Today’s Track: Lip Filler – ‘Followup’

July 5, 2024 — Leave a comment

You may be hooked as quickly as you can say “Dermatologic Surgery”. New post time!

Pictured: George Tucker (Co-Lead Vocals, Keyboard), Verity Hughes (Guitar, Backing Vocals), Jude Scholefield (Guitar, Percussion), Theodore Pasmore (Bass Guitar) and Nate Wicks (Drums) (2023) (Photo taken by PR)

The summer days are upon us! I’m Jacob Braybrooke and it was previously my day-to-day pleasure to write up about a different piece of music every day before adulthood got in my way, so now I post more sporadically about special sounds. Lip Filler are an exciting, emerging indie rock band from London who weave elements of Electronic music and Post-Punk together like a Bunsen burner and a cylindrical tub of Helium in your school’s chemistry class. The West London-based 5-piece started their project with humble beginnings, having resided in a flat above a chicken shop in Shepherds Bush where their synergy and influences began to boil as hard as an egg in a saucepan. This has led to the evolving reputation of the band as a caustic capital force in London’s live scene to be created and, most importantly, they have now been able to buy a pet tortoise for their flat because why wouldn’t you? They have received some airplay from BBC Radio 6 Music since, along with just finishing up their first UK headline tour run. Having already supported the likes of Pit Pony, Gene Pool, XVOTO, Alfie Templeman and Picture Parlour and worked with producer St Francis Hotel (Little Simz, Michael Kiwanuka, Greentea Peng) on their debut single, Lip Filler are focusing their attention on tapping into a vast pool of creative collaborators and tidily transitioning to studio production practices to maintain their arresting momentum. ‘Witchescrew’ is their second EP – out now via Chess Club Records – and ‘Followup’ is the remarkable lead single, despite what its title may imply. Let’s give it a spin below!

Diving deep into their psyche, Lip Filler says, “Time is a precious thing; when we are told to wait for something sometimes we feel as though we’re not making any progress. We push ourselves to ensure we’re occupying our time efficently”, as they expose their emotional vulnerabilities in a press release regarding ‘Followup’, adding, “Taking this to the extreme would mean avoiding sleep altogether, or sleepwalking. I think that’s how this song began to adopt more paranormal themes”, says vocalist George Tucker. Absolute sense is made by Tucker’s comments on time management and relative frustrations because patience shines strongly as a key theme of their shape-shifting song. We start with a glossy yet melodic lead guitar riff that sounds akin to a shiny 90’s Alternative Rock crossover hit by a band like Placebo or The Smashing Pumpkins, as the blatant lyric of “I’m so sad” begins to reverberate throughout the disillusioned tone of the track. At this point, you may expect an Emo track to unfold alike the ‘Scuzz Sundays’ feature that we used to own in this blog’s heyday, but a change of direction takes course and the angularity grow sharper. Lyrics like “Motion sickness in your sleep/I’ve been underneath the tyres” are given a rhythmic scheme akin to a Rap-Metal track, while the guitars grow more bitter in substance and the Grunge mentality runs thicker. “You turned oh shit/I get my creature on”, delivered with a static effect, proves to be an imaginative detour that suggests a larger mental health issue at play due to its contorted nature. The band continue to dynamically cut together their influences of Pop-Punk, Nu-Metal and Shoegaze with a cut-and-paste collage effect as stop-start electronic instrumentals with a distorted tone and up-tempo vocal loops continue to add a psychedelic haze to the mix. Overall, while the volume on ‘Followup’ can be high at times, the technical musicianship finds its place to shine as the band continue to subvert expectations throughout the explorational track and stitch together a vibrant library of late 90’s and early 00’s rock sounds at a towering level of creativity. Less so of “I’m so sad” and more like “I’m so excited” about the future in store for this daring, experimental crew.

Pictured: Cover Art for ‘witchescrew’ (EP) (Released on May 24th, 2024) (via Chess Club Records)

That’s all for now! Thank you for joining me for a few minutes on One Track At A Time today and if you’re always on the look-out for more new music suggestions beyond the mainstream, please follow me on my other channels that you can seek out below.

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Today’s Track: SPRINTS – ‘Up and Comer’

January 9, 2024 — Leave a comment

Jacob to Planet Earth. Surprisingly, this is not a false drill. I respond with a new post!

It gives me – Jacob Braybrooke – great pleasure to wish you a very happy new year as I have finally returned to address you as the writer of One Track At A Time, a website that was previously a diary of discovery when it came to finding new music and exposing the dynamic duo (known as your eyes and ears) to a range of unique bands that I would never wish to fly under your radar otherwise. If you are following the blog and, of course, reading this – I want to say a huge thank you. The main reason why I’ve been on hiatus for so long is the ‘D’ word – and I’m not talking about ‘Drums’ or ‘Drill & Bass’, or whatever basic innuendo that your mind conjures up, but the ‘D’ that worms into your brain and lies to you. Telling you about your inadequacy and lack of worth. Conveniently timed at a period where I was leaving the ‘Cocoon’ known as university life. I began working a stop-gap job in retail and I’m accepting that I’m becoming older and that, to be honest, I absolutely hate said stop-gap job. Therefore, I’ve decided to pick myself up off the canvas and search for career opportunities in the music industry. Although, however armed with excitement and nostalgia that I am to be writing about a fantastic new band once again that I am, I have to face the facts that my writing is very rusty now. Therefore, I’ve decided to start posting again. Not everyday – maintaining my own radio show, job applications, stop-gap job and writing every single day, like I used to back in the peak day, is going to be a little overwhelming. As a result of this, I will simply post a few times over the upcoming weeks, maybe not even publicise it so much, treat you like the old friend that you are and sharpen my skills for the mountain of impending cover letters and personal statements that are inevitably on my way while creating a platform for emerging artists to thrive because my mission, as an individual, is to combat the generic that you hear everywhere from the mainstream media trying to mass market. It’s been about that all along not just holding the fort for a company solely interested in profit.

