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.

Review: Hybrid - SwinGrowers

With the return of gigs on the horizon, I know I’m not alone in eagerly anticipating the chance to see some amazing live acts again soon. In the electro swing world, whilst the genre is largely populated by DJs, many of the most prominent standout acts are those who make up a full live band, and one of the more significant of such acts is the Italian SwinGrowers. Having started life as a duo, the act quickly evolved into a five-piece, before scaling down slightly to become a quartet for their latest incarnation, and their latest release, Hybrid. Now based in the UK, and regularly releasing through Freshly Squeezed, SwinGrowers have something of a legacy throughout the scene, and expectations are always high. It is upon this reputation that they will be releasing this – their fourth album.

The intro track, ‘In the Blink of an Eye’ opens with lyrical references to ‘Butterfly’ off of their previous album Outsidein, and is quite a different tone to what we’re used to. The use of free time gives a very ambient feel, and the spoken word introduction presents a kind of mystical, mysterious quality. After launching into ‘Hybrid’ however, we’re initially straight back in with that familiar SwinGrowers sound. There’s a persistent counterpoint to the brass, emphasising everything else, and the interplay between the bass and vocals in the build up to the chorus sets a real mood of anticipation. When this hits, it’s not as big of a sound as some of their past releases, but this slightly restrained quality signals that this is much more than just a party track. ‘Follow the Stars’ features a very clear Caravan Palace influence.  With its smooth vocals, soaring over the top of everything else, it’s equally spaced between being an upbeat dance number, and something more in the vein of classic songwriting – as shown by the half-tempo mid-section which demonstrates an almost Gershwin-esque jazz sound. And then, ‘Seven Million Faces’ is more downtempo, straddling all sorts of influences – with a hip hop beat, somewhat Britpop guitarwork, and a build up towards the end that’s almost Europop sounding. There are some really catchy vocal melodies in the chorus, which is also added to by the saxophone; and a very nice breakdown toward the end as well.

Next up is ‘Precipitiamo’, with some excellent harmonic choices, constantly dancing around the tonic but rarely settling. I love to hear different languages in electro swing – as we did with Deluxe’s En Confinement – and this Italian inclusion is a great addition. The synths and saxophone blend in a great way which just washes over you; and there’s even an unexpected hint of drum ’n’ bass towards the end, interspliced with some rock ’n’ roll guitar over the top of it all. Following, ‘Dreamland (Say Goodbye Bye Bye)’ features the sound of classic uptempo, big band jazz – with the brass foregrounding the belted vocals, and more brilliant guitarwork. Many original electro swing compositions strive to sound like something the pioneering bandleaders of the swing era could have come up with before being remixed – and SwinGrowers have achieved this here. And then ‘Wannabe’ comes in with its Charleston-esque influences; this is absolutely the tune that I want to hear once the bars are back open again. There’s a fair bit of playing with structural expectations here – keeping it interesting and going against the norm; and also a noticeably retrofuturistic sound – with its space-age bleeps and bloops.

This sound continues into ‘Invisible Army’ and the notion of retro doesn’t stop there either, as there’s a clear ’90s sound along with the more vintage aspects – through the use of R&B reminiscent of that particular style and era. Through this, there’s something of a hip hop element as well. As the piece progresses, all sorts of layers are gradually introduced throughout its duration, and plenty of points of interest are resultingly maintained. ‘I Don’t Know (How to Love)’ features more rock ’n’ roll, along with a clear funk influence too. I also welcome the lyrics, with some cheeky references to everyone’s favourite Duke Ellington number. Again, there’s more than a bit of a ’90s R&B influence, with the saxophone performance noticeably reminiscent of this era’s propensity for that instrument. And finally, the album end with more Charleston – through ‘Rose’. Elements of this track are clearly made to sound like they’ve been lifted directly from a vintage recording – and the extra effort is appreciated. ‘Rose’ has a solid beat, a little bit of gypsy jazz, and some more Caravan Palace inspiration – evident in the synths. Again, we also find some more unusual compositional choices, which really pay off in eluding some of our familiar expectations.

Hybrid is a fine addition to both the SwinGrowers, and the Freshly Squeezed catalogue. My one criticism is that there aren’t necessarily any of the standout tracks that we’ve heard in the past – think ‘Via Con Me’; ‘Butterfly’; ‘That’s Right!’. But overall, the album has no low points, and manages to maintain a consistent quality throughout. Acts like SwinGrowers manage to do the electro swing sound in exactly the way it’s done best, leaving the listener completely satisfied. In terms of sustaining one’s fondness for the style – you can’t get much better than this: it’s so inescapably electro swing. SwinGrowers are amongst the best of all the acts on Freshly Squeezed’s roster, and with releases like this, they can only expect to maintain that reputation.

Hybrid is available from 26/03/2021.

Review: The Reach - Afro Cluster

It’s been a bit of a while since I posted anything to this blog. I’ve certainly had a busy start to 2021 – which I suppose can only be considered a good thing – and resultantly, I haven’t had much opportunity to spend any real extended time writing. But I knew for certain that there was one review I didn’t want to miss, that being The Reach – the debut album from Cardiff’s local heroes Afro Cluster. Afro Cluster have been on the scene for several years now, and I’ve been a massive fan ever since I first came across them in 2017. Fusing funk, Afrobeat, jazz, and hip hop – along with a whole host of other genres, the 8-piece manage to put on a spectacular show with every performance. They also hold the honour of being one of the very last bands I saw before lockdown, due to their show at Cardiff’s Tramshed last February.

