Today’s Track: Falle Nioke (feat. Ghost Culture) – “Barké”

August 31, 2020 — Leave a comment

If your pet dog likes this music, they will probably Barké at it. It’s time for a new post!

Pictured: Outer case for Falle Nioke & Ghost Culture’s “Youkounkoun” EP (Physical CD available from Bandcamp.com)

Yeah… You can tell I struggled a bit to come up with the tagline for this one. Good Afternoon, I’m Jacob Braybrooke and, as per usual, I’m writing about your daily track on the blog, because it’s my day-to-day pleasure to write up about a different piece of music every day! “Barké” is a recent release which I sadly didn’t quite get around to taking a spin earlier. It comes from the EP, “Youkounkoun”, a collaborative EP mixed together by Falle Nioke and Ghost Culture. Nioke is a singer-songwriter from Guinea Conakry, West Africa. He sings in both French and English, and in some traditional African languages like Susu, Falani, Malinke and Conagui. He is also a percussionist who plays cultural African instruments like the Gongoma, Bolon and Cassi. The latter, Ghost Culture, is the alias of London-based Electronic composer James Greenwood. He has always been a producer in the UK’s underground dance scene, but he turned heads with the release of his self-titled LP back in 2015, which was named as Rough Trade’s “Record Of The Month” in January 2015. Let’s have a gander to “Barké” below.

Falle Nioke was, reportedly, quickly inspired to link up with Ghost Culture, as his first electronically-focused project, soon after he moved to the UK and signed up with PRAH Recordings. “Barké” was the first sampler they shared from their recent EP, and it’s title roughly translates to “Blessing” in English. The sound of which they craft together comes off as quite intriguing. Nioke recites African chants over a luscious Lute melody, before Greenwood adds a synergistic range of syncopated beat melodies, with a kinetic bassline that melodically whistles over the top of a stuttering, glitched-out strobe rhythm that continually dips and weaves over the top of Nioke’s tribal vocals. These vocals feel upbeat, yet grounded, paired with a sensibility of Drum and Bass that clashes the two musical roots of London and Conkary together, with a decent flow that doesn’t feel too jarring, although it takes some co-operation for you to become accustomed to it. The electronic influences aren’t heavy, with a minimalist drum pattern and a simple, hand-clapped beat that keeps the track feeling poppy and beat-driven enough to access on a first listen. It provides for a good introduction to Nioke’s distinct vocal style, as he bases a large emphasis on high notes and a mid-tempo pitch, before the electronic beats gradually decrease in frequency, and the ongoing groove makes a key change, for a soulful outro that evokes a well-rounded finish. The style feels raw and D.I.Y, with an interesting style of lyricism that probably takes a bit of interaction or perseverance for a casual listener to get the most out of it. I think it makes for some superb diversity, and it’s addictive as a grower. A great palette cleanser for a year where, sadly, nothing has gone to plan.

Pictured: Cover Artwork for “Youkounkoun” (EP) (Released on July 10th, 2020) (via PRAH Recordings)

Thank you very much for reading this post! Don’t worry, as I will be kicking off the new month tomorrow with a new track from a talented independant artist who has really burst onto the UK Indie Rock scene with her new track, which has been curated for an A-list slot on BBC Radio 6Music, along with a strong airplay from X-Posure, John Kennedy’s evening show, on Radio X. It’s named after a popular lunchtime meal that you would probably enjoy as a comfort food while feeling poorly. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Emma Jean Thackray (feat. Blu) – “Open (Remix)”

August 27, 2020 — Leave a comment

Listen up, here’s a story about a little guy that lives in a Blu world. It’s new post time…

Pictured: Emma Jean Thackray in a recent promotional interview feature (in 2020) (Photo Credit: Luis Muñoz)

Good Morning! I am Jacob Braybrooke and I’m writing up about your daily track on the blog, just like always, because it’s always my day-to-day pleasure to write about a different piece of music every day! I hope that you’re in the mood for a spot of Jazz today, because Emma Jean Thackray mixes up the Trumpet with the Drums. Thackray is a composer, producer, DJ, vocalist and multi-instrumentalist from Yorkshire who has set up Movementt, her own independent record label, to “move the body, move the mind and move the soul”. Associated with the iconic UK label Warp Records, Movementt is a showcase for emerging Jazz artists from the wide, exploratory Jazz scene in the UK, and across the pond to the states. Thackray has performed as part of the London Symphony Orchestra, and she has hosted her own radio show on Giles Peterson’s Worldwide FM, as well as gaining notoriety as part of the daytime playlist on BBC Radio 6Music, with a few tracks from her recent string of EP’s being featured on the nationwide station’s main curated list. It includes further success for her latest single, “Open (Remix)”, a remix of the earlier track of the same title from Thackray’s EP “Rain Dance”, featuring a guest collaboration spot from the Los Angeles-based rapper and singer, Blu. Let’s see what all the fuss is about with “Open (Remix)” below.

