Alternative R&B

Way Back Wednesdays: Massive Attack – ‘Karmacoma’

January 5, 2022 — Leave a comment
Pictured: Robert “3D” Del Naja, Grant “Daddy D” Marshall & Andrew “Mushroom” Vowles (Date n/a) (Photo via Classical Album Sundays)

Good Morning to you! This is Jacob Braybrooke and, of course, it’s time for the return of ‘Way Back Wednesdays’ on the blog as we remember some seminal (or simply hidden) gems of yore to help me fulfill my goal of writing up about a different piece of music every day! Massive Attack are recognised as one of the most important and influential acts in 90’s British Music history as the original Trip Hop trio of Bristol, and so they are a great choice to kick off our regular throwback fixture again. Having won two Q Awards, two MTV Europe Music Awards, a BRIT Award for Best British Dance Act, as well as placements on greatest-of-all-time lists compiled by NME and Rolling Stone, Massive Attack were also a really successful commercial crossover act having sold their way to over 13 million records worldwide. ‘Karmacoma’ is one of their signature closing tracks during live performances and it was originally issued as the final single off their second LP – ‘Protection’ – that earned critical acclaim in 1994. ‘Protection’ saw the group lean into the Dub and Trance aspects of their pre-established sound, as well as seeing Tricky joining 3D and Grant Marshall on their musical journey by joining their ranks. DJ Mad Professor created a remixed version of the album that was released one year later, and ‘Protection’ was included in the book ‘1001 Albums You Must Hear Before You Die’ in 2011. 3D and Tricky say that most of the lyrics for ‘Karmacoma’ were written while high on a drug trip while backstage at a music festival somewhere in England and the music video saw the debut of British film director Jonathan Glazer – who went on to direct 2013’s ‘Under The Skin’ as well as music videos for Radiohead and Jamiroquai. Let’s remember ‘Karmacoma’ below.

‘Karmacoma’ – known for a wild and experimental music video that probably freaked a few poor children out during the mid-90’s – was so popular that Tricky later recorded his own solo version of the track that he renamed as ‘Overcome’ for his debut solo album ‘Maxinquaye’ that he created in 1995. Full of bizzare cinematic references to ‘The Shining’ and ‘Reservoir Dogs’ among other titles, Massive Attack have also name-checked Patrick Swayze in the lyrics for the enigmatic track and they say it was dedicated to him. I find it difficult to believe that the bass-heavy, middle eastern Drum beat that runs throughout the track was entirely manufactured at the hands of the Bristolian group because it sounds so authentic, and yet, it creates a catchy but cerebral groove that understandably gained some mainstream attention for the band at the time. The lyrics are very discreet and give next to nothing away, but powerful lyrics like “I won’t lie and say this love is best, leave us in emotional peace” and “Your troubles must be seen to see through money” that seemingly form a social commentary comparing the interests of lovers to the authorities of the world in some way or another, to the best of my guesswork. Either way, the instrumentation was quite spellbinding as the thunderous snare sample sounds very realistic and the group keep introducing more elements, such as the alluring Bass melodies and the loping rhythm, that maintain an unpredictable feel to the record although the main loop gets very hypnotic as the duration progresses. The most alluring line of all comes when “I must be crazy/see I’m swazy” as the key cinematic reference comes to light. The lyrics, with hooks like “Karmacoma, Jamaican aroma” and “You’re sure you wanna be with me I’ve nothing to give/Take a walk, take a rest, taste the rest” are almost erratic at times, complementing the psychedelic oscillation of the unique pacing. The dynamic between Tricky and 3D, however, still feels new, as they recite their sequences with a mild Spoken Word feel that delves into a gently Poetic flair while the trippy instrumentals keep the proverbial room spinning. They form the important adhesive to the track that melds the laced looping of the relentlessly spiraling Drums and the adventurous songwriting, for the lack of a better term, together thematically. While reclusive and challenging, ‘Karmacoma’ was an off-kilter anthem that gives you just enough time to get used to the ongoing melodies before another strange, but key, element flips the switch halfway again. A chilling spectacle.

Pictured: Cover Art for ‘Protection’ (LP) (Released on 26th September, 1994) (via Circa/Wild Bunch Records)

That’s all for now! Thank you for spending the beginnings of your new year with me, and I’ll be back again tomorrow for some more unique music from a Canadian Ethnotronica group who blend Instrumental Hip Hop, Reggaeton, post-00’s Dubstep and Moombahton together with elements of First Nations music for their own brand of “Stadium Pow-Wow” sounds. Their earlier name was a nod to A Tribe Called Quest.

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Today’s Track: Flight Facilities (feat. Channel Tres) – ‘Lights Up’

December 22, 2021 — Leave a comment
Pictured: Hugo Gruzman (DJ/Producer) and James Lyell (DJ/Producer) (2021) (Photo via James Gourley/Getty)

Good Morning to you! I am Jacob Braybrooke, of course, and it’s time for me to help you fill up the funky playlist for the disco at your Office Christmas Party at the end of this working week, since it has always been my day-to-day pleasure to write up about a different piece of music every day! Flight Facilities are the Australian Electronic Dance duo of Hugo Gruzman and James Lyell who were formed in Sydney in 2009 and also perform under the name of Hugo & Jimmy. On previous recordings, they have worked with prominent names in the industry including the ‘Princess of Pop’ Kylie Minogue herself – as well as Bishop Nehru, Reggie Watts, Stee Downes and Owl Eyes. Although the seven year gap has not been a complete drought of material for the die-hard Flight Facilities fans out there – it is still testament to the streaming-dominated state of the modern music industry that their second LP record ‘FOREVER’ – released on November 12th via Future Classic – was their first true album release since 2014. It has reached #6 on the Australian Albums chart and it features another array of guest vocalists including Emma Louise, BRUX, BROODS, Jody Felix, Your Smith and DRAMA. In a statement, the AIR Award-winning duo said, “The best way to describe this album is a combination of where we’ve been, where we are and where we’re going. As true as it was from our first release, the foundations and glue for all our work has consistently been ‘collaboration’. While our musical journey has always been an intentional exploration of multiple genres, our hearts and roots lie on the dance floor. We applied that same explorative ethos to this record, taking a concerted dive delve into the previously untouched niches and era’s of dance. It’s been a long time coming, and only the same time will tell if it was worth the wait “, in a press release. The new album will also be supported by the ‘FOREVER’ tour that will commence in Perth during March 2022. The lead single, ‘Lights Up’, features the high in demand Compton producer and vocalist Channel Tres. Buckle your seat belt up and mount into it below.

