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: Modern Silent Cinema – ‘A Life Of Constant Abberation’

June 7, 2024 — Leave a comment

Wish to fill your life with good music rather than constant abberation? New post time!

Pictured: Cover Artwork for ‘Anemic Music’ (LP) (Available to buy & stream on July 5th, 2024) (Self-released)

Warm greetings to you! I’m Jacob Braybrooke, a Cambridgeshire-based music lover and radio presenter, and I’m very grateful that you decided to join me for another post on One Track At A Time as we broaden our horizons when it comes to active music discovery. It was previously my day-to-day pleasure to write up about a different piece of music every day before adulthood got in the way, so now I post sporadically about something special. I’ve got music to share from Modern Silent Cinema today, which is the moniker of Brooklyn-based independent musician Cullen Gallagher. His music encompasses elements of Lo-Fi, Instrumental Rock and Post-Rock developed by a variety of Electro-Acoustic instrumentation and Experimental guitar melodies. This year, he is celebrating a whole two decades of activity with a frequent string of six releases that evoke the history and impact of his alias. Half of these releases are comprised of fresh material while the other half of his issues are compilations of unreleased archival content. Three of these have been released including January’s ‘Passages X-XXI’ (a collection of relaxing solo piano recordings), March’s ‘The Cinema Detective’ (A dystopic sci-fi meets film theory detective study inspired by an essay from Baltimore-based clever clogs Matt Berry) and May’s ‘The Cabinet Of Modern Silent Cinema’, a rich album boasting a 13-track voyage through tracks that went astray over the years only to be revitalised by guitar duets with his brother, unearthed demo tapes and micro-cassette sketches. The next release to drop is July’s ‘Anemic Music’ – out on July 5th – which collates more tracks that are finally seeing the light of day. Give the opener ‘A Life Of Constant Abberation’ a whirl below.

All of these albums have been mastered by Caleb Mulkerin (of Big Blood notability) and Gallagher, under the instrumental guise of Modern Silent Cinema, has recently received airtime on radio stations like WRUW FM91.1 (Cleveland, Ohio) and WFMU (Jersey City, New Jersey) who have all showcased the Bad Channels Records label founder’s innate ability to play a strong diversity of instruments including the piano, lap steel, trombone, trumpet and the drums. “Sometimes there is a feeling this is a lost Fahey or Basho recording, low-fi and a wanderer of tempos and styles“, compliments Lost In A Sea Of Sound about his work. It’s not tricky to see how the comparison has been made since, on the above track, ‘A Life Of Constant Abberation‘, he playfully navigates a consistent set of instrumentation with an edged Rock ‘N’ Roll influence polished with warped Americana vibes and shaded Folk mastery. He creates a vague narrative with elements of rock opera through curved genre constructs modified by instrumental sounds alone. ‘A Life Of Constant Abberation‘ begins with a pure, 7-note guitar riff that is unphased by delay effects or auto-tuned procession with a rumbling sound that feels weighty. The volume is not overly loud, but the evident echo mixed with the simplicity of the guitar skills makes for a dramatic combo, a journey that suggests turmoil and difficulty with no spoken lyrics. The drums are equally steady but robust, this punchy combo being a second verse addition to the thumping guitar melodies. Together, the recoiling drums and the harsh lead guitar hook build up an expansive level of tension heading into the rich chorus that makes it easier for the listeners to fill in the gaps with their own stories that are open to interpretation as the strained moods continue to develop. The settled, yet uneasy groove changes when we reach a fever pitch – an agitated crescendo forms as Gallagher doubles down on the drums and puts some extra activeness on the harsh guitar melodies. However, it all gradually fades into a more calming combination of level-headed Drums marked by some lenient shredding on the bass in the later stages of the song. This dynamism between the heavy push and the retracting pull keeps things interesting, whereby it’s clear that stress is overwhelming our narrator at one point before he starts to see a more serene state of mind further afield. To conclude, ‘A Life Of Constant Abberation’ is not quite as sombre as you may be led to believe in the opening because, as the world often does, the circumstances change around our narrator and a light sense of tranqulity is up ahead with production beautifully built to enhance yet not contradict.

