whilst the distinctive feel of music still very clearly belongs her, there’s been some obvious progression too, which she’s done admirably. Obviously, Faith has an extraordinary voice, a fact which is so undeniable as to almost go without saying; and I’d recommend this release to anyone, even those usually averse to standard pop music – I’d be surprised if this didn’t prick up your ears, and make you pay some attention. I genuinely can’t imagine anyone coming away from this without experiencing some real appreciation; and thus, Infinite Things is a wonderful addition to Faith’s back catalogue.