With his low-pitched and sensual vocal delivery, Channel Tres has been a lyricist that everybody in the dance industry has been itching to include on their tracks. In the last few years, Tres has worked with a gigantic list of electronic dance producers including Disclosure, SG Lewis, Tokimonsta, Polo & Pan, Emotional Oranges and many more – so he has been everywhere as if he is the Jimmy Carr, Rosie Jones or Rob Beckett of dance music. ‘Lights Up’ features noticeable influences of Future Garage and Detroit Techno – and Flight Facilities note, “We’ve always loved the sound of the early Detroit House scene that crossed over with the Paradise Garage era. Combined with our love for Channel’s voice, it seemed like a perfect fit”, in their press release. ‘Lights Up’ almost sounds like a track that was being recorded whilst at a secluded street party with industry friends in Chicago, with Tres opening the scene with “Y’all should’ve called me to work on the album earlier/We could have been making something great” over a muffled vocal delivery following a lengthy fade-in to the track. The rest of the vocals mix an informal delivery with a quickly paced Spoken Word spin on gentle Hip-Hop, with Tres splurting out lyrics like “Trying to catch a Bass, and I’ll slide on you” and “I’m a MC, BYOB, bring your own bottles” that he recites with the silky and mildly sexual low-pitched croon that we’ve heard him use to similar effect on Disclosure and T’Challa King feature spots before. It definitely feels like his trademark and although it does not feel unexpected, it works smoothly here and plays to familiar strengths as usual. It establishes a tone of confidence for the rest of the track, which jolts along at an uptempo but not overly heightened pace. An influence of Detroit Techno – from the likes of Joe Smooth – drips from every note of Hugo and James’ production, with some velvet-smooth Synths that reassure us that this flight is going to be a smooth and relaxed ride. The personality of the track is charismatic enough, however, and one particular highlight of the track for me is towards the end where Tres repeats the refrain of “Got the whole city going up” while Horns continually whirr in the backbeat, giving off an impression that Horns are lighting things up in the background, as this section gives the Synths some added momentum to increase the aggression of the instrumentation slightly and drive the melodies forwards. Meanwhile, the two-step drum beats and the fluctuating Bass patterns blend together with Tres’ accentuated vocals nicely during the main bulk of the track. Overall, this was a strong effort from all involved that does ‘Dance Music’ in a modern enough way, while also respecting some of the relatively forgotten sub-genres of House and Techno from the past, giving it a retro-futurist feel. The track originally dates back to April so, although it fits more of a summer vibe than a cold December one, remember that it is summer in Australia.

Pictured: Cover Artwork for ‘FOREVER’ (LP) (Released on November 12th, 2021) (via Future Classic)

That’s all for now! Thank you for your smooth sailing with me today, and I’ll be back tomorrow to ‘Light Up’ the eve of Christmas Eve with an affectionate lump of seasonal Silton coming from a Rochford-born Jazz singer and BBC Radio 2 presenter who has famously covered Radiohead’s ‘High and Dry’ to mainstream success in the UK charts.

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Today’s Track: Terry Presume – ‘Act Up’

December 17, 2021 — Leave a comment
Pictured: Terry Presume in a recent photoshoot for a Q&A feature with Notion (2021) (Photo by Grant Spainier)

Good Morning to you! This is Jacob Braybrooke, and it’s time for you to read all about yet another track on the blog as we swoop in for a refreshing change of pace away from the Christmas-themed coverage, not forgetting that it’s always been my day-to-day pleasure to write up about a different piece of music every day! A self-described “walking question mark”, the 26-year-old Nashville-based rapper-songwriter Terry Presume is an artist who simply refuses to box his music into any one genre and he’s been open as such with this mission statement in several interviews. Raised in the neighborhood of Golden Gate by a single Haitian mother, he first made waves as part of the South Florida Hip-Hop scene, which he’s even published his own guide about for Acclaim. Praised by MTV News, New York Times and Fader – Terry has a wide range of influences including Andre 3000 and Robert Johnson and he began writing poetry at the age of 8, eventually doubling down on his talents as a solo artist and creating bodies of work that were led by his personal emotions and lived experiences – instead of genres. His latest release is ‘What Box?’, a 6-track EP that follows his tumultous escape to Los Angeles with only high risk ambitions and less than $200 in his wallet. Released on July 29th via September Recordings – the short-form release was co-produced and also mixed by his longtime friends Alessandro Buccelati and Giancula Buccellati and, once again, he draws from a wide array of inspiration and he refuses to restrict himself to conventional genre molds. Lyrically, Terry explores deeply universal emotions and pushes up against social norms with an impact that forges new spaces for people who don’t quite fit into pre-existing labels. Three weeks ago, a new music video for the lead single – ‘Act Up’ – which was created by Overcast. This animated visualizer perfectly matches the Funk-oriented single with a narrative that follows the vibrant journey of a woman unable to get Terry out of her mind. Give it a watch below.