In my first comeback post of 2024 – although ‘Love Myself’ by Hailee Steinfeld or ‘Fight Song’ by Rachel Platten’ may be a little more fitting of my current mindset – I present to you the Dublin-based indie punk-rock band who are called SPRINTS. It’s always difficult to find new music in the dustbin grounds of January, but these Clash-supported rockers are taking the alternative rock scene in the UK by storm all of a sudden. They were formed in 2019 when they went to see Savages and they were inspired by how deaf the gig was slowly making them. This past weekend, the 4-piece released their debut studio album ‘Letter To Self’ to positive reviews by The Guardian, DIY, Dork and Loud & Quiet. Bolstered by powerfully intimate tracks which explore the self-image of frontwoman Karla Chubb as an independent Punk pioneer of the new wave of futuristic Post-Punk acts in the UK, it’s definitely one that appeals to fans of Paramore and Catatonia. Check out the single that says it all, ‘Up and Comer’, below.

“I understand that women should have access to abortion, and I understand that mental health services are not adequate to stop people from committing suicide, so yeah, I don’t know exactly how much money is being spent on it but I don’t need to in order to tell you that it’s not enough“, Karla passionately writes in the band’s bio on the City Slang Records website, adding, “It’s just a class barrier to make people feel like, if they’re not educated enough, then they can’t be involved in the conversation. But you don’t have to be Usain Bolt to run a race, and you don’t have to understand the theory of everything to understand that, morally, someone’s an asshole.” to her speech on what inspires the political aspects of her band’s songwriting on their label’s page.

These themes of how mental health affects feminimity are abundantly clear on ‘Up and Comer’ – today’s track – which begins with a barrelling power-pop guitar riff that steadily builds to create a crescendo of anger when the bass and drums kick in. “I swim the seas between paranoia and disbelief/I reach the surface but the air is hard to breathe” and “Wear a smile like it’s a runner/Your despise like a badge of honour”. she croons, as the swelling guitar chords and the upbeat yet controlled drum beats push and pull the rhythm. There’s a seething quality to the mood of the track, where the rage boils like a kettle as the chorus kicks in and gently retreats as the verses appear. The pace is smooth and clear, however, with the rhythm retreating at a more subtle rate than you may expect. It keeps the fiesty emotion of the track in relevance but it allows the chorus to stand out by increasing the intensity that is maintained to a lesser degree of abrasion. I love the lyrics of the chorus too, where Karla croons, “They say she’s good for an up and comer”, in response to how she feels patronised by those who are commenting on her level of prominence as an emerging artist despite feeling that she’s as experienced as those other artists who have already made an impact. Overall, ‘Up and Comer’ is an effective Punk tune that sounds accessible and catchy, but they personally establishe a truthful quality that leans into the aggressive edge of the quartet’s sound. In this case of finding success on the long and winding road of sustaining yourself as an indie musician, it’s easy to see why the press have quickly encouraged a SPRINT and not a marathon for this promising band.

That’s all for now! I hugely appreciate your time and attention that you have given the post that you have just read. The next one won’t take 10 months to complete – you’ll be pleased to know. I currently run a weekly podcast titled Eclectic & Electric that fulfills a similar purpose of challenging the “generic” that the powers be love so deeply which you can find here: https://www.mixcloud.com/jacob-braybrooke/eclectic-electric-first-show-of-2024-january-8th-2024-spotted-in-ely-radio/. You can also find me on the social media accounts below to stay in touch and discover new music.

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Today’s Track: Ciel – ‘Fine Everything’

May 3, 2022 — Leave a comment

Pictured: Michelle Hindriks (Lead Vocals/Bass Guitar), Jorge Bella Jimenez (Lead Guitar/Rhythm Guitar/Backing Vocals) and Tim Spencer (Drums/Percussion/Occasional Backing Vocals) (2022) (Photo Credit: ReadDork.com/PR)

Good Morning to you! This is Jacob Braybrooke, and the time has come for you to perk up your ears in preparation for yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! If I told you on the radio that I was going to play you a new track by an artist with a name (Ciel – Pronounced: Ceal) just like that, you’d be forgiven for expecting to hear some kind of 00’s-leaning Pop, R&B and Soul record. However, you’d be confusing them for Seal. On the other hand, Ciel are an emerging indie rock trio led by vocalist-guitarist Michelle Hindriks drawing from diverse influences such as Sheogaze, Dream-Pop, Prog-Rock, 90’s Grunge, Symphonic Rock and Psychedelic Rock. With members hailing from The Netherlands and Spain in addition to the UK, Ciel have recently captured my imagination when ‘Fine Everything’ gained positive reviews from the panel on last week’s episode of Steve Lamacq’s Roundtable on BBC Radio 6 Music. Ciel have also been praised by sites like KEXP, WFW, BBC Introducing, Amazing Radio, Clash Magazine, Earmilk and Under The Radar too. In recent times, Ciel have been preparing for their upcoming EP by working with Steven Ansell (of Blood Red Shoes fame) as their producer and mixer. The trio have also been supporting She Drew The Gun, Sasami and Penelope Isles across sold out live shows in London and Brighton (Where they are currently based) too. I also read that Ciel have been long-listed for this year’s Emerging Talent Competition at Glastonbury Festival as well, which should continue to shine a spotlight on the band as a valuable commodity within the music industry. On that note, let’s check out their fresh new single, ‘Fine Everything’, below.

