Continuing on their terrific run of electro-boogie releases, Tokyo Dawn now gives us the debut album Amalia. Produced by Opolopo, who had already featured Amalia prominently on his 2010 album Voltage Controlled Feelings, Art Slave builds on the chemistry they had already established. The result is a sound that is reminiscent of the R&B/hip hop/boogie that was happening in the late eighties and early nineties, with plenty of great keyboard work and big drum hits. This all takes a back seat to the presence of Amalia, who’s got volume and charisma to spare.

The Swedish vocalist recalls Chaka Khan in the size of her voice, but there are also hints of Janet Jackson and Sheila E. as she captures the feeling of the era. My only real complaint here is that for a good portion of the record, there doesn’t seem to be much of an effort to contemporize the sound. I still enjoy it, but after several tracks, it can seem a little novel. Fortunately, the record does pick up during the second half, with some interesting tracks such as “Zebra Butt-A-Fly,” a down tempo track with some complex drum work and a menacing bass line. Clocking in at over seventy minutes with the bonus mixes at the end, I might have trimmed a few tracks to make for a more cohesive listening experience.

These complaints aren’t to imply that there are bad songs on the album. Instead, what I’m trying to convey is that I feel like the balance between retro and contemporary styles would benefit from a more condensed release. Amalia clearly can sing, and Opolopo can definitely bring the funk, so I’d hate to see them get written off as a novelty. There is plenty to like about this album and groove to. I just believe they are capable of even more than this, and would like them to achieve it. Perhaps on their next album.