Pictured: Cullen Gallagher who has been inspired by film scores for two decades (Photo via Bandcamp.com)

That’s all I’ve got for now! I want to say a huge thank you for giving me your time and attention today and thank you for giving me hope rather than constant abberation for doing so. Join me in the subsequent weeks on One Track At A Time for more new posts about the music that’s getting my creative soul flowing including tunes by bold, emerging artists like Julia-Sophie, Bad With Phones, Ebbb, Lip Filler and some others.

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Today’s Track: Hinds (feat. Beck) – ‘Boom Boom Back’

May 15, 2024 — Leave a comment

After a few weeks away from you – I’m making a BIG boom back. Time for a new post!

Pictured: Carlotta Cosials (Vocals/Guitar) & Ana García Perrote (Vocals/Guitar) (2024) (Photo by Daria Vazquez)

Get your headphones ready! Feel the crunching beats with me, Jacob Braybrooke, as I return to One Track At A Time once again to bring another recommendation into the life of yours as a fellow music lover. It used to be my day-to-day pleasure to write up about a different piece of music every day before peak adulthood got right in my way! ‘Boom Boom Back’ ushers in a new era for the Madrid-based indie rock duo Hinds, who have experienced a tumultous time of troubles in the time leading up to their current comeback. Hinds have been around since 2011, originally as a 4-piece of ferocious female creatives, but they now exist as a dynamic duo comprised of original members Ana García Perrote and Carlotta Cosials who share the lead vocal and guitar duties amongst themselves. They have supported The Libertines, The Vaccines and Black Lips on tour in addition to designing their own clothing line in 2017 with Urban Outfitters that was sold alongside an exclusive limited edition 7-inch of their single ‘Holograma’ with 50% of the proceeds going towards an Austin-based not-for-profit organisation – Attendance Records – that provides students at public schools a platform to produce their own music, websites and magazines. Besides the recent single ‘Coffee’, it has been since the pandemic of 2020 that we’ve heard much from Hinds following ‘The Prettiest Curse’ LP being issued that year. A blow has been dealt because they have lost a drummer, a bassist and a management company. However, Perrote and Cosials are carrying the baton of Hinds as a duo, having spent the past decade touring across the globe and sharing their unique fusion of Garage Rock-infused pop with Psychedelic elements with the world. They’ve also gained a friend in Beck, who they met at a film screening in LA by chance. Their fourth studio album – ‘Viva Hinds’ – is now set to release on September 6th on Lucky Number Records. UK tour dates in Brighton’s Prince Albert and London’s The Lower Third are taking place at the end of this month. Check out the raucous new track ‘Boom Boom Back’ below.

Recorded in rural France with Pete Robertson (Beabadoobee, Orla Gartland, Chloe Moriondo) as their producer, Hinds are breaking new ground in light of vowing to continue their passionate Lo-Fi oriented explorations in substance as a pair instead of a quartet by including their first tracks to be entirely sung in Spanish on their new record, which also boasts a collaboration with Fontaines D.C. frontman Grian Chatten. The playful energy of the music video is matched by the rhythmic aggression of the melodies on ‘Boom Boom Back’, an infectious intro to the upbeat and beautifully braggadocious slab of 80’s-inspired Rock ‘N’ Roll that I can’t wait to hear on the rest of ‘Viva Hinds’ in September. Nonchalant ambience of the girls laughing is followed by a thumping drum riff and a swirling guitar riff, filling the air with stadium-sized rock sounds as we build up to the catchy chorus of “Do you want to fall in love in a bar tonight?/Do you wanna fall in love with a broken heart?” backed by gritty, non auto-tuned vocals sung above crisp, crunchy chords. It’s not very romantic at all, as Hinds settle for sexual pleasure instead and carry their quirky personalities into the rest of the track. Beck hops on for his own verse at one time, joined by lyrics like “Faking laughs, melted ice, throwing dollars and dice/Do you want to step aside a hologram of your life” that showcase his penchant for obscure hooks and mesh tidily with the rebellious attitude of Hinds, who fill the empty space with Spanish vocals and chatty ambience reminiscent of an irresponsible adult’s dream of a youthful teen party at various points yet the alternative rock spirit of the chorus packs a punch and keeps the tone balanced well. The result is a delighfully charming, wonderfully catchy and affectionately 90’s tune that is sure to generate excitement for the long-awaited new album. It feels like the perfect summer anthem, with Hinds delivering an accessible yet specific vocal performance and it’s nice to hear Beck getting to do what he does best after a string of more conventional pop-oriented releases. I don’t need to be in a bar to fall in love with ‘Boom Boom Back’ since hearing it at home offers many thrills.