On the new remix of her track, “Open”, Thackray commented: “I took a drums and Rhodes loop from a session with my band and layered the other instruments myself – using the studio as an instrument alongside live elements to get a perfectly balanced sound. The tune has a real wonk to it and it is in 6, so I needed a rapper with not only deep words but a sophisticated flow. Blu goes against the grain and makes it look easy.” to ebb the flows and the direction of the project. Conclusively, the sound feels really kinetic, and the contemporary Alternative Jazz production methods of each corner of the sound equates to a good quality of mellow, warm Hip-Hop and poetic, symphonic Psych-Jazz. Blu lays out a motivational rap ballad, adding “My mind is open/My time is open, Juice pours out as if the mind is open”, to a virtuous chorus of Brass synths and ephemeral stabs of Drum samples to shift up the tone, creating a Percussive groove which shifts in pitch and tempo to comfortably alter the course over the course of the track. The presence of Thackray is just as important, as she delivers a Soulful backing vocal on top of the Jazz-heavy, grounded sonic loops and she blasts out a whimsical solo with her Saxophone towards the end of the track. There’s a slow-moving, if constant, theme of evolution within the sound, such as with Thackray’s solo, as it changes up the Trumpet chords for a nimble Saxophone section, and I really like this. Blu’s lyrics are a little bit generic and don’t quite feel that highly unique to him for me personally, but he still does a fine job with the material he’s given and his 1990’s-style vocal sound still works for the track. The production feels ultimately more crucial, however, and this is the area in which the track stands out. Thackray’s instrumental qualities feel smoky and old-school, while pushing some exciting melodicism forward with contemporary beats. But, the question is – Has it moved your body, moved your mind, and moved your soul? For me, this certainly has.

Pictured: Cover Artwork for “Open (Remix)” (feat. Blu) (Single/EP) (Released on June 30th, 2020) (via Movement)

Thank you very much for reading today’s blog post! As promised, I’ll be back at it tomorrow with a slightly more mainstream, but still fresh and very cool, track. The post will mark the long-awaited release of the third LP for the Surrey-born DJ duo. Their first studio album was nominated for Best Dance/Electronica Album at the Grammy Awards in 2014, and their second album was nominated again for the same award, at the Grammy’s in 2016. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Chong The Nomad (feat. Hollis) – “Take Two”

August 17, 2020 — Leave a comment

Now that I have found you – Could you Find Me Two? It’s time for your daily blog post!

Pictured: Chong The Nomad pictured in the trailer for “Uncharted: Seattle” (2019) (via VisitSeattle.tv/YouTube)

Good Morning! I’m Jacob Braybrooke and I’m typing up your daily post on the blog, because it is always my day-to-day pleasure to write to you about a different piece of music each day! Let’s kick off the new week with a deep dive! Chong The Nomad (aka Alda Agustiano) is an electronic Soul singer-songwriter and music producer based in Seattle, Washington, described as: “A Young Multi-Instrumentalist and Producer Shaping The Future Of Dance Music” by SassyBlack of TomTomMag.com, who started out in the industry by learning to score compositions for film, and she draws from a cinematic background and her literacy influences to create a slick “Bedroom Groove” indie sound that blends electronic synth work with a 1970’s Pop sensibility. She has supported Death Cab For Cutie and Grammy-winning artist ODESZA on tour, and performed spots at festivals including Sasquatch Music Festival and Upstream Festival + Summit. Did I forget to mention that she’s still only 24 years of age? For her latest single, “Take Two”, which she self-released on Bandcamp last month after producing the music video during self-quarantine, she has enlisted the help of fellow Washington-based producer Hollis to write the track on a trip to Los Angeles, California. She told KEXP: “Wrote it during my first big writing trip in LA and I was super sick, Still managed to create something I’m proud of”. Let’s have a listen below!