The Reach opens with ‘Beasts Of One Nation’. Bass, drums, scratching: it’s all here immediately, signalling their unique and funky sound. The distinctive brass section is also strong, bringing a positive atmosphere, whilst MC Skunkadelic’s deep voice couldn’t fit the sound any better. Halfway through, the keys and sax add a distinctively jazzy flavour, which is a nice addition too. The piece manages to come off sounding like both a party tune, but simultaneously, just as meaningful-sounding as it is fun. ‘Black Hole’ begins with an electric organ which continues throughout the whole thing, and the interplay between the brass and vocals is excellently constructed, whilst DJ Veto showcases some skilful scratching as well. And Skunkadelic has an excellent flow; it’s not inconceivable that he could come to be recognised as one of the best rappers in the contemporary British scene. Next up, ‘Criminal’ sets us off dynamically, urging us forwards into the song. You’ll feel yourself waiting for the brass, and it does not disappoint. Whilst having something of a laidback feel to it, it remains sufficiently active and lively, and as it continues, it builds further and further – the energy just keeps on growing. Towards the end, each of the horns takes some some great solos as well.

‘Stamina’ is a good title, which sets a tone of anticipation before the song has even begun, and the introductory guitar builds upon this notion. There are some fantastically syncopated rhythms utilised, and every instrumental line has been thought out thoroughly – nothing’s been done even remotely lazily or half-hearted. And then ‘Back Into It’ brings one of the highlights of the album. This was released as a single back in March last year, and features the vocals of rapper Ty, who sadly died just a few months later. ‘Back Into It’ is the first track that’s genuinely laidback, and not deceptively so. It’ll still get you moving though, and you’ll find yourself naturally swaying back and forth completely involuntarily. There’s a fantastic chorus – very very catchy – and the song demonstrates some really solid lyrical talent as well, with powerful lines being spit at every opportunity. Ty’s verse is excellent; his voice fits with both the band, and alongside Skunkadelic, and he brings his own set of brilliant bars. And next, ‘Ikebe’ features a real strong influence of West Africa harmonically, with more polyrhythms as well – to the point where it’s not always easy to locate the strong beat. It’s another great scratching showcase, and in fact, I’d also argue that this is the best showcase of Skunkadelic’s vocals – they’re flawless – and the powerful lyrical themes from the last track are continued here too.

We next have something of an interlude with ‘AC Factor’ – a short, chilled track, with plenty of samples. There’s a very strong jazz influence here, and the track really manages to continue and develop the sounds of modern jazz – although I am a little bit surprised by how straight the brass-led bassline is played. Following, ‘Cardigan’ is similar to ‘Beasts’ in that there’s something of a rock influence to be found. It’s a funny song as well, demonstrating the band’s propensity for humour – and I love all the little lyrical references to Wales that an outsider might miss. Afro Cluster bring such an incredible atmosphere to every song – the entire sound just feels 100% complete; they don’t miss a beat – metaphorically, or otherwise. And more funky basslines then introduce ‘Heavy G’. They’ve established their sound and they’re sticking with it – and who can blame them, when it’s as good as this. Skunkadelic’s flow is superb, especially in the verses; and the brass sections jump in and out at the most consistently effective parts. There are some pretty heavy guitar parts as well; and ultimately, why not?

‘Foot To The Floor’ is one of my favourites. I love any band that experiments with complex time signatures, and the majority of this song is played in 7/4. The trick of leaving out the expected beat works exactly as it should, ensuring the song is constantly driving forward, and every instrumental line fits organically within this mould. And special shout-out to anyone who can rap over this too. The title track, ‘The Reach’ is left almost to the end, featuring rappers Sparkz and Truthos Mufasa, who both bring a different feel to the band. There’s a change-up of pace for this one, and it’s an unusual choice for a title track, being somewhat downbeat, and I wonder if it’s been picked more for the semantics of the phrase itself. Some really good brass lines though. And finally, ‘Young Shall Grow’ features more strong African influences, particularly through the percussion used, as well as some great polyrhythms, and some really compelling harmonic choices. From the off, you can tell this piece is going somewhere interesting. Whilst the vocal rhythms are fairly simple, when positioned against the music in the way they have been, they’re incredibly forceful, and I just want it to continue indefinitely. The song also features the vocal talents of both Magugu, and Asha Jane, who’s voice is especially beautiful. And there’s just such a wide array of influences on display – the later breakdown almost has elements of prog rock to it even. It’s a really excellent track, and a great choice to finish on.

Afro Cluster are a sensational band. There really isn’t a single other act who can compare to them in terms of the sound that they put out. It’s big, bold, it’s catchy, it’s relevant, and it’s smart. And they clearly have a great time making it. Every time I’ve caught them live, the show has been impeccable, and this aptitude has undoubtedly translated over onto the record. It’s been a while since We Don Land, the band’s debut EP came out in 2016, and the band haven’t relented one bit in terms of their dynamism. It’s a sure thing that they will continue to do fantastic things in the future, a prediction which can only be confirmed through releases such as this one.

The Reach is available from 19/02/2021.

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.