George Riley fuses defiant R&B and polished electronica on Vegyn-produced album, 'Running in Waves'

The newest offering from the West London singer reaffirms Riley as a leading force in futurism - a melting pot of contemporary R&B and bright, orchestral electronica.

What’s immediately obvious when listening to Running in Waves is what George Riley finds important. Whereas 2021 mixtape interest rates, a tape could be received as a collage of thoughts, Running in Waves is a mission statement. A concise, calculated and confident collection of ideas fed through layers of sultry R&B melodies and lush instrumentals.

The singer has long blended in amongst the works of fellow underground artists - lending her vocals to the dusty hip-hop of Goya Gumbani and King Carter, as well as the sugary sweet dance music of Anz. Whilst crucial, Riley’s past contributions often worked towards a shared vision in an artistic community which really values the art of collaboration.

Here though, Riley’s perspective is strong and singular - honest outlooks on sex, personal resilience, and desirable traits in friendships. It is total realism rather than romanticism - a coffee date between friends, rather than a rehearsed stage show. The artist’s voice remains breathy and intimate, speckled with a bright West London accent that feels refreshingly familiar.

‘Sacrifice', the album’s opener and second single, is a gorgeous and wistful journey through the dizzying feelings of hesitation. The track’s core elements are incredibly well-executed, as Riley’s melodies wrap bows and ribbons around an arrangement of tortured, cinematic strings from John Keek and Karl McComas-Reichl.

The sounds on the album’s eight tracks range from these grand string pieces to bouncy synths - from muffled, glitchy loops to far-reaching, jungle-tinged drum patterns. And Vegyn, the album’s sole producer, seems to be the culprit.

Released on Vegyn’s PLZ Make it Ruins label, the album glimmers with Vegyn’s idiosyncracies. Off-kilter beats and spacious mixes leaning towards the digitised soundscapes of open-world video games. Vegyn’s choices on ‘Running in Waves’ vary from something wholly new to something straight out of the 29-year-old’s virtuoso’s playbook.

Despite this, the album orbits the world of radio-ready hooks and traditional song structures. Melodies are reminiscent of the R&B hits of the 90s, anchored in Riley’s stories of romantic frustration. ‘Time’ is like a TLC song sent back from the future, pouring with an attractive defiance and integrity. ‘Delusion’ comes from a similar place, one more dance-orientated and fitful.

With a clear talent for earworm melodies and beat selection, George Riley gives herself power here to remain intimate and fluid. With a stripped-back runtime and a tracklist that gives no breathing room for interludes and skits, one thing to be really appreciated is the intention and execution.

The lasting value of Running in Waves, which there is plenty of, ultimately comes from the dual-wield threat of George Riley and Vegyn as collaborators. The soulful yet disciplined approach to songwriting Riley exhibits seems to work best when thrown through the fiery kiln of Vegyn’s beat-making. When the heat’s turned off and the lid is lifted, what’s left is a polished, ornate piece of pottery. A refined product of open-minded collaboration.

Running in Waves is available to stream everywhere. You can also buy the vinyl on the PLZ Make it Ruins site.