Neo-Soul, Psych-Pop and old-school R&B are fused effervescently into a soft, but gently involving, hook-led chorus as Agustiano mocks the “Social Media Influencer” culture in her self-produced music video for “Take Two”, a track which features a noticeably Hip-Hop inspired collaboration spot with Hollis. Agustiano confidently pairs Hollis’ hook: “How long till you see me tremble? Take Two can you make it memorable?”, as Hollis repeats: “Feel me lately, Make me lazy” over the top of a buoyant Synth Drum beat and a punchy, slightly distorting Trap bassline that fizzes underneath a flickering Treble line. The rest of the lyrics are sensual and flirtatious, and the production is very honeyed and laidback. Hollis raps: “You’re my secret garden baby/But you make me want to tell somebody” above mellow textures of bubbling Synth instrumentation and brief helpings of fluttering Cello chords. It leads to a clean breakdown as Hollis recites “Whisper in my ear like that/Glitter in your eyes like that, Fingers in my hair like that”, before pondering: “How far can you take me baby” as the instrumentals slow down gradually, with a light tension being created by the Synth drum grooves and minimal string instrumentation prior. For an artist as young as Agustiano, it’s clear that we haven’t heard the best from them yet, and “Take Two” has a very D.I.Y. feel to it, but the vocal spots from Hollis add much to the optimistic R&B sound, and hints of Glitch-Pop and Jangle-Funk burst through to add diversity to the Synth-heavy framework. A promising step for Agustiano’s early career.

Pictured: Cover Artwork for “Take Two” (Single) (Released on July 10th, 2020) (via Self-Released/Bandcamp.com)

Thank you for reading this post! I’ll be back tomorrow, as usual, with a very special blog post to mark the 48th birthday of a certain personal top hero of mine – Richard D. James…. Or, should I say…. Lornaderek of Aphex Twin! I’ll be looking at a track from one of his most popular and acclaimed ambient works to cement the occasion… So you’re not going to want to miss this one! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Delvon Lamarr Organ Trio – “Inner City Blues”

August 14, 2020 — Leave a comment

What do you call a Wizard who Potters around the house a lot? Harry! New post time!

Pictured: Cover Artwork for “Inner City Blues” (Single/EP) (Released on May 22nd, 2020) (via Colemine Records)

That has nothing to do with today’s track, by the way, I just wanted to make you roll your eyes! Anyhow, I’m Jacob Braybrooke and I’m writing up your daily post on the blog since, as you’re aware of, it’s my day-to-day pleasure to write about a different piece of music every day! Also known as DLO3, Delvon Lamarr Organ Trio are a Jazz Fusion group based in Washington in the US, who formed in 2015, under a different original line-up. Their band name refers to how Delvon Lamarr, who is obviously at the helm of the trio, switched to playing the Organ at the age of 22 after playing the Drums and the Trumpet since an early age. Lamarr now works with Jimmy James (Guitar) and Dan Weiss (on Drums) to make up the trio. Commercially, they are probably best known for their debut album, “Close But No Cigar”, which reached the #1 spot of the US Contemporary Jazz Albums Chart when it was released in 2015. “Inner City Blues” marks a new era for the Colemine Records label, who have launched the “Brighter Days Ahead” initiative as a response to the COVID-era difficulties being faced by independent labels. As a result, they have been releasing a new single, from their artists, weekly on their Bandcamp page to coincide with Bandcamp’s waiving fees on the day, meaning that 100% of revenue from sales goes directly to the artists. This is a cover of Marvin Gaye’s 1971 track “Inner City Blues (Make Me Wanna Holler)” from his landmark LP, “What’s Going On”. Let’s give it a spin!

An upbeat, instrumental version of a vintage 70’s classic track, which can be a hit-or-miss prospect in the odd few cases, Delvon Lamarr Organ Trio put a new spin and a different perspective on Gaye’s original composition with a hefty splash of cool, involving Acid-Rock guitar lines and a Dub-based Funk style which reminds me of Khruangbin, amongst a casual and contemporary Jazz format that seems akin to GoGo Penguin. Driven by an airy Organ harmony, as per usual from the Seattle-born trio, the Jazz trio infuse elements of Soul and Swing that recreates the authenticity of a 1970’s New Orleans sound. Its embellished with short Brass sections and joyous, childlike keyboard chords to replace Gaye’s original lyricism of the bleak economic situation of the 70s and his informed lack of support from the government during the recession with deep bass guitar lines and increasingly layered Classical instrumentals to create a hopeful and optimistic mood with a vintage 70’s Jazz Fusion feel. Jimmy James turns the Funk up a notch on his guitar part, with consistently grooving, light-hearted guitar patterns. Meanwhile, Dan Weiss creates warm Drum beats that feel momentous, increasing the pace from Gaye’s recording, before it comes together with a mellow finish. Frankly, they all play perfectly well individually, but they all sync-up together very cohesively, and that springs the record to life. A head-nodder of a cover.