Talking to Amplify about the recent release, Terry Presume says, “Never allow yourself to be repressed by any societal borders, whether that be emotions, thought patterns, way of life or anything that intrigues you that may be deemed abnormal for your ‘standard’. Escaping the limiting stereotypes this world has provided is what ‘What Box?’ embodies”, in his press notes. Terry taught himself to write and produce his music when he was just 11 years of age, and he always used music – as the medium – to navigate the world and the different cultures he encountered as he straddled it. ‘Act Up’ feels like another pretty solid encapsulation of his ideas as an artist, matching poetic lyrics like “Love the lesson though I hate the pain/My hearts investment surely left a strain” and “You choose your weapon, nearly hit a vain/But I can see sadness in you” to match a voice of strength found by his admission of vulnerability over the top of a zany, psychedelic and soulful backdrop. Later lyrics like “I won’t be the reason why your heart broke/Even though my love is icy that’s cold” tackle heartbreak and vengeance as topics, while the proud declaration of “I’m gonna make you act up today/I’m going to make you wish you never left” during the chorus is a more hook-based affair, introducing some catchy Pop flair into the fray. The emotions that he writes this track about are all very human and relatable ones, and the production is bolstered by a light white noise hum that crafts up an illusion that the music is being heard through a crackling Vinyl, which also brings a retro style to the fold. The guitar melodies are full of late 80’s Funk licks, and the light distortion of the riffs during the bridges have a distinctly Post-Punk feel to them. There is a lot of different influences and varied styles going into this, but it’s held together by Presume’s charisma as a performer and the easily accessible material that he writes his lyrics about. The vocals feel energetic and the drums are met with a two-step garage beat feel which give them a Punchy rhythm underneath the stretching samples and the sparse R&B delivery. Overall, the likes of sorrow and spite through heartbreak aren’t topics that anyone finds very cheerful, but they are feelings worth honoring and anticipating for Terry Presume, an exciting artist who likes to keep his music as a diverse listening experience for his audiences. His music isn’t perfect by typical Top 40 radio genre standards, but his concept is that life isn’t always fair and comes lunging at you with problems fairly fast, which is still something that we can all relate to. I like this artistic side to him and his music appeals across a broad spectrum.

Pictured: Cover Artwork for ‘What Box?’ (EP) (Released on July 29th, 2021) (via September Recordings)

That’s all for now! Thank you for checking out my latest post on the blog, and I’ll be back tomorrow to continue our ‘Countdown To Christmas’ for the year as the big day draws near with a late-90’s Brit-Pop number that appeals more to the novelty side of music. They weren’t really a group per-say, but more of a media project including a trained musician, a visual artist and a comedic actor who are all pretty famous. They were probably best known for recording an unofficial theme tune for the 1998 FIFA World Cup that reached #2 on the UK Singles Chart due to its memorable music video.

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Countdown To Christmas 2021: Beck – ‘The Little Drum Machine Boy’

December 10, 2021 — Leave a comment
Pictured: Beck Hansen in a promotional photoshoot for ‘Mellow Gold’ (1994) (Photo via DGC/Bang Bang)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time to pre-heat the oven and bake some Christmas Cookies as we continue our ‘Countdown To Christmas’ for the year with another daily upload on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! It has been a little while since we heard from Beck Hansen on the blog, but we have explored several snippets of his material on the site before. The 90’s Alternative Pop and Rock music icon has always been known for his exhaustive list of collaborations with fellow pop culture legends like Paul McCartney, Air and The Lonely Island, as well as his obscure and oblique lyricism, along with his wealth of eccentric recordings in the 90’s and 00’s that have found Beck scoring several Grammy Awards wins and a four-time platinum certification for his album sales, with some of his most popular albums being 1996’s ‘Odelay’ and 2002’s ‘Sea Change’, both of which were highly influential and earned spots on Rolling Stone’s list of ‘The 500 Greatest Albums Of All Time’ that was last revised in 2020. Although some of my favourites include 1999’s ‘Midnite Vultures’ and 2019’s ‘Hyperspace’, his rare Christmas track known as ‘The Little Drum Machine Boy’ came immediately off the back of ‘Odelay’ and ‘Mutations’, where Beck was very confident in his ability to pull together his absurdities on top of sly, freeform Hip-Hop beats. The single first appeared on KROQ’s annual Christmas tape in Los Angeles during 1996, before appearing on his label’s charity compilation titled ‘Just Say Noel’, and it can also be found on Kevin & Bean’s ‘Christmas Time In The LBC’ compilation released that same year. Beck recalled in an interview during 2008 that he actually recorded it during the summer time and nowhere near to the holidays in a studio found in Rochester, New York when he finished touring one year and that it was inspired by Outkast and Busta Rhymes’ early records. Even by Beck’s lofty experimental standards, this single is pretty bizzare. Give into the insanity below.

‘The Little Drum Machine Boy’ is a pretty obscure recording when all things have been considered, but two edits of Beck’s kooky festive anthem exist. The example above is the full-length seven minute recording which is drum machine-based, but there is also a three minute radio edit out there without the lengthy ending sequence. The problem is, with the latter version, you’re missing out on a lot of the humor and the twists on the Christmas-themed production formula. Beck was largely known for his quirky sample-based flair and his post-modern Pop Art collages of noise throughout the 90’s, and ‘The Little Drum Machine’ boy recalls this era of his discography with logical sense – building up some meticulous layers of soft-funk, wobbling bass and psychedelic guitar rhythms full of trippy and rhythmically deranged sounds with a wonky structure. It’s hard to even find a place to start with the lyrics, which rarely make any sense of a typically coherent fashion, as you’re likely to expect from the weird and wonderful palette of mid-90’s Beck. Hansen starts off with the words taken from the ancient christmas carol that his track’s title bears a clear resemblance to, before proclaiming to drop some ‘Hanukkah’ science to the mix and adds a robotic vocal to the mixture. The robotic samples act as a through-line for the wacky sonic palette, as he continues to twist and morph the tone of the universally known carol to be about the Jewish holiday of Hannukah and modernizes the melodies with the help of some eccentric synths and the consistent Drum Machine programming. The vocals feel hazy and hallucinogenic, but there’s a rhyme and a reason to a few of the lines sprinkled in here, as Beck’s near-indecipherable robot voice is actually reciting a Jewish blessing and he continues to slur some Jewish prayers throughout the song with his awkward vocals. The crazy concoction of his vocals and instrumentation bend and break the conventional Christmas tropes by transforming the vocals into being an ode to Hanukkah instead of our global end-of-the-year season. It contains some of the most abstract, on-the-nose and topically obscure Christmas lyrics ever to be issued, but Beck achieves his goal of dropping some “robot Hanukkah science” that he clearly states at the intro of the strange single, and so the ensuing collage of quirky music isn’t as hard to make out as it may first appear when you really think about it. The ending is festive and funny, while the playful lyrics throughout are dipping between hooks of different Christmas classics that you would recognize and his affection for the Jewish holiday that he depicts as equivalent. Overall, this is a strange and straight-up abnormal tune that only be 90’s Beck, and only he could only get away with making it work because he manages to make it supple enough to hold together and the unique, individual rhyme schemes of his musical blueprint saved it from diving into the pure novelty status it risks. Bonkers brilliance from the best Beck.