Talking passionately about the melodic new offering of Shoegaze-inflicted Indie Rock, frontwoman Michelle Hindriks notes, “It’s about coming of age, and not really knowing how to navigate life. The doubts and difficulties that involve life-changing decisions, yet maybe not being ready growing up, when all your friends are. I was thinking of how so many people lost touch with their inner gut feeling and instincts, and how all the possibilities in life can feel so overwhelming sometimes. It’s almost kind of easier to stay oblivious to it instead of digging deep into your mind“, in her own words. The single oozes charisma with an insistent groove created by the fuzzy walls of anthemic guitar sound and driving drums from the get-go, while lyrics like “Ignorant to the shame, It evoked/Threatened by the drought, caught up in doubt” and “Don’t you know, I am longing for/To be told how to live my life” break down the decision making processes that we all face, punctuated by the Shoegaze guitars and the angsty, classic Punk attitude that gives the tempo a more brooding personality. They unleash a fun and chaotic guitar solo towards the end, while the chorus introduces a more accessible Pop sensibility into the mix due to its rhythmic pulse, while the verses feel more gritty and determined in texture. There’s some hook-filled melodies in here, but it retains a sharp Post-Punk feel overall because the Brighton-based band aren’t afraid to hit you with a distorted wall of sound, but they tie it in with a melodic style and some familiar Pop-driven songwriting. It doesn’t feel shrouded in borderline territory between Dream-Pop and Post-Rock, but it instead feels like it has a more direct punch to its sound that makes it feel memorable when it digs into your brain. It works nicely as a companion for the lyrics, which are all about tacking the uncertainty of thoughts that linger in your brain about your future as a young adult and how these unsettling noises in our minds invade our lifestyle, backed by an edgy Garage feel that resonates with the modern indie production clearly. While it is nothing too innovative and I’ve probably heard most of their ideas before, it is still a solid track that is very catchy and noisy, in the best way possible, that still leaves me thirsting for more content from Ciel soon. It is not re-inventing the wheel, but the wheel keeps spinning without fault.

Pictured: Cover Artwork for ‘Fine Everything’ (Single) (Released on March 24th, 2022) (via Self-Released)

That’s all for me today, but I hope that your day turns out to go just fine. I’ll be back for a new edition of ‘Way Back Wednesdays’ tomorrow where will be remembering the work of a Lancashire-born R&B and Pop singer who was a member of groups like Shotgun Express, The She Trinity, Sinbad and Gambler in the 1970’s, and she has been described as “undeservedly neglected” by Bruce Eder, a respected writer for AllMusic.

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New Album Release Fridays: Bloc Party – ‘If We Get Caught’

April 29, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Alpha Games’ (LP) (Available from April 29th, 2022) (via BMG/Infectious Records)

Good Morning to you! My name is Jacob Braybrooke, and its time for me to get writing up for yet another daily track on the blog, because it is always my day-to-day pleasure to write up about a different piece of music every day! With new albums by Royksopp, Toro Y Moi, Melody’s Echo Chamber, Kelly Lee Owens, Honeyglaze, Dana Gavanski and more all arriving today, you really can take your pick for ‘Album Of The Week’ because there seems to be something for everybody among the release slate today. I have been coloured intrigued by Bloc Party, therefore, as the established PLUG Award-winning and 30 million album-selling London rock band are entering a crucial new chapter of their careers with ‘Alpha Games’ – their sixth studio album – which is out now, as of today, via BMG/Infectious Records. The main draw for the record is how it is their first to feature their new line-up, as Gordon Moakes and Matt Tong have been replaced by Louise Bartle and Justin Harris. The urban rock band have been actively promoting the record as a twist on the band’s old dynamic, giving the sense they are steering away from their tried-and-tested formula in favour of something new, as Kele Okereke said “We’re not the same band now. The chemistry is different” and “We have a history and a legacy, but I’m more excited about the energy we have right now“, in a recent interview with NME’s Mark Beaumont. It also brings producers like Dan Carey, of Speedy Wunderground fame, on board as well. It has been backed by interesting singles like ‘Traps’ and ‘The Girls Are Fighting’, which have sounded edgy in new ways despite feeling like Bloc Party. Check out the latest single – ‘If We Get Caught’ – below.

“There are only two songs that I feel like have any tenderness on the record, and ‘If We Get Caught’ is one of them“, Kele Okereke says about the LP’s penultimate track in a press release, adding, “It’s really about recognizing that the game is coming to an end and about trying to steal a moment of tenderness with your partner before the curtain comes crashing down. I think it’s about trying to find moments where you can really connect with someone amid all of the chaos that’s going on in the world“, in his evaluation. While the other singles have boasted a sharper set of fangs, being defined by their sleazy punk theatrics and their intense guitar riffs, ‘If We Get Caught’ feels more like an indie anthem by-the-numbers with a decidedly more downbeat, yet still melodic, pace. A subtle, vintage Art-Rock touch and the staccato vocals of the chorus, where the acidic and playful vibes of singles like ‘Traps’ and ‘Sex Magic’ are replaced by a sound that seems more emotionally driven. Okereke chimes in with lyrics like “Where you go/I will go” and “Stick to the story, better with an alibi/Create diversion, take control with sleight of hand” that, while retaining a relatively straightforward Dance-Rock feel, are supported neatly by a slight rap delivery that Okereke uses in the verses, before he is supported by some cooing backing vocals by Bartle and airy bass guitar riffs in the chorus. Lyrics like “If we get caught/I want you to know/I will always, ride for you” capture the quality of trying to eek out a final moment of intimacy before an inevitable final goodbye, wringing out the joy of a doomed relationship, nicely in the chorus. A light channeling of the indie rock ghosts of the 80’s and 90’s mostly characterizes the visuals and emotions here, with Okereke and the rest of the band creating a sense of unity and strength by giving the impression that there is little sense of anger whatsoever. I feel that Okereke has created a fresh outlet for himself in his solo material, with side project releases like ‘2042’ feeling more fascinating and inspired than some of his main Bloc Party music in some cases, and I can see some of that influence spreading out into new avenues here. While ultimately not quite as interesting or experimental, it feels different to the music that I’ve heard by Bloc Party or may expect to hear from them because it feels more intimate, and so I feel like the goal of mixing up their recycled tropes has been achieved here, even if the sound is a little more generic in some ways. An enjoyable single that would sound great on the UK’s mainstream radio, ‘If We Get Caught’ makes it clear that Bloc Party are not attempting to emulate their past efforts too slavishly, as this one strikes a more full-tilted and introspective chord with me – and this is an effective way to play the game.