Pictured: Delvon Lamarr (Keyboard), Jimmy James (Guitar) and Dan Weiss (Drums) (2020) (via Promogogo.com)

Thank you very much for reading my daily blog post! Don’t forget that your weekly edition of Scuzz Sundays is coming up very soon, but in the meantime, please make sure that you visit the blog again tomorrow for an in-depth look at the brand new solo project from the frontman of one of the world’s most internationally popular Alternative Rock music groups, Sigur Ros. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Princess Nokia- “Gemini”

August 8, 2020 — Leave a comment

I’ve just deleted all the German names on my phone, It’s Hans free! It’s new post time!

Pictured: Still image from the official music video for “Gemini” (2020) (Uploaded to YouTube by MASSHENDRIX)

It’s the weekend! I’m Jacob Braybrooke and I’m writing your daily post on the blog, because it is always routinely my day-to-day pleasure to write about a different piece of music every day! Having presented her own radio podcast show on Apple Music and acted in the lead role of a 2019 indie film, “Angelfish”, Destiny Frasqueri – better known by her stage alias of Princess Nokia – has been a very busy rapper-songwriter in recent months, and that’s not all! She has also self-produced and self-released two brand new albums, on February 26th, this year – “Everything Is Beautiful” and “Everything Sucks” – related albums that show a contrast between the sensitive and feminime angst of her as a gender-fluid artist. The albums were recorded across New York, Puerto Rico and Los Angeles between a period of two years. “Gemini” was lifted from the former LP collection, a record that she describes as “a brash, ruthless and insistent collection”. Let’s watch her perform “Gemini” on COLORS via YouTube below.

“I am Gemini/Super fly” and “Two heads/One eye” make up a soulful opening verse for “Gemini”, a Neo-Rap single which lyrically riffs off astrology and horoscopes. A mellow, smooth and laidback Trap-Hop backing track lets her name-drop a list of role models who coincidentally share the same star sign as her, as she recites: “I am Gemini / Like Pac, André, Lauren / and Kanye, Boy George, and Anne Frank,”, of which Ms. Lauryn Hill is also based in New York City like her, a West-Coast legend of the global Hip-Hop climate. An intriguing vocal direction sees Nokia further discussing her horoscope connections with famous rappers and legendary names, as she raps: “And all the famous rappers got a sign like me/And all the famous rappers got a heart like me” before she poetically concludes the chorus with an expression of self-individuality and the creative freedom that she allows to herself as an independent artist, bellowing: “But I know that I’m different and they’re not quite me”. Later on, she refers to her androgynous looks and she murmurs a “Riders On The Storm” refrain taken from the titular track by The Doors, alongside more comedic and quirky hooks like “I am Gryffindor, but I don’t move like Snape” that adds a bouncy mood to the soft, but directly addressed, songwriting tones. The sum of it’s parts create an intriguing atmosphere, despite the instrumental bed seeming a little generic. That’s not to say that it doesn’t suit the song well, however, as this backing track has a very wistful and honeyed texture that adds a melodic layer to the clear-cut lyricism which boldly explores gender identity and self-contained individuality. The sound itself may not be pushing as many boundaries, but Nokia fuses lo-fi Hip-Hop, Latin R&B and Psychedelic Neo-Soul at slick ease. This is powerful listening for a summer afternoon.

Pictured: Cover Artwork for “Everything Is Beautiful” (Released on February 26th, 2020) (via Self-Released)

Thanks a bunch for reading your daily post! Tomorrow marks the arrival of a new weekly edition of my Scuzz Sundays series – the time of the week when we revisit either a Pop-Punk or Emo-Rock from between the late-90’s to the mid-00’s to see if it can hold a candle to modern quality standards – This week’s track is an absolute classic of that category! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Manu Dibango – “Soul Makossa”

July 14, 2020 — Leave a comment

Talk about The Lion King, this one is The Founder Of Funk! It’s time for your new post!