Pictured: Art Collage showing the many faces of Beck over the decades (2018) (Photo Credit: Sarita Schaffer)

Several sporadic entries regarding Beck have been made on the blog before, and so there’s plenty to keep you busy content-wise on this humble site if you’re an avid fan of his output. You can read all about 1999’s ‘Hollywood Freaks’ here: https://onetrackatatime.home.blog/2020/09/02/22nd-birthday-special-edition-beck-hollywood-freaks/. There’s also my thoughts on ‘Uneventful Days’ here: https://onetrackatatime.home.blog/2019/10/29/todays-track-beck-uneventful-days/ and you can see more of ‘Hyperspace’ with my review of ‘See Through’ here: https://onetrackatatime.home.blog/2019/11/28/todays-track-beck-see-through/, and one of my earliest posts was written about ‘Tropicalia’ from ‘Mutations’ here: https://onetrackatatime.home.blog/2019/08/20/todays-track-beck-tropicalia/

Pictured: Cover Artwork for ‘Midnite Vultures’ (LP) (Released on November 23rd, 1999) (via DGC Records/Bang Bang)

It’s time for me to take a deep breath and leave you to enjoy the rest of your day! The festivities will keep going tomorrow, however, with another new installment in our ‘Countdown To Christmas’ for 2021. The next pick is much more recent and it comes from a 25-year-old Tennessae-born indie rock singer songwriter who was a member of the ‘Boygenius’ trio alongside similarly young solo breakouts Phoebe Bridgers and Lucy Dacus. Her latest LP, ‘Little Oblivions’, was released to great reviews in February.

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Today’s Track: Coco – ‘Come Along’

December 6, 2021 — Leave a comment
Pictured: Maia Friedman, Dan Molad & Oliver Hill in recent promotional artwork (2021) (Photo by Stella Hartmann)

Good Morning to you! My name is Jacob Braybrooke, and its time for me to welcome you into yet another daily track on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! Although they share their name with a Disney Pixar animated film that was actually very good when it was released in 2017, Coco aren’t really the eccentric type like the family-friendly musicals being created and re-made by the House Of Mouse. Instead, the New York-based indie rock trio of Coco are the more mysterious type. The band remained anonymous while releasing critically acclaimed singles like ‘Last Of The Loving’ and ‘One Time Villain’ in the past because they wanted to let the material speak for itself, making music with a whiff of Dream Pop, Soft R&B, Alternative Funk and psychedelic Dub to it that was simply about how the music makes you feel instead of disclosing any details about who made it. However, that etiquette changed late in the summer when Coco revealed their identities as people who we already knew from other projects. Coco are comprised of Maia Friedman from Dirty Projectors & Uni Ika Ai, Dan Molad who played in Lucius and Chimney, and, finally, Oliver Hill who you might recognize from Pavo Pavo and Dustrider. They each share the vocals, writing and production duties between each other. They released their debut self-titled studio album in late October via First City Artists and AWAL Recordings, including the single ‘Come Along’. The band says, “From the beginning, music sprung up between us with a surprising and collaborative ease. We made a conscious effort to foreground our intuitions and trust each other’s instincts – criticism and indecision weren’t part of the process” for their biography. They all invite you to ‘Come Along’ with them below.

“The skeleton of ‘Come Along’ was recorded live, all together, with Oliver on guitar, Maia on drums, and Danny on bass. The underlying chord loop plays throughout as other instruments are weaved in one by one, picking up momentum and rolling forward as everything joins in harmony”, Coco recalled in a shared press statement about the single, adding, “The video mimics the song in this way, portraying our individual days-in-the-life with each of us filming one another on handheld cameras”, in their explanation for the writing and process behind creating the laidback three-way vocal duet. Such an improvisational approach to ‘Come Along’ does make sense when you hear it, as it feels like a stress-free and calm little recording with a mellow, often romantic, spin on the songwriting. Opened by a briefly chiming, windy Bell arrangement that creates a drowsy vibe before intimate lyrics like “We share a simple word/You’ve given me a shirt/I put it on” and “A table and a chair/A memory of home/Carry it all home” kick in during the verses, set against the backdrop of gently strummed Acoustic guitar melodies and some more percussive kick drum snares that create a rich and dream-like atmosphere. The fusion of Psychedelic R&B and soulful Soft-Funk are given another twist when a lightly distorted guitar solo takes the lead during the half-way point. The chorus, counteracting the harmonious vocals and the sonic environment of the verses, comes closer to Pop. More clear-cut lyrics like “Talk to me about anything you need/Just please, come along” and “The company is healing me/So please, come along” take centre stage, for example, as the chilled atmosphere shifts with the enhancement of a rhythmic String section and a dampened bass guitar line. It bathes you, as the listener, in a warm sense of subtlety and euphoria that feels very alluring on the whole. The main vocal hook is a little cheesy, but it is delivered with swirling pure vocals and a sense of delicacy that evokes the mood of the song well enough to keep you engaged. Overall, ‘Come Along’ is a lovely fusion of mellow Soft-Rock and prominent Dub influences that reminds me of Khruangbin in its tone and style, but it reaches out a hand to the slightly more cinematic spectrum of music for my mind. A gorgeous and well-focused arrangement.