Pictured: Kele Okereke (Lead Vocals/Rhythm Guitar/Electric Piano/Samples/Synths), Russell Lisack (Lead Guitar/Samples/Programming), Gordon Moakes (Bass Guitar/Backing Vocals/Keyboard/Synths/Glockenspiel) and Matt Tong (Drums/Percussion/Occasional Backing Vocals) (2014) (Image via whenthegramarphonerings.com)

If you’re already a fan of this NME Album Of The Year-winning band, the party doesn’t need to end here as you can check out each of my other Bloc Party-related posts here:

‘Traps’ (2022) – https://onetrackatatime.home.blog/2022/01/08/todays-track-bloc-party-traps/

‘Helicopter’ (2021) – https://onetrackatatime.home.blog/2021/11/07/scuzz-sundays-bloc-party-helicopter/

Pictured: Cover Artwork for ‘Silent Alarm’ (LP/Album) (Released on February 2, 2005) (via Wichita Recordings)

That’s all for now! Thank you for checking out my latest post on the blog, and we will be looking ahead to the new month tomorrow with my review for a recent single by an established Australian indie rock band who will be releasing a new album within May. Formed in Melbourne in 2013 by three vocalists-guitarists, they have gained attention by the AIR Awards, Australian Music Prize, Music Victoria Awards and others.

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Today’s Track: Dama Scout – ‘Emails From Suzanne’

April 26, 2022 — Leave a comment

Pictured: Eva Liu (Vocals/Lead Guitar), Scot Lucci (Bass Guitar) and Daniel Grant (Drums) (2022) (Photo via PR)

Good Morning to you! My name is Jacob Braybrooke, and the time has almost come for you to delete all of the junk mail in your inbox folder after you’ve finished reading yet another daily track on the blog, because it is always my day-to-day pleasure to write up about a different piece of music every day! An Indie Punk trio comprised of vocalist/guitarist Eva Liu, bassist Scot Lucci and drummer Daniel Grant, Dama Scout were formed in 2016 and they subsequently spent years self-producing nightmarish soundscapes traversing through Noise-Pop and Industrial Rock in the studio, dividing their time between Glasgow and London. The band’s name derives from a line said by the protagonist of Harper Lee’s ‘To Kill A Mockingbird’ to whom Liu has long related, as ‘Dama’ means woman or deer. You can find support for the trio on sources like The Line Of Best Fit, BBC Introducing, NTS Radio, Amazing Radio and DIY. Their debut LP – ‘Gen Wo Lai (Come With Me)’ – was released on April 22nd via Hand In Hive, and it draws from East Asian Pop and Rock influences. An LP project that was assembled internally – with all of the material getting written, recorded, mixed and produced by Dama Scout themselves – and it explores the ethnicity of Eva Liu, who was born in Northern Ireland by two parents from Hong Kong, thus becoming an object of school playground curiosity. Their bold full-length outing is a soundtrack for her journey of attracting unwanted attention in her adolescence to becoming comfortable with her identity as a young adult, told in the form of harsh Dream-Pop backdrops and various genre fluid explorations. Check your crowded inbox for ‘Emails From Suzanne’ below.

Dama Scout says the promotional single pays homage to “the world’s finest vessel of passive aggression, wrought with the sincerest best wishes, high in frequency, low in fidelity – the email” and it is enriched vividly by the visual work of the accompanying music video, which the band pitch as “a short documentary exploring the death of the office, the nature of emerging flexible work environments and the relationship between labor and the millennial condition of perpetual adolescence“, in a press statement. On that note, a disturbing slice of visual imagery is a suitable companion to the thick walls of distortion and push-and-pull pacing on ‘Emails From Suzanne’ as a sharp, piercing ode to the passive aggression of workplace communication through online messaging. The lyrics are decidedly fragmented, with sequences like “How could/I have done it/All before” and “What is her name?, I ask/Is she wanted?, Any background information?” being repeated throughout the track with a collage-style, loose structure. They are evoked by a sense of Liu muttering under her breath, getting light frustrations and underlying anger across as the emerging feel of catharsis slowly makes its way to the forefront of the loud, quirky tune by the time that it reaches the end. The track twists through the grit of 90’s Riot Grrrl in the breathy bite of the vocals and the aggressive character of the backing band’s sections, while turning through more modern explorations of Shoegaze and Hyper Pop in the ear-catching viscerality of the full-blast guitar rhythms and the rather whimsical finale punctuated by the heightened instrumentals which evoke a nightmarish, anxiety-inducing tone. Rather than having a twisted sweetness to it that brings in some unsettling elements, ‘Emails From Suzanne’ is a little more intent on delivering some high-octane Dream Rock and brooding melodies to give the feeling that something is lurking in the dark corners of the underworld. It is not for everybody due to how outright angry that it sounds, but that’s no discredit to the risks that Dama Scout are taking and how they structure their recorded material with their slow builds that replicate the feeling of a live performance. It does not feel massively improvised, but it bears a decent amount of depth to it and there are flashes of a fresh band who are daring to be different even if the thick walls of distortion feel a little bit played out in their genre, a trope they aren’t necessarily subverting. Although the band have a limited discography, cuts like ‘Emails From Suzanne’ are promising in showcasing an emerging act who have the spirit to forge their own roads in a market that is not currently experiencing a dearth of new talent. A welcome invitation to the, sometimes frightening yet often Utopian, world of a 3-piece who are in control of their career’s direction and musical trajectory.

Pictured: Cover Artwork for ‘Gen Wo Lai (Come With Me)’ (LP) (Released on April 22nd, 2022) (via Hand In Hive)

Thank you for checking out my latest post on the blog, and I will be back tomorrow as we go retro for ‘Way Back Wednesdays’ with a revisit of a 90’s Hip-Hop classic that any fans of ‘Watch Dogs 2’ are going to love. Praised bu NPR and AllMusic, this duo from Long Island, New York were ranked as #5 on Rolling Stone’s list of ‘The 20 Greatest Duo’s Of All Time’ in 2015 and, unfortunately, their lost material was a victim of the Universal fire which affected hundreds of artists, whose tapes were destroyed in 2008.