Pictured: Cover Artwork for “Soul Makossa” (Released in 1972) (via Fiesta Records (France) and Atlantic Records (USA))

Where are you, Sun? Good Morning, I’m Jacob Braybrooke and I’m writing about your daily track on the blog, as per usual, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Manu Dibango was a Cameroonian musician and songwriter who played both the Saxophone and Vibraphone, and he was born to a father of the Yabassi ethnic tribe, and to a mother of the Duala group. Manu Dibango developed his own unique style of music, covering a vast spectrum of traditional African roots music – and he fused them together with a cohesive range of genres – such as Jazz, Afrobeat, Salsa, Samba, Gospel, Reggae and Blues. His biggest hit was 1972’s “Soul Mokassa”. The name is very self-explanatory, it’s simply a fusion of Soul and “Mokassa” – an Urban Cameroonian style of Jazz that blends prominent use of Brass sections with electric Bass rhythms. The refrain has been sampled by Michael Jackson and Rihanna, and the single was a huge influence on Kool & The Gang. It also led Dibango to frequent collaborations with the legendary Fela Kuti. An interesting fact about this track is that only few copies were ever printed, and after widespread airplay on WBLS (the then-most popular Black radio station in the US), over 20 cover versions were recorded by different groups to capitalize on the high, but limited, demand. Sadly, we lost Manu Dibango on 24th March, 2020 after he caught COVID-19, whilst living in France. Let’s get lost in the sounds of “Soul Makossa” below.

Undoubtedly driven by it’s very Saxophone-based grooves, many have claimed “Soul Makossa” to be the very first, true Disco record. There are no traditionally written lyrics to really speak of, but there is a prominent use of Lead Vocals. Manu Dibango’s claim to fame was the “Mamma ko, Mamma ka” rhythm pattern that gets scattered throughout the track, and the “Ma-mako, Ma-ma-Sa, Mako-Make Ssa” choral refrain that played a massive factor in defining the significant sound of a “Disco” record. The vocal refrain gets repeated by a choir in the backing vocals, but the instrumentation clearly has an even more lasting effect. Dibango plays beautifully on the Saxophone, and he is a great arranger. The track gradually adds layer upon layer of bright, warm Saxophone riffs. These are very upbeat and cheerful in tone, but it’s not so much of an uplifting pop sound, as there’s noticeably a tight edge of Jazz in the loose Vibraphone sections and the Congolese rumba sounds, wrapped in ensemble Conga drum patterns and ongoing, mid-tempo Trumpet shifts. He also mixes the catchy vocal patterns together with the key shifts between major and minor, to add new elements of Afrobeat and Ska to the persisting, recurring Brass-centric patterns. This is delightfully repetitive and breezy, with a summery warmth that makes it sound like the musical equivalent of grabbing a can of San Pellegrino (I assure you, this is not sponsored) on a scorching hot day, and just necking it down. Rest In Peace, old friend!

Pictured: Manu Dibango playing a live set at an undisclosed music festival (in 2014) (Photo via Wikicommons)

Thank you very much for reading this post! As always, I will be back tomorrow for our first-part (of two) look at the brand new double single by an indie Dream-Pop group from Lund, a city in the South-West province of Sweden. They’ve often been compared to The Postal Service, and the group got their brodcast-related name from a local petrol-station-turned-radio-station-turned-repair shop called “Radioavdelningen”, and giving you the rough translation will ruin the suprise I’ve given to you from these clues! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Thundercat – “Funny Thing”

July 2, 2020 — Leave a comment

The lady who shouts “Thundercat” on The Undateables would love it! New post time!

Pictured: Thundercat (Stephen Lee Bruner) performing at the 02 ABC, Glasgow (2017) (via WikiMedia Commons)

Good Morning, I’m Jacob Braybrooke and I am writing about your daily track on the blog, since it’s always my day-to-day pleasure to write about a different piece of music every day! For today’s track, Thundercat is obviously not their real name. It is, indeed, the stage name used by Stephen Lee Bruner – a Funk, R&B and Soul singer-songwriter from Los Angeles, California – who adopted the name as a tribute to his love for anything Geek culture-related, such as his love for 1980’s cartoons and the Japanese Manga/Anime franchise Dragonball. It’s all a part of his brand! His fourth studio album, “It Is What It Is”, was released earlier this year, and it is dedicated to rapper Mac Miller, who sadly died aged 26 in 2018, as you might know. Bruner produced his new record with Flying Lotus, and it features guest appearances from Childish Gambino, Kamasi Washington, Ty Dolla $ign, and many others. A single that grabbed my attention from the album, while listening to BBC Radio 6Music in the daytime, was “Funny Thing”. Let’s have a listen to “Funny Thing” with its video below.