Pictured: Signed Vinyl Bundle for ‘VIVA Hinds’ (Available to buy from September 6th, 2024) (via Lucky Number)

That’s all for now! Thank you for joining me for another musical musing today and I want to say a huge thank you for your support at this time where my posts are more sporadic. I will be back soon with another heartfelt recommendation of a new track, this time coming from a North Carolina-based Electronic producer who adds a unique touch of IDM and Glitch Hop to his House music explorations. He has produced tracks for Azaelia Banks and he’s performed a live set at the Sydney Opera House. You may also know him for releasing music under the names of Tstewart and Syndrome. He’s also 1/2 of the experimental duo Dream Continuum alongside Jim Coles aka OM Unit.

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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.

X (Formerly Twitter): https://twitter.com/JacobBraybrook2

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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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Scuzz Sundays: Papa Roach – ‘Between Angels and Insects’

May 1, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Infest’ (LP/Album) (Released on April 25th, 2000) (via DreamWorks/NPG Studios)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to pay a visit to one of the ghosts of Pop-Punk’s past with a new weekly edition of ‘Scuzz Sundays’ on the blog, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! In the past few weeks, we’ve tied our weekly throwbacks into some form of current affairs, such as this autumn’s re-union gig for Hard-Fi or the almost exact 20th anniversary of The Caesar’s ‘Love For The Streets’ album, and we’re continuing the same trend today. The Vacaville-formed Alternative Metal band Papa Roach released their eleventh studio album, ‘Ego Trip’, on April 8th to a fairly positive reception from critics. Therefore, we’re going to remind ourselves of one of their classic tracks today to fit the theme of ‘Scuzz Sundays’. Released in 2000 as the third single taken from their Triple Platinum-certified second LP ‘Infest’, ‘Between Angels and Insects’ reached #17 on the UK Singles Charts and it enjoyed a nice run on the radio airplay circuit in late Spring of 2001 after the music video had released. The album itself ventured into the buzz of the Nu-Metal and Rap-Rock genre elements of the time, and it debuted at #5 on the US Billboard 200 chart, additionally earning Papa Roach a Grammy Awards nomination for ‘Best New Artist’ to reflect this success. Find the Joseph Khan-directed video for ‘Between Angels and Insects’ below.

In a SongFacts interview with Papa Roach’s Tobin Esperance, it was revealed how the track took inspiration from ‘Fight Club’, as he noted, “The lyric in the bridge section was taken from the conversation that Brad Pitt was having with Edward Norton on the airplane“, in the piece. ‘Between Angels and Insects’ remains a live favourite for Papa Roach too, as Esperance also told SongFacts it was “Definitely still a really fun song to play live. That song definitely goes off“, in 2011 as well. The title of ‘Between Angels and Insects’ doesn’t appear lyrically, but there’s an implication that human morality sits between angel and insect – the divine and the primitive – in other words. Lyrics like “There’s no money, there’s no possession, only obsession” and “You can find a conclusion, lifestyle and obsession/Diamond rings get you nothing but a life long lesson” are centered around greed, implying that money just can’t solve your deeper psychological issues, with the verses and the chorus commenting on how the base desires like possessions bring us further from angels and closer to insects. The steady drums, the Rap-Rock rhythms of the vocals and the thunderous guitar riffs, with a heavy but largely melodic Pop-Punk skew, feel rather typical of the time and the instrumentation does not feel different to many of the Grunge-inflicted rock songs of the album’s era, but it feels quite nostalgic twenty years later and it can remind you of how your life may have been at the time. While the chords feel rather unoriginal, there is still some decently thought through commentary here on how we value our possessions and how striving for things we feel are positive can lead to negative impacts like addiction, and these themes never really overstay their welcome despite seeming quite universal. The band’s accompanying melodies for the lead vocals push the metaphorical boat into stormier seas, while the main bulk of the instrumentation adds just enough differentiation from other Papa Roach tracks such as ‘Last Resort’ or ‘…To Be Loved’ without affecting the formula that has been laid out for it. Overall, I don’t feel this is a masterpiece, as the lyrics and progression feel a little bland and generic, but there are elements of greatness here. The songwriting works well, and the instrumentation is solid. This is probably not a Last Resort for your Papa Roach fix.