Pictured: Cover Artwork for ‘Coco’ (LP) (Released on October 29th, 2021) (via Self-Released/Bandcamp.com)

During their anonymous days, Coco gained similar praise with the release of their one-off single ‘Last Of The Loving’, which also earned a place on my October 2020 highlights wrap-up. If you haven’t heard it yet, see what the fuss was about here: https://onetrackatatime.home.blog/2020/10/22/todays-track-coco-last-of-the-loving/

Pictured: Cover Art for “Last of The Loving” (Single) (Released on 4th August, 2020) (via FCA Records/Coco Time)

That’s it! Thank you for continuing to read and support the site every day, and I’ll be back tomorrow with another regular upload as we convert over to the experimental electronic dance side of the recent releases spectrum, coming from a Paris-based DJ who was scouted by BRIT Awards nominees Bicep for their Feel My Bicep imprint label. He performed a live DJ set at Sarcus Festival this year, and he has been featured on a ‘Friday Guest Mix’ produced by Bicep for Mary Anne Hobbs on BBC Radio 6 Music.

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New Album Release Fridays: Arca (feat. Planningtorock) – ‘Queer’

December 3, 2021 — Leave a comment
Pictured: Cover Artwork for ‘Kick iiii’ (LP) (Released on 3rd December, 2021) (via XL Recordings)

Good Morning to you! You are reading the words of Jacob Braybrooke and, for the final time until 2022 rolls around, it is time for us to take a deep dive into one of this weekend’s biggest new album releases, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! It all comes down to this. As the curtain draws the year of exceptional new music to a close, we are left with a final notable release. Or two. Or three. Or – in the case of Venezeulan experimental pop producer Arca – four. Last summer, she released ‘Kick i’ to an interesting reception and this week, she has completed the ‘Kick’ quintet with the release of ‘Kick ii’, ‘Kick iii’, ‘Kick iiii’ and ‘Kick iiiii’ all on the same day via XL Recordings, boasting a total of 43 tracks of wild Glitch Pop experimentation. I loved her track ‘Time’ on the blog last year, but a follow-up single – ‘Mequetrefe’ – received a more negative reception from me, so it will be interesting to see where ‘Queer’ from ‘Kick iiii’ (featuring the Estonia-based English DJ Planningtorock) lands with me. The critics seem to be liking the ambitious bible of projects, however, with The Guardian writing, “A wild ride to the dark, daring side of Pop” in their four-star write up. The Times added, “Pop that’s a pleasure to be confused by” in their appraisal. I mostly know Arca, also a transgender icon, for her friendship and a few collaborations with the Icelandic role model Bjork. However, Arca has also produced work for Kanye West, Rosalia and FKA Twigs (Who famously used to date Robert Pattinson for quite a while, I believe). ‘Kick iiii’ also features Garbage’s Shirley Manson, Oliver Coates & No Bra. Give ‘Queer’ a whirl below.

Pitching the fourth part of her ‘Kick’ series of augmented records as “an entry in the sensual charge in the cycle; my own faith made into song, a posthuman celestial sparkle, psychosexual pulsewidth modulation, queering the void, abyss alchemically transmuted into a deconstruction of what is beautiful” in her partial LP’s product description, Arca continues to explore the themes of alienation from the inside and a bursting apart of old skin with the glitch-driven lead single from her ‘Kick iiii’ album – ‘Queer’. Built up to be an anthem that is celebrating courage in the face of prejudice and encouraging queer romance in all of its forms, this is a dramatically exploratory single that establishes Arca in the ilk of a ‘true artist’ like Kate Bush or David Bowie where commercial accessibility is primarily not a target and expression with an almost ‘alien’ quality, where traditionally catchy genre traits are simply disregarded in favour of a creative approach. Therefore, I can definitely see why this track may not play ever so well to casual listeners and it, even for me, was a little bit overwhelming to fully grasp on a first listen. It has a vague resemblance to the Eurovision flavour of Pop, however, that gives us somewhere to start with her. Set against the backdrop of a Witch House trap beat that has an air of Latin Hip-Hop about it, calling to my mind names like 100 Gecs and Bad Bunny anyways, Arca and Planningtorock (her actual name is Jam Rostram) exchange a series of Spanish and English lyrics between each other in a trade, with anthemic lyrics like “Tears will shower in my time/Like a queer life/Queer fire” as the Synthpop textures and the science fiction soundtrack feel of the music dives along at a brisk pace that doesn’t ever quite let up entirely. Full of processed vocals and some more interchangeable genre influences that are buried underneath the broad instrumentals, ‘Queer’ finds itself preoccupied with swelling Synth arrangements and rattling percussive arrangements that each function as a mimicry of non-heterosexual forms of love in their diverse nature. The opening of the track is a highlight for me, where a screeching sequence of samples almost act as haunting strings that get the beats off to an unrelented start. Overall, while I can certainly agree that ‘Queer’ is a lot to take in at once and it takes some hard work to get the most out of, I felt rewarded by the emotive soundscape that becomes more vibrant and expansive in scope with my repeated listening. I can also appreciate the thought that goes into the visual aspects of her art too. A tsunami of seismic material.

Pictured: Arca in an official photoshoot to promote the release of “Kick i” (2020) (Photo Credit: Hart Leshkina)

As aforementioned, Arca has gained a little bit of attention from my blog before. If you found ‘Queer’ to be interesting, you can see what I made of ‘Time’ here: https://onetrackatatime.home.blog/2020/05/28/todays-track-arca-time/. You can also gain your own opinion of ‘Mequetrefe’ by visiting my take on it here: https://onetrackatatime.home.blog/2020/06/30/todays-track-arca-mequetrefe/

Pictured: Arca (Alejandra Ghersi) in a shot from the ‘Time’ music video (2020) (Photo Credit: Rolling Stone)

That’s all for now! Thank you for finding out what music that I had to share with you today, and we will be going back to our ‘Countdown To Christmas’ in glorious style tomorrow. Join me then for an in-depth look at a new holiday-themed album release by an American Acapella group from Arlington, Texas who won the third season of NBC’s ‘The Sing-Off’ in 2011 and they have won three Grammy awards following that time. If you are a fan of the three ‘Pitch Perfect’ movies, you may find it Aca-awesome.