Just shy of two minutes long, Thundercat could have a potentially big hit on his hands if he allows the bouncy electronic drum grooves and the celestial synths of “Funny Thing” to swell. Bruner uses a playful fusion of old-school Funk, Soul and R&B, with a modern synth-led instrumental twist, to detail a romantic moment as a dancehall-like, drug-infused love party nears toward it’s end. There’s a cheeky idiocy in all of his lyrics: “Someone hold my phone/Cause’ I can’t hold my tongue” and “Then I’m gonna ruin the fun/ that’s not your problem because I’ve seen to much baby, Sorry if I get a little PTSD”, as Bruner delivers the honeyed vocals, layered above the backdrop of a bouncy, stomping bass line and a skittering drum loop to create the wonky, synth-soul sensibility. In the chorus, he intonely warbles “I just want to party with you tonight, because you make everything alright” over a soft, lo-fi keyboard riff. The visual aesthetic is vintage Funk-Soul and animated, and the sonic direction is rickety and psychedelic, but I also find there to be a sadness to the track as well. The synth lines are mid-tempo and downbeat, with an expressive vocal delivery that makes me feel like Bruner could also be lamenting a failed relationship or an unstable life decision at the party. It sounds intimate, and the poignant Falsetto lyric delivery is what makes this track stand out for more than it’s playfulness and it’s quirky humour. It’s a very old-fashioned sound which harkens back to the thematic racial unity of Funk and Jazz in the 1960’s and 70’s, and it’s more appealing to mature listeners than a teenage audience. The contemporary lick of synth makes it compulsively listenable.

Pictured: Cover Artwork for “It Is What It Is” (Released on April 3rd, 2020) (via Brainfeeder Records)

Thank you for reading this post! In regards to #BlackLivesMatter, we endorse the peaceful protests on One Track At A Time. Please go and check your local area for good charity causes that help those directly affected by racism and injustice. I’ll be back tomorrow with an in-depth look at the new track from an emerging female solo artist, who I have covered and positively reviewed beforehand, whose last music video was co-directed by Loyle Carner, and she landed a spot on the BBC’s Sound Of 2020 poll. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Moses Boyd (feat. Poppy Ajudha) – “Shades Of You”

June 27, 2020 — Leave a comment

A South London Jazz/Grime blender with 50 shades of influences! It’s new post time!

Pictured: Moses Boyd in a press shoot for an interview feature with TRENCH (2018) (Photo Credit: Hyperfrank)

Good Morning to you, I am Jacob Braybrooke and I’m writing about your daily track on the blog, because, as you know, it’s always my day-to-day pleasure to write about a different piece of music every day! Moses Boyd is an artist who is difficult to box into one category, since he does a bit of Jazz Fusion and a touch of Electronic Rock, along with a wider Grime influence. Boyd started playing the drums at the age of 13, taking as much inspiration from Jazz legend Miles Davis as 00’s British Grime pioneer Dizzee Rascal. Boyd was born in South London, and he graduated from Trinity College with a BMus (Hons) Jazz Drums in 2016. Since being one half of sax-and-drums duo Binker & Moses and fronting his own band, Exodus, Boyd has worked with the likes of Experimental Electronic Ambient artists Four Tet and Floating Points, and Jazz-and-Soul songwriters Lonnie Liston-Smith and Zara McFarlene to expand his role as a collaborator in 2017. Boyd released his debut solo album, “Dark Matter”, on February 14th, 2020. It’s a diverse record, which explores a variety of Jazz Fusion sounds, which also shows his abilities in Electronica, Neo-Soul and Industrial Hip-Hop. It features the likes of Poppy Ajudha, Obongjayar and Joe Armon-Jones. Let’s have a listen to the breakout single “Shades Of You”, which features the R&B singer Poppy Ajudha, below.