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Today’s Track: Fontaines DC – ‘Jackie Down The Line’

April 2, 2022 — Leave a comment

Pictured: Grian Chatten (Lead Vocals/Tambourine), Carlos O’Connell (Lead Guitar/Backing Vocals), Conor Curley (Rhythm Guitar/Piano/Backing Vocals), Conor Deegan (Bass Guitar/Acoustic Guitar/Backing Vocals) and Tom Coll (Drums/Percussion/Occasional Guitar/Occasional Backing Vocals) (2019) (Photo Credit: TheIndependent.co.uk)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to sit comfortably and find our reading glasses as we prepare to get invested in yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Since bonding over their shared passions for literature and poetry while attending college together at BIMM in The Liberties, Dublin – Fontaines D.C. have become renowned for their extensive live touring and the consistently upwards trajectory of their career, as their critical acclaim and public popularity veer closer towards the mainstream consciousness with every successful album release. They signed up to Partisan Records in 2019, before their debut album – ‘Dogrel’ – was released in 2019 to widespread acclaim since it was voted ‘Album Of The Year’ by BBC Radio 6 Music, as well as listed as ‘Album Of The Year’ on Rough Trade’s website. It was also nominated for the Mercury Prize and the Choice Music Prize. They quickly followed up these credits – to similar results – with 2021’s ‘A Hero’s Death’, a bleak but therapeutic record that was nominated for ‘Best Rock Album’ at the 2021 Grammy Awards. Known for writing and recording material in the midst of their touring duties, as well as their frequent collaborations with high in demand producer Dan Carey, they are set to release yet another album – ‘Skinty Fia’ – on April 22nd. The band have promised for their new LP to feel “much more expansive and cinematic” than the previous two aforementioned efforts in their press materials, and the group recently performed the lead single ‘Jackie Down The Line’ on ‘The Tonight Show With Jimmy Fallon’, bringing their confessional brand of taut Post-Punk and self-loathing spoken word lyricism to the US. The track’s title derives from ‘Jackeen’, a derogatory term used against the folk of their hometown of Dublin although they are currently based in London. Check out the Hugh Mulhern-directed music video below.

‘Skinty Fia’ is an Irish phrase that roughly translates to “The damnation of the deer” in English, and it is used to express annoyance or disappointment, and it resonates with vocalist Grian Chatten as a response to the “mutation” of Irish culture abroad. Speaking about the highly-anticipated new album and it’s main themes, Chatten has stated, “A large part of what Skinty Fia is about is the way Irishness becomes exaggerated and embellished when we’re abroad and how whether it’s parts in London, Boston or Vancouver, we still cling together for various reasons including the discomfort of being ‘othered’, which I’ve been feeling. It’s fertile soil for creativity”, in an interview with Hot Press. ‘Jackie Down The Line’ is an exploration of these ideas, with Chatten casually reciting lyrics like “My friend Sally says she knows ya, Got a funny point of view, Says you got away with murder, Maybe one time, maybe one time” that talk about cheating in a relationship, and the later refrain of “What good is happiness to me?, If I’ve to wield it carefully/For care I’ll always come up short, It’s only right” makes it more evidently clear that qualities of paranoia, alcohol abuse and drug abuse have led to the demise of the relationship. His vocals feel dark and brooding, but there’s an 80’s softness to the guitar rhythms that gives it a mature and very accessible approach, and the sing-along hook of “I don’t think we’d rhyme, I will wear you down in time, I will hurt you, I will desert you/I am Jackie down the line” addresses how his Irish culture just doesn’t gel with the former partner while the rhythmic structure creates something deceptively melodic about the otherwise dark, edgy Post-Punk anthem. The songwriting feels rather clever in this sense, yet the instrumentation feels quite simple. The chorus has a spoken-sung pace that glides across the subtle Grunge influence of the bassline, while the lead guitar and the drums add sparse, but gloomy, ripples of textures that add further intensity and drama to the proceedings. There’s nothing massively complicated about this, but it feels on-brand for the band and it sharpens the edge of the knife lyrically, so to speak. If you have ever heard anything from Fontaines DC before, even casually, I think ‘Jackie Down The Line’ will feel familiar because it feels like a continuation of their journey thus far rather than a re-invention of the wheel, and it offers the same unapologetic and thought-provoking fare that previous records have earned their strong reviews for, and I feel that ‘Jackie Down The Line’ has managed to catch my attention because it feels more exciting for them because it sounds more catchy while retaining the harsher, dissonant elements of their pre-existing sound in the process, although I’ve never been a huge fan of this style before. Jackie has her authority here.

Pictured: Cover Artwork for ‘Skinty Fia’ (LP/Album) (Available from April 22nd, 2022) (via Partisan Records)

That brings us to the very end of yet another daily track post on the blog. I hope that you enjoyed reading it, and I will be back tomorrow for another weekly iteration of ‘Scuzz Sundays’ that is delivered on a somber and reflective note, as we take the chance to pay tribute to the recently deceased Foo Fighters drummer Taylor Hawkins.

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New Album Release Fridays: Warmduscher – ‘Twitchin’ In The Kitchen’

April 1, 2022 — Leave a comment

Pictured: Cover Artwork for ‘At The Hotspot’ (Digital LP) (Released on April 1st, 2022) (via Bella Union Records)