Pictured: Papa Roach performing ‘Last Resort’ at the Reading & Leeds Music Festival (2014) (Photo via BBC Music)

You can check out some of my previously published Papa Roach-related posts below:

‘Last Resort’ (2020) – https://onetrackatatime.home.blog/2020/07/26/scuzz-sundays-papa-roach-last-resort/

‘…To Be Loved‘ (2021) – https://onetrackatatime.home.blog/2021/11/21/scuzz-sundays-papa-roach-to-be-loved/

Pictured: Cover Art for ‘The Paramour Sessions’ (LP) (Released on September 12th, 2006) (via Geffen Records)

That brings us to the end of the page for another day! Thank you for joining me, and we’ll be kicking off a new week’s worth of posts as well as the new month’s worth of posts – you lucky reader. It begins with a fun and chilled summer-themed new single by a Norwegian singer-songwriter who has released eight studio albums and created his self-titled full-length record, released in 2011, in a short yet intense time period of three weeks. The single in question features the talents of Japanese Pop project CHAI.

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Today’s Track: Rolling Blackouts Coastal Fever – ‘The Way It Shatters’

April 30, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Endless Rooms’ (LP/Album) (Available from May 6th, 2022) (via Sub Pop Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for me to return to my writer’s table as we 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! The Melbourne-based 6-piece Rolling Blackouts Coastal Fever emerged nine years ago with their subtle blend of 00’s Jangle-Pop and cheerful 60’s Surf-Rock – with not one, not two, but three guitarists amongst their line-up. They have now earned an established profile with popular LP releases like 2018’s ‘Hope Downs’ and 2020’s ‘Sideways To New Italy’ since those years, along with a top 5 entry on the UK’s Physical Singles Chart. They have earned acclaim from sites like Triple J, Pitchfork, Noisey, AllMusic, Pop Matters, Uncut, Far Out Magazine and others. They have also gained awards attention from the AIR Awards, Australian Music Prize, Music Victoria Awards, J Awards and National Live Music Awards as well. The typical two-year cycle between album releases is up for them, so we’re naturally getting their third album – ‘Endless Rooms’ – next month. It arrives on May 6th via Sub Pop Records/Ivy League Records, and it has been described by the group as “almost an anti-concept album“, with the title reflecting, “our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities“, according to the band. It’s automatically clear that free time was spent by the band to craft their new record during lockdown, as the lead single finds the band experimenting with Synths for the first time to add a fresh dynamic to their folk-inspired sound. Check out ‘The Way It Shatters’ – with the music video, which taps into the new LP’s darker themes – below.

“It’s about how ending up in your particular situation in life is the result of absolute randomness. If you happen to be born into wealthy Australia or happen to be born into a war zone in Syria. That’s just the way it shatters“, Rolling Blackouts Coastal Fever say about their album announcement and recent single, adding, “So it’s when this good luck is mistaken for a sense of pride in one’s self or their country they become confused and deluded about what’s important. It’s when those on the other side of the luck scale are completely othered and considered not worthy“, in their insightful description of it. Reflecting more of a night-time vibe than most of their previous efforts, ‘The Way It Shatters’ gets up to some speed with nimble and angular guitar melodies that fill the opening, as the soaring Synth stabs and the sharp, layered Drum melodies fill the rest of the space when they follow. Evident 00’s Jangle-Rock and 60’s Surf-Rock qualities are still there, due to how the band structure the track and how the vocals have an acoustic dynamic, but it feels more lively and energetic than before due to how the Synths play off the tension and mark a more expounded first step into electronic territory. There’s a slightly dissonant Keyboard line and an ascending bassline thrown in, and when all of these elements come together, they sound not very dissimilar to The Psychedelic Porn Crumpets or Deerhunter overall. While the hooks are quite mainstream-friendly and the progressions of the chords are pleasant, the lyrics reflect a slightly darker and a slightly more sinister spin to these proceedings. Lyrics like “It’s desolation by rote?/All around your home/If you were in the boat/Would you turn the other way?” deals with humanity