The South London-based award-winning drummer, composer and producer enlists the help of talented R&B/Neo-Soul voice Poppy Ajudha to draw from a melting pot of influences on “Shades Of You”. Their collaborative track has a gloomy, but stylistic, aesthetic, as Ajudha sings about self-acceptance in the beginning verse: “Don’t hide from yourself/There is beauty in your darkness/So much colour in your soul”, which gets layered above a bright bass-synth groove. The pre-chorus is affecting when Ajudha asks: “Are you afraid of the dark?/Could you bathe in my darkest?” and reaffirms: “You’re not alone” over the top of bright, percussive splicing effects and a central Techno melody which drops small drum beats at a regular pattern. Ajudha’s chorus goes: “I gave away all my colours/I’m left with shades of blue/I Can’t handle your darkness/But they all want the shades of you”, paired with the input of a Tuba that’s played by Theon Cross, whilst the ethereal drum-led groove carries the key melodies along. The second verse is much the same, while the repeated choruses end it on a high note, with the consistent drum notes and melodic Vibraphone sections creating a Kaleidoscopic effect, which feels dancefloor-primed. The complex Soul influences have the usual South London Soul sound, with an effective blending of Neo-Soul, Electro-Pop, Jazz and Grime elements fusing and pulling-in-and-out of each other together. To me, It manages to stand out on a typical daytime playlist of BBC Radio 6Music, and it feels both catchy and pop-friendly enough for you to hear it in a large-chain clothing shop. Meanwhile, it doesn’t lose it’s lush experimentation, and the overall sound points towards club culture with it’s soulful artistry and dance flair. It’s very engaging. The Neo-Soul, Dance and subtle Hip-Hop production is at the heart of the music, and this is a dazzling Jazz banger that was built for the dancefloor.

Pictured: Cover Artwork for “Dark Matter” (Released on February 14th, 2020) (via Exodus Records)

Thank you for reading this post! In regards to #BlackLivesMatter, we endorse the peaceful protests on One Track At A Time. Please go and check your local area for good charity causes that help those directly affected by racism and injustice. I’ll be back tomorrow with your new weekly edition of Scuzz Sundays, the time of the week where we revisit an emo-rock or a pop-punk classic from between the late-1990’s to the mid-00’s to see whether it still holds up! This week, it’s a track from the US-Christian rock band who famously composed the theme song for legendary Mexican pro wrestler Rey Mysterio! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Orion Sun – “Ne Me Quitte Pas (Don’t Leave Me)”

June 22, 2020 — Leave a comment

Tiffany Majette wanted to be an astronaut but she turned to music. It’s new post time!

Pictured: Cover Artwork for “Hold Space For Me” (Released on March 27th, 2020) (via Mom +Pop Records)

Good Morning, I am Jacob Braybrooke and I’m writing about your daily track on the blog because it is my day-to-day pleasure to write about a different piece of music every day! We’re going to kick off the new week with a track by talented up-and-comer Tiffany Majette – who performs under the alias of Orion Sun – a Philadelphia-born contemporary R&B/Neo-Soul artist who had a viral hit with 2017’s “Antidote”, off her self-produced compilation LP “A Collection Of Fleeting Moments and Daydreams” released that same year, which has amassed over 6.6 million streams on Spotify. Her latest album is “Hold Space For Me”, and it was released to positive reviews by Mom + Pop Records at the end of March, earlier in this year. Majette has a very confessional, heart-on-your sleeve vocal style, with Funk-led Drum grooves warping around radiant Synth-based instrumentation to create a fruitful blend of Neo-Soul, modern R&B and pop-based Electronica. Her single, “Ne Me Quitte Pas (Don’t Leave Me)” is based on Nina Simone’s cover of Jacques Brel’s track of the same title. However, Majette strips the sadness away and focuses on the joyous elements instead, stating that it’s about: “falling in love unexpectedly & feeling like its too good to be true but actually it’s good and true. This feeling was proof to me that good things can happen to people that feel ugly inside.”. Let’s watch the video for “Ne Me Quitte Pas (Don’t Leave Me)” below.

