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.