Good Morning to you! This is Jacob Braybrooke, and you are tuned into a fairly off-kilter edition of ‘New Album Release Fridays’ as we prepare for yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of new music every day! Although you may mistake them for a quirky German pop band at first glance, Warmduscher are actually a London-based Post-Punk band currently signed to Bella Union who are famed for their inside jokes and eccentric live performances, and they have been supported by BBC Radio 6 Music very regularly over the years since their formation in 2014. Warmduscher have collaborated with the likes of Iggy Pop and Kool Keith, and their previous studio album – 2019’s ‘Tainted Lunch’ – received a stunning 9/10 score from The Line Of Best Fit’s review as well as a place on BBC Radio 6 Music’s Albums Of The Year list at #6 in 2019. They have also released a remix EP – 2020’s ‘European Cowboy’ – to coincide with Record Store Day in 2020 featuring contributions from Soulwax, Savage Gary and Decius, and it was strictly limited to just 1000 vinyl copies. Thankfully, their new album is more widely available and it takes the form of their fourth full-length LP, ‘At The Hotspot’, which arrives digitally today before being released on Vinyl on July 1st. Warmduscher have gained so much praise for their originality and humor that they were previously given a shout-out on the blog when I wrote about ‘Disco Peanuts’ in late 2019. The new LP incorporates more influences of Funk and Disco than before, and it was originally going to be produced by Speedy Wunderground’s Dan Carey, who has also produced countless records for artists like La Roux, Sinead O’Brien, Squid and Black Country, New Road in recent years. However, he fell ill with Covid-19 and the Clash-praised group turned to Hot Chip’s Alex Doyle and Joe Goddard instead. It includes the new single ‘Twitchin’ In The Kitchen’ that comes accompanied by a Brixton-shot and Niall Trask-directed music video, whose previous credits include well-received videos for Fat White Family and Working Men’s Club. Let’s give this pre-release cut a spin below.

Warmduscher played a gig at Cambridge’s The Junction venue on March 26th, which was moved to a larger room due to high demand. They will also be hitting the road for dates in Brighton, Bristol, London, Manchester and Sheffield later in the year, some of which have been sold out already, and a few later dates in European locations like Amsterdam are coming up shortly too. Their frontman, known as Clams Jr, notes, “We’re just really psyched to play this whole thing live now, and it’s a whole revamp – new label, new producers, new logo – new everything”, rather matter-of-factly, in Bella Union’s press release about their new record. ‘Twitchin In The Kitchen’ gives you a good idea of what to expect, establishing a raucous mixture of aggressive Funk and harsh, dissonant Synth melodies that builds up to a screamer of a chorus. The instrumentation sounds unapologetically Post-Punk, while the lyrics complement the spacey, disco vibe of the verses because they sound pretty daft and they find the band putting on a show with their wit and sense of distinctively quirky character, as Clams recites lines like “I can’t take it, here I’m sweating/I’m clucking like a chicken” and “Grab a bowl, scrape it clean/Two-four out the door, sniff it off the kitchen floor” that are pretty silly, but they are sung with a low-pitched croon typical of Clams’ cowboy character. The vocals feel energized and heightened for certain, while the looping arrangement feels industrial and psychedelic through it’s combination of Post-Punk and Progressive Funk beats, before building to a child-like sing-along that makes the final refrains sound like a schoolyard chant-a-long of the chorus. A perfect pick-me-up for kitchen disco lovers all around the UK, Warmduscher have created an infectious Alternative Funk anthem for those who love to do a bit of ‘Twitching In The Kitchen’ with no apologies given in their typical quirky fashion. It may drive you Disco Peanuts.

Pictured: Clams Baker Jr, Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and Little Whiskers (2019) (via PR)

If you’d like to hear more of what’s in store, you can also check out my previous Warmduscher post that was published in the build-up to ‘Tainted Lunch’ back in 2019.

‘Disco Peanuts’ (2019) – https://onetrackatatime.home.blog/2019/11/30/todays-track-warmduscher-disco-peanuts/

Pictured: Cover Artwork for ‘Tainted Lunch’ (LP) (Released on November 1st, 2019) (via The Leaf Label)

That’s all for now! Thank you for ‘Twitching In The Kitchen’ to this tune with me today, and I’ll be back to guide you through another track on the blog tomorrow, where we’ve got new music coming from an Irish Post-Punk band who, although being mentioned a few times due to their frequent collaborations with Dan Carey as their producer, haven’t been covered for a fully-fledged article on the blog until now. Their second album was nominated for Best Rock Album at the 2021 Grammy Awards, and their debut LP, ‘Dogrel’, was named the ‘Album Of The Year’ by BBC Radio 6 Music.

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Today’s Track: DEHD – ‘Bad Love’

March 29, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Blue Skies’ (LP) (Available from May 27th, 2022) (via Fat Possum Records)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to invest in another daily track of the blog as we want to experience as many of those as we can before we drop DEHD, and it’s my duty given how it’s always my day-to-day pleasure to write up about a different piece of music every day! DEHD are a Garage Rock trio comprised of vocalist/bassist Emily Kempf, guitarist/vocalist Jason Balla and drummer Eric McGrady who have taken their sound to labels like Maximum Pelt, Infinity Cat Recordings and Fire Talk Records. They have toured across the UK, the Netherlands, France and Germany in support of Twin Peaks, and their latest album was even granted the ‘Best New Music’ designation by Pitchfork. Citing the likes of Broadcast, Roy Orbinson and James Brown as some of their biggest influences, DEHD will be going on a North American Tour throughout the Spring that will find them stopping off at locations such as Boston, Denver, Austin, Toronto and more – with a concluding set at Governors Ball in New York in June. The follow-up LP to their critically acclaimed sophomore album – 2020’s ‘Flower Of Devotion’ – will also hit store shelves in the form of ‘Blue Skies’ on May 27th via Fat Possum Records. The group’s new album was recorded in the same studio as their last long-player effort, and the 13-track project allowed them to work with mastering engineer Heba Kadry and mixing engineer Craig Silvey for the first time. The lead single is ‘Bad Love’, which has been growing on me with recent airplay from BBC Radio 6 Music’s Steve Lamacq and KEXP’s Song Of The Day podcast as it recalls the Riot Grrrl movement with Mad Max visuals. The video was directed by Kevin Veleska and you can check it out below.