A music video with a hand-crafted look that matches the D.I.Y. mentality of the track’s production process, “Ne Me Quitte Pas (Don’t Leave Me” starts off with a flipped sample of Simone’s rendition, before washing waves of small guitar loops and Reggae-like drum beats create a sun-dripped vibe. Majette croons: “Swear you came down like a comet/You’ll be all in my dreams like I’m f***ing haunted” over the sparse keyboard riffs and ambient synths to produce the first verse. The chorus feels similarly nuanced and vulnerable, as Majette sings: “It feels so good to know you” and “it feels so damn good”, placed above gentle guitar string plucks and Soul/R&B-instrumental breaks that also create a wider Folk influence in the slow-paced narration. The end continues the poignant blend of the three genres, but it’s noticeably relaxed by an instrumental section that carries the synth-led crescendo of spaced guitar licks and mid-tempo drum grooves along well, before she uses “Love me, forever” to bring the ambient piece to a close. It feels ripe for Summer listening despite the March release, with attentive production that provides meshes R&B-led and Electronica-driven synths with slow instrumentals that bring elements of Jazz Fusion and Folktronica to the table. I think the best is yet to come from Majette since I guess that it gets a tad repetitive, but it’s otherwise a welcoming offering that feels melodic enough for the mainstream to get, but the vibrancy makes it more appealing.

Pictured: Tiffany Majette in a photoshoot for a Q&A feature with Flaunt.com (2020) (Photographed by Sandy Ismail)

Thank you for reading this post! In regards to #BlackLivesMatter, we endorse the peaceful protests on One Track At A Time. Please go and check your local area for good charity causes that help those directly affected by racism and injustice. As per usual, I’ll be back tomorrow with a new post. I will be looking at another recent track, this time coming from an Italian experimental electronic music producer who is currently signed to Warp Records and he is also the co-founder of Presto!? Records. If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Ryuichi Sakamoto – “Riot In Lagos”

April 29, 2020 — Leave a comment

Kaiser Chiefs would never be able to Predict a Riot in Lagos! It’s time for a new post…

Pictured: Ryuichi Sakamoto pictured on the back cover art of a 12″ vinyl copy of “B-2 Unit” (1980) (via Plexus)

Good morning, I’m Jacob Braybrooke and I’m writing about your daily track on the blog, as it’s my day-to-day pleasure to write about a different piece of music each day! I’ve been listening to a LOT of American radio lately, as a way of broadening my horizons and exploring interesting music beyond the UK’s bubble. I was rather surprised to find that I’d never heard of Ryuichi Sakamoto, a Japanese electronic composer, prior to hearing “We Love You” being played in the early hours on KEXP, a Washington-based Community radio station. From co-founding Yellow Magic Orchestra in the late 1970’s to scoring the Oscar darling film “The Revenant” in 2015, the guy’s done a lot. My favourite release is “Riot In Lagos”, a funky track that was self-produced by Sakamoto for his second solo album “B-2 Unit” in 1980. For “B-2 Unit”, Sakamoto decided to ditch the compositional pop style of Yellow Magic Orchestra to explore his interest in ambient textures and tones rather than using Yellow Magic Orchestra’s more traditionally packaged-up formula. Check out “Riot In Lagos” below.

You could argue that nothing else really sounded like “Riot In Lagos” in the 1980’s and, in 2020, not much has changed at all because barely anything still does. This strange and experimental electro-dance record establishes a very futuristic aesthetic through it’s propulsive acid-house interludes and it’s restless, skittering breakbeat sections that make up the bulk of the verses. There’s no lyrics to speak of, but the abstract nature of the bustling, oriental techno-bleeps and an intriguing, uniquely post-modern take on the broad classical music genre, provides us with the result of a very timeless and sophisticated backdrop to the combination of an African dancehall-like energy and a more densely layered, science-fiction based Ambient House soundscape. In a few ways, Ryuichi Sakamoto also draws on the grooves of Afrobeat in his focus of creating repetitively composed, propellant melodies that feel danceable, in transporting the G-Funk mannerisms of Fela Kuti to a filtered electronic setting. The results are strikingly effective, with a nostalgic video-game soundtrack linking up with a techno-modernist House sound that feels influential for the likes of Plaid and Autechre 10 years later, along with Four-Tet and Peggy Gou in slightly later times. Basically, it’s Funk music, but created by machines – Count me as a fan already.

Pictured: Ryuichi Sakmoto pictured with the 2017 vinyl re-issue of his album “B-2 Unit” (1980) in Korea (via Facebook)

Thank you for reading this post! As always, I’ll be back tomorrow with an in-depth look at the brand new single from an English songwriter originally signed to Rough Trade Records who is also the son of Ian Dury and he modeled on the front cover artwork of Ian Dury’s debut album “New Boots and Panties” released back in 1977! If you really liked what you just read, why not follow the blog to get notified when every daily new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/