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Today’s Track: Kadhja Bonet – ‘For You’

December 2, 2021 — Leave a comment
Pictured: Kadhja Bonet in a professional PR shoot to promote ‘For You’ (2021) (Photo via Fat Possum Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for you to give a warm welcome to another daily post on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! A 33-year-old singer songwriter born in Richmond, California – Kadhja Bonet is an LA-based artist who has recently announced her solo return to the business following three years on a hiatus. Resembling Psychedelic Pop and 70’s Funk & Soul sounds in her typical output, Bonet learned how to play the violin and she studied classical music in her childhood while growing up in a musical family. Following collaborations in recent times with the likes of Khruangbin, Nicolas Godin (from Air), Khruangbin and Free Nationals, Bonet has received critical acclaim from sites like Pitchfork and The Line Of Best Fit for her two last solo albums. An 80’s-leaning track that encompasses modern Synth Rock and retro Electro-Pop, ‘For You’ is an ode to “showing up for yourself in any form that may take” for the Red Bull Music Academy Tokyo 2014 graduate, who states, “I wanted to create something new for myself, not to overthink or be held onto a certain genre”, in her own words about the single in her attached press notes. Let’s give it a spin below.

Talking about her comeback to writing and recording her new solo music after the three year break, Bonet has written, “My forced hiatus from music has created an urgency in brand redirection. I began making music to get to know myself and fortify connections, and in many ways, I have derailed away from that intention”, explaining to us, “I reflect on my last few years as a recording artist and see someone trying desperately to fit the mold, despite music that does not. To be pretty, to be liked, to be relevant, good or accepted” in recent interview material. To meet these goals, she conjures up a Chiptune-enhanced Synth backdrop and a swelling series of long vocal harmonies to make ‘For You’ feel, in equal parts, like a plea for love in the vastness of a Tron-like virtual world as it does a warm cruise through the bright British sea side in the summer time. Establishing a tone of clarity without confusion, Bonet uses lyrics like “Teach me a lesson I thought I knew/I still need learning/But I’m a fast learner when it comes to you” and “I’m looking for you/Now that I’ve found you/I’m seeing this through” to provide reassurance to the listener and yearn her tales of warmth, although it’s unclear whether she’s making promises to accept herself as a personal ode or addressing a new romantic partner, and this denotation of her lyrics are left wonderfully open to your own interpretation. A hypnotic mixture of unapologetically 80’s Synth-Pop influences and sparse Drum Machine riffs that are dressed in a dream-like quality in terms of mood, create the rich electronic backdrop of Synth-forward keyboard arrangements and a euphoric electronic crescendo that reverberates and breaks neon 80’s barriers. Using the experience that Bonet has developed during her time away, ‘For You’ is a nice evolution for the artist and a warm welcome back to recording for her, with a new single that sounds accessible yet decorated by her own conscience, instead of commercial goals. A self-sensuous, dramatic return to the fold.

Pictured: Kadhja Bonet in promotional photoshoot artwork to promote ‘Childqueen’ (2018) (Photo via Last.fm)

That leaves me with very little left to say for now! Thank you for checking out the blog for the first or latest time, and please feel free to join me tomorrow for our final regular entry of ‘New Album Release Fridays’ until the new year. This week’s record comes from a Venezuelan transgender artist who is one of the busiest figures in the industry right now, as they will be completing a quintet of interconnected LP’s this week. She’s collaborated with Bjork – as well as produced for Kanye West and Rosalia.

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Today’s Track: Porij – ‘Can’t Stop’

November 30, 2021 — Leave a comment
Pictured: Cover Artwork for ‘Baby Face’ (EP) (Released on September 22nd, 2021) (via Oat Gang Records)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for us to shuffle along to the beat of 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! An Art-Rock 4-piece from Manchester, Porij are a comically named act who formed while studying and staying in halls together at the Royal Northern College Of Music in 2016. Since then, they have supported Cory Wong at Manchester’s 02 Ritz and have received positive reviews from publications like Clash, NME and FADER. The likes of Radio X’s John Kennedy, BBC Radio 1’s Huw Stephens and the BBC Radio 6 Music daytime playlist have also given them airplay. During the summer, they impressed us all on the blog with their peaceful protest anthem ‘Nobody Scared’, which was inspired by a documentary about Jack The Ripper that the boys saw on Netflix, and it was their call out to violence against women. If you are a fan of bands like Alt-J and Everything Everything – or even Glass Animals and Django Django – I think you’re going to really like this Experimental Pop project. The boys were at it again with the release of their new ‘Baby Face’ EP in September, which featured some previously released singles and new original tracks. The lead single – ‘Can’t Stop’ – was written by drummer Tom almost two years ago as an attempt to bring focus to his over-active imagination, and it arrived with a music video and a plethora of UK tour dates. Let’s give it a spin below.

Porij said in a statement, “Can’t Stop is a super intense, pretty relentless dance tune, about uncertainty, changing your mind and being completely consumed by your thoughts – but all while having a pretty sick time” when they released the track, which is built upon some House-like qualities with an occasionally manic Garage beat, which is complemented by some intentionally dodgy Synth patches and processed vocals that sometimes drift into an energetic auto-tuned frenzy. The band also say that it matches a quirky UKG drum and bass influence to some neat synthetic Pop elements, and it becomes clear from the infinitely tinkered fusion of late-90’s dance music facets and late-00’s indie rock motifs that the band have created a fun track that is sure to brighten up your day. The lyrics, with rhythmic sections like “I feel out of control, got me thinking/Spent a night on your own got me thinking” and more spoken word-like bridges including “Hold me in, push the time on/In your room, take my eye off” sound conventional for a modern indie dancefloor anthem, but their mode of delivery is playful and off-kilter, and so the vocals capture the overarching theme of questioning your own surroundings and sanity with a decent amount of weight to them. In terms of the instrumentation, Porij become known for looping strange Synth sounds and bulky, hefty basslines pretty early on in the track. They contrast the dance elements with a good mix of neatly woven production and more unpredictable melodies through the keyboard riffs later on. Some Jamiroquai-esque guitar riffs and a small touch of percussion round the equation off, and we are left off with a psychedelic number that treats us to the daring bounds of Porij’s creativity once again. While I would have liked for more of their serious social commentary to come through more clearly, as with ‘Nobody Scared’ that was a nod to the ‘Reclaim The Night’ movement for street safety, I think ‘Can’t Stop’ is a catchy and infectious single that would make me get up and dance in a night club with no difficulty. Generally, I really like how Porij approach each of their singles at a ‘case-by-case’ basis because it makes their discography feel quite fresh and diversified, and I like how the Manchester-based act are comfortable with the fact that different directions require different tools to others. In conclusion, ‘Can’t Stop’ is a crowd pleasing and danceable single that appeals to both indie dancefloor fans and club attendees alike.