“Bad Love is about recovering from love addiction and making a decision to stop choosing and aligning with people who aren’t your energetic match”, Emily Kempf says about The Jesus & Mary Chain-inspired new single, adding, “I wrote it for myself and for everyone who needed to hear a song about choosing new forms of love. It’s about chasing a relationship with one-self rather than an unhealthy one, one that just doesn’t quite fit, or a co-dependent one”, in a press release. Starting off with a steady drum beat and a twangy lead guitar hook that wouldn’t feel out of place on a Blues or Alternative Folk record, Kempf revs up gradually to more violent pacing with “I was a bad love/Now I can get some/I got a heart full of redemption” before the more propulsive guitar riffs and the faster Drum beats take centre stage of the 00’s blog-rock aesthetic. The twangy energy remains, but lyrics like “Run baby run/Run from the bad love/New love baby, come on honey, give me some” and “Forgive me/Give it to me/Tell me what to do, tell me what to do to keep it” are given a more low-pitched howling that feels more nostalgic of its’ key influences and a propulsive setting, with a voice that howls and wails to the mid-tempo Post-Punk guitar instrumentation. The track gets more catchy and more punchy with subsequent listens, as the simplicity is also the beauty on this one. The track mainly recalls the punk-and-politics chops of the Riot grrrl times of the 90’s, while elements of Industrial music and Baroque Punk are also noticeable due to the variety of metallic, riotous and psychedelic textures throughout. Additional comparisons can also be made to Surf-Rock – as it takes a page out of The Beach Boys’ playbook in it’s mid-tempo pacing – as well as Blues, Desert Rock and Pop-Punk too. Ultimately, ‘Bad Love’ is a moving and effective new single that feels both nostalgic and diverse and it shows that DEHD are a charming trio who have legs, and their sound feels defined. There is no toxicity in this romance.

Pictured: Emily Kempf (Vocals), Jason Balla (Lead Guitar) & Eric McGrady (Drums) (2020) (Photo by Alexa Viscuis)

That brings me to the end of another refreshing post on the blog, and thank you very much for continuing to support the site each day. We’re coming up to ‘Way Back Wednesdays’ tomorrow, and we’ll be looking at an IDM record from the mid-90’s that, I feel, gets rather underrated. It comes from the British electronic music duo of Garry Cobain and Brian Douglas who have explored genres like Trip Hop, Psychedelia, Dub, Acid Techno, Dark Ambient, Industrial and House music. They are known for records like 1994’s ‘Lifeforms’ that have reached the UK Top 10 Albums Chart. They have also released music under aliases such as Polemical, Aircut and Amorphous Androgynous.

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Way Back Wednesdays: Gossip – ‘Standing In The Way Of Control’

March 16, 2022 — Leave a comment

Pictured: Beth Ditto (Vocals/Piano), Nathan Howdeshell (Bass/Keyboard) & Hannah Billie (Drums) (2019) (via PR)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to start spreading the word on the street (or the internet) that there is another daily track on the blog in town as we go retro for ‘Way Back Wednesdays’, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Formerly known as ‘The Gossip’ – Gossip were a Beth Ditto-led punk rock band from Arkansas who were originally active between 1999 and 2016 who were another name in a fairly familiar string of Garage Rock Revival sub-genre bands like The Yeah Yeah Yeah’s and The Hives who were also popular in the contemporary mainstream of the time. Exploring a mixture of indie rock, post-punk revival and dance-rock influences, they gained some breakthrough in radio charts popularity with their 2006 track ‘Standing In The Control’, a glitzy Pop-Punk number that reached the top ten of the UK Singles Chart and it has appeared on decade-end lists like NME’s ‘150 Best Tracks Of The Past 15 Years’ at the #34 rank on the list in 2011 and at #429 on Pitchfork’s ‘Top 500 Greatest Tracks Of The 2000’s’ list in late 2009. It was the lead single of Gossip’s third studio album of the same name released in 2006, which reached #1 on the UK’s Indie Chart and it has reached Gold status in the territory. Produced by Ryan Hadlock and Guy Picciotto, it was Gossip’s first album to feature new drummer Hannah Billie, of Seattle’s Chromatics fame. If you used to watch the British TV drama ‘Skins’ on E4, you would also know the track as it was proclaimed to be the ‘unofficial’ theme track of the programme as it featured heavily in promotional materials and it would be played on the DVD main menu’s of the series’ home release. Let’s remember it below.

The yellow, black and red graffiti-style cover artwork for the physical single release was designed by none other than Kim Gordon, the bassist of Sonic Youth. Meanwhile, the track itself was written as a response to the Federal Marriage Amendment, a highly controversial code of law that would have outlawed gay marriage across the US. With this theme in mind, the impassioned instrumentation and the reasonably soft, yet minimal and pulsating, lead vocals by Beth Ditto hit harder as a battle cry for empowered liberation than anybody who has ever felt constrained or marginalized may have expected from Gossip. Bursting out of the gate energetically with the unforgettable refrain of “Your back’s against the wall/There’s no one home to call/You’re forgetting who to call/You can’t stop crying” that boasts the core sentiment of denying the authorities’ will to make same sex marriage illegal, a process that feels alien today, which paves the way for Billie to hit her metronomic hi-hat snares and four-on-the-floor bass kicks with her ragged Punk-infused Drum parts, while guitarist Brace Paine contributes some vigorous bass lines and high-energy guitar riffs, that chug along to the distortion-drenched production of the thin and treble-enhanced range of melodies, to the equation. Ditto’s vocals earn a distinction among the wealth of other talents in the Garage-Rock revival business of the mid-00’s as they feel rather Bluesy, yet propulsive, with a smoky delivery on mid-chorus hooks like “You’ll live your life/Survive the only way that you know” and a commanding presence above the instrumentation that recalls the vintage Motown acts of the 70’s like Diana Ross and Ann Wilson in her wailing notes and her lengthily sustained filler phrases. The track also fits squarely into the DIY ethics of an underground Punk feminist movement of the 1990’s called the ‘Riot grrrl’ era in the way that Ditto’s band combine Punk music with Politics on this, probably, best-known single from them. ‘Standing In The Way Of Control’ feels like a natural blend between the two styles, and it creates a noticeable Disco edge too, as it feels impossible not to mindlessly nod your head along to the groove. It was unapologetically brash, and Ditto’s band were transformed from a clan of Dance-Punk disruptors to Pop phenomena in the process.

Pictured: Cover Art for ‘Standing In The Way Of Control’ (LP/Album) (Released on January 24th, 2006) (via Back Yard Recordings/Kill Rock Stars)

That brings me to the end of another nostalgic throwback post on One Track At A Time, and I hope that you have a pleasant day, and thank you for showing your support for the site today. I’ll be diverting your attention back to brand new music tomorrow, as we review the latest single by a Grime-meets-Punk duo based in East London who have toured with hardcore rapper Nascar Aloe, supported Gallows at their comeback gig at House Of Vans in 2019 and were featured in a guest appearance on a BBC Radio 1 session by Frank Carter & The Rattlesnakes presented by Annie Mac.

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New Album Release Fridays: The Mysterines – ‘Dangerous’

March 11, 2022 — Leave a comment

Good Morning to you! This is Jacob Braybrooke – and this is the time for us to pick up something for the weekend as we take an in-depth preview of one of the weekend’s most noticeably notable new album releases, because it’s always been my day-to-day pleasure to write up about a different piece of new music every day! There’s stiff competition from Dirty Projectors and Coco’s Maia Friedman, as well as rock band The Districts, this weekend – but The Mysterines have the vote of ‘Album Of The Week’ from One Track At A Time for this fine Friday of March 11th. A fair share of music publications frequently seem to assume the emerging Alternative Punk 4-piece of The Mysterines are from Liverpool, but they were actually originally formed in Merseyside. Led by vocalist/guitarist Lia Metcalfe, The Mysterines have been gaining fans all over the music and radio industry across the last couple of years and various tracks by them have each received daytime rotational airplay from BBC Radio 6 Music. They have performed at festivals as beloved as 2021’s Sound City Festival, and I’m sure there are some die-hard UK Hard Rock fans who have been desperately awaiting what’s in store for them as ‘Reeling’ – their first full-length album – finally lands on store shelves today. ‘Reeling’ was recorded in sessions that took place throughout 2021, where The Mysterines worked with Catherine Marks (Foals, The Killers, Eliza Shaddad) as their producer. The record will be supported by a string of tour dates in locations like Cambridge, Dublin, Belfast, Glasgow, Leeds and more throughout the spring. Teasing the style and direction of ‘Reeling’ when it was initially announced, Metcalfe said, “It’s a pretty ambiguous title for most people, but for me, ‘Reeling’ sums up every emotion of the album in just one word”, in the band’s press statement. On that strong note, let’s check out the final pre-release single – ‘Dangerous’ – below.

The final advance single to drum up hype for the album, Lia Metcalfe also said in a seperate statement about the visceral Alt-Rock tune, “Dangerous is about those wild cycles that life sometimes traps you in, the ones that seem desirable at first but quickly become very dangerous”, as The Mysterines’ dynamic frontwoman explains, concluding, “Whether it be with people, places, relationships – the hardest part is always letting go”, in her thoughtful and provoking press notes. ‘Dangerous’ gets off to a heated start as a slightly Folk-led opening guitar riff slowly turns sour in tone and becomes more thunderous at a brisker pace, and Metcalfe soon croons refrains like “I was willing and able/But I was caught in your jaws” and you caught me standing on the table/I saw you watching me fall” that invite you into the Post-Punk style of the single with dramatic lyricism that touches on toxicity and cyclical break-up as key themes. For the chorus, the hooks become more melodic and infectiously catchy as the simple refrain of “It’s such a danger/It’s such a dangerous thing” is given an infuriated amount of emotional weight that grinds under the relentlessly electronic-enhanced electric guitar riffs. Metcalfe’s vocal delivery has a noticeably potent and, most crucially, masculine quality to it, with the rest of the band backing up her gently husky voice by driving the beats forwards with a more standard ‘Indie’ formula of punchy guitar riffs and compact drum riffs. It is probably not the heaviest track that The Mysterines will likely present on the new record, but they have a bunch of ears that show a great knack for catchy melodies that interplay between the Pop and Punk elements of the track. ‘Dangerous’ also feels more eclectic than you may assume, given the title of the track on paper, because there’s some Grunge influences that pull from the more bombastic flair of more modern rock bands too. They were clearly influenced by Nirvana and The Strokes, and there’s a nice mixture of slightly different Rock influences being pulled together pretty neatly in ‘Dangerous’. It, perhaps, does feel like a fairly obvious choice for a radio-friendly single to promote the album as I could definitely envision ‘Dangerous’ being played on a daytime BBC Radio 1 programme as equally as on the next FIFA video game soundtrack, and so they do adhere to a more conventional structure and sound on the track more so than other examples of their music, but that’s not necessarily a bad thing as it ensures The Mysterines are keeping their ambitions broad and attaining more reach with their music to entice others to check out the full record, where the more experimental tracks can find a larger audience. There’s also a Brit-Pop styling, especially in the raw vocals and the lightly distorted guitar riffs, that can appeal to older listeners while balancing out their more off-beat tracks naturally too. Overall, The Mysterines seem primed for sturdy success on ‘Dangerous’, a solid single that feels as though it is fairly diversified while giving the more casual fans of their genre some crowd-pleasing riffs.

Pictured: Lia Metcalfe (Lead Vocals/Rhythm Guitar/Keys), George Favager (Bass Guitar/Backing Vocals), Callum Thompson (Lead Guitar/Backing Vocals) and Paul Crilly (Drums/Percussion) (2022) (Photo via WirralGlobe.co.uk)

That leaves me with little else to say other than to thank you kindly for lending a moment of your day to find out what I had to say about The Mysterines today, and I hope that you are looking forwards to their new album as much as most of their devoted fans are. I’ll be back tomorrow on the eve of ‘Scuzz Sundays’ to shine a spotlight on one of the UK’s most lively Grime artists who has just released his new LP ‘Reason To Smile’ via the major label Island Records. He has collaborated with the likes of Mahalia and Swindle, and he has received three nominations at the MOBO Awards. His ’23Winters’ EP reached #3 on the UK Rap & Hip Hop Albums Chart in 2016.

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