Pictured: ‘Eggy’ (Lead Vocals/Keyboard), ‘Tommy’ (Rhythm Guitar/Occasional Backing Vocals), ‘Jammo’ (Bass Guitar/Percussion) and Tom (Drums/Occasional Backing Vocals) (in 2021) (Photo courtesy of PR/DIYMag.com)

If you’re feeling frightened, here’s a reminder that Porij wants ‘Nobody Scared’ with their previous single ‘Nobody Scared’, which has already been covered on the blog: https://onetrackatatime.home.blog/2021/06/15/todays-track-porij-nobody-scared/

Pictured: Cover Artwork for ‘Nobody Scared’ (Single) (Released on April 21st, 2021) (via Oat Gang Records)

That’s your lot for the day! Thank you for continuing to support my content on the blog each day, and I’ll be back tomorrow to resume our ‘Countdown To Christmas’ for the year because it will be December 1st, after all. It still feels a little early for me, and so we will be going for something that’s a little more winter themed in general than specifically festive. However, it comes from one of my favourite pure songwriters in the industry. He fairly recently completed the unique ‘Correspondence’ side project with Tracey Thorn from Everything But The Girl, and had a Swedish #1 album in 2007.

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Today’s Track: Ibibio Sound Machine – ‘Electricity’

November 25, 2021 — Leave a comment
Pictured: Eno Williams (Lead Vocals/Chief Songwriter/Producer), Scott Baylis (Synths/Trumpet), Max Grunhard (Saxophone/Synths), Alfred Kari Bannerman (Lead Guitar/Occasional Backing Vocals), Tony Hayden (Trombone/Synths), Phillip PK Ambrose (Bass Guitar), Anselmo Netto (Percussion) and Joseph Amoako (Drums) performing at the Pool Recording Studio, London for NPR’s ‘World Cafe’ (2019) (Photo via Kimberly Junod/WXPN)

Good Morning to you! I am Jacob Braybrooke, and the time has come for me to take you through yet another eclectic variety of sounds with yet another daily track on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! Led by Eno Williams, Ibibio Sound Machine are a ten-piece Afro Jazz collective that she formed with producers Benji Bouton, Leon Brichard and Max Grunhard in 2013 with their idea of combining the unique vocals of the Ibibio language that she used to speak whilst growing up in Nigeria with both traditional West African and more modern electronic music elements. Although currently based in London, Williams sings her lyrics in both English and the Nigerian tongue of Ibibio, and the group are known for taking their musical inspirations from the golden ages of West African Funk and Dance music, modern Post-Rock and Electro-Pop music. Since forming, the band have been interested in creating music which fuses elements of 1990’s Drum & Bass and 1980’s Afrobeat. The band also notably performed at KEXP’s ‘International Clash Day’ event in January 2019, and they have since linked up with Merge Records to issue 2017’s ‘Uyai’ and 2019’s ‘Doko Mien’ for release, with their self-titled debut album being released on Soundway Records in 2014. Their latest single, ‘Electricity’, was premiered by Lauren Laverne during her breakfast show on BBC Radio 6 Music a pair of weeks ago, and it was recorded in Hot Chip’s studio. The group will also be embarking on a UK tour next March and April, including dates in Bath, Birmingham, Worthing, Newcastle, Manchester, London and Leeds. Let’s give it a spin.

Giving her insight into the direction of the new single ‘Electricity’, frontwoman Eno Williams says, “This one started out as an idea to mix Afrobeat with Giorgio Moroder-style synth vibes”, explaining, “The end section with Alfred’s korogo (Ghanian 2-stringed Folk guitar) solo was already there when we got into the studio, but then we added the big kick drum that happens underneath and Owen from Hot Chip’s crazy drum machine percussion at the end, which gave it a futuristic Afro feel when mixed with the more talking drum parts”, in her press statement. More or less doing my job for me with the press release, ‘Electricity’ is lyrically exploring the connection between different people and the power resource. The instrumentation leans towards an 80’s Synth Pop style, with a buoyant bassline and some tight drum melodies undercut by some more grounded, progressive Synth loops courtesy of the drum machine sequences. The pace builds gradually, starting off with mid-tempo beats and purely Synth-based rhythms before introducing a decent amount of variety with sparse Saxophone melodies and short Horn sections towards the middle. A big crescendo of danceable Synth riffs and more cerebral Jazz production creates a burst of energy in the third fourth of the track, before a longer instrumental section of ritualistic chants and quick, extravagant Horn scatterings rounds off the track before we get a final repeat of the chorus. It brings a somewhat new element to the chorus, where Williams talks about love and speaking from the heart as the simple answer to life’s complexities. An uplifting track with a slightly rougher edge that reminds me of Soccer 96’s ethereal Prog-Jazz production during brief intervals, ‘Electricity’ is a single that is lyrically radiant and evidently listenable. A focused and charming return.

Pictured: Cover Art for ‘Electricity’ (Single) (Released on October 26, 2021) (via Merge Records)

That’s all for now! Thank you for reading my latest post, and it is ‘New Album Release Fridays’ tomorrow, meaning that I’ll be guiding you through one of the weekend’s most notable new album releases. This week’s pick gives you a taste of the new posthumous album by a cult favourite Alabama-born singer-songwriter who sadly left us in March. Encompassing a variety of styles including Blues, Rockabilly and Country – you may know him for opening on-tour for The Hives and The White Stripes in 2007.

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Today’s Track: Lauren Jauregui – ‘Colors’

November 8, 2021 — Leave a comment
  • Pictured: Cover Art for ‘PRELUDE’ (EP) (Released on November 5th, 2021) (via Attunement Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and the time has come for me to put a fresh start to the new week for your daily track on the blog, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! A Cuban-American woman who was raised in Miami, Florida – the long black hair of Lauren Jauregui may seem familiar to mainstream audiences because she was previously a member of Fifth Harmony, a pop girl group who finished third on a series of the US version of ‘The X Factor’ in 2012, and went on to become something like the American equivalent of Little Mix, having scored global hits like ‘Work From Home’, ‘Boss’, and ‘Worth It’ before they split up to pursue solo projects in 2018. With plenty of attention gained from the US Billboard 200 chart and their accolades including ten Teen Choice Awards and four MTV Music Video Awards, the group of girls which shot bandmates Camila Cabello and Normani to solo success were, quite simply, music for the masses. Although Fifth Harmony’s work was never appealing to me as an individual, to be brutally honest with you, I was very suprised when I read about what Lauren Jauregui was up to. She’s been writing her own solo material since 2018, and, despite releasing a few singles and collaborating with the likes of Halsey and Steve Aoki in the three year gap, she has chosen to go fully independent by parting ways with conglomerate Sony Records and beginning to release music via Attunement Records, her own label, and she says, “My music is about getting to the bottom of how I’m feeling… Now, I have the freedom to explore all of the different ways I can express myself. My art is a witness to my growth”, in her press release. She will also serve as executive producer on her upcoming debut album, but, for now, she has just released her debut introduction EP, ‘PRELUDE’, which was co-produced by Johnny Rain, and it came accompanied by a ticketed virtual performance that took place at Moment House on 14th and 15th October. Lauren is also an advocate for many social causes, like gun violence and human rights, and as an openly bisexual woman, has spoken about LGBTQ+ issues and she has wrote open letters to Donald Trump about these. Let’s see her true ‘Colors’ below.

Lauren says of her unique live set roll out, “I want the story to tell itself through the music. It’s very introspective. I go through a lot of different emotions and revealings throughout it”, as she hints towards mental health issues and anxiety that she has dealt with before as key themes for the project. As for ‘Colors’ (the second single to be taken from ‘PRELUDE’, released over the past Friday in association with the indie supporters AWAL Recordings), Jauregui explains, “The song is a literal conversation. When everyone is gone, it’s just you and I. You can paint on the wall, but you can’t erase them all. I’m letting myself know that no matter what is going on, I need to be okay with myself”, in her own press notes. Beginning with some sparse String arrangements and a floating Piano riff, Jauregui gets in touch with her reflective side by crooning lyrics like “My heart has a way of rejecting what’s good for it” and later argues with her own actions by questioning “Who taught me that, I wasn’t good enough?” and “Why haven’t I caught your bluff” to the tune of a fairly tense Violin melody and some minimalist Drum beats. The second half of the track kicks in next, with a driving Lo-Fi beat that feels punchy, following a spoken word section where Jauregui recites intimate lyrics like “I’m actually not addicted to the drugs/I’m addicted to feeling f***ing numb” and she ends on a note of hope as she inspires herself with “Ignoring spirit really never helped me amount to nothing so, Grow”, in her literal conversation with herself as the instrumental of R&B-tinged backing harmonies and airy Strings, along with the more aggressive Hip-Hop breakbeat dressing, which rolls along. I actually really enjoyed this one, and that came as a little bit of a suprise to me. Seeing a former member of a very mainstream girl group striking out on her own in the Pop world is a tale that feels as old as time, and, for that reason, I have a lot of admiration for Jauregui in doing what feels right for her and simply making the music that she wants. It’s not like this is incredibly alternative and it should be accessible enough to her fans that have stuck around with her since her group went on an indefinite hiatus, but I feel the simple fact that she’s staying true to herself and self-producing, as well as self-releasing, her work from now on, is a very brave move, and I think the creative freedom that it gives Lauren will really do fantastic things for her as an artist. It indicates to me that she wants to re-assure herself as a proper music artist and she isn’t just looking for a quick number one hit in the charts. Her contemporaries, namely the likes of Ariana Grande, often have a very high-pitched voice and that tends to come off as a bit over-powering for me to the point where it feels unnatural when put to some auto-tune effects, but Lauren’s vocals were generally good throughout this one. They were perhaps just a very tad bit shaky at times in the live video, but she paces her voice with the music well. I liked how there was tension in the instrumentation and the lyrics themselves are kept quite to the point, and this got some genuine emotion and a tease of her actual personality across to me as an onlooking listener. It felt contemplative and raw, and I liked how Lauren revealed her own identity check by underscoring her painfully honest delivery with the slightly ethereal backing harmonies and the ascending String melodies. Overall, seeing a headline of a former member of a very popular girl group making solo music is something that I’ve been known to ignore in the past. Therefore, I’m glad that I’ve come across Lauren as this was really a lovely surprise. She seems like an excellent person in general and I love how she has the courage to do things differently instead of conforming to any pre-set notion of what a prior member of a Pop girl band should be doing when the chapter of that book closes. I loved the intimate style of the song, and I also can’t wait to hear how her Cuban background plays into her future recordings, as this ‘PRELUDE’ EP seems more like a mission statement than a full-blown thing. Still, this was better than most of the other female mainstream-known singers that I’ve heard in these times, and I look forward to hearing what comes next from her. I’d say she is the best harmonizer of the bunch.

  • Pictured: Lauren Jauregui performing at an undisclosed gig (2019) (Photo by Reprodução/Instagram)

That brings us to the end of another musical musing! Thank you for supporting the blog and the independent creators that I like to support, in turn, and I’ll be back tomorrow for something a little more Classical, but still very contemporary. It comes from a Japanese composer who is now based in London and releasing projects like the ‘Uncertainty’ EP following a stint as the drummer of indie Alt-Pop group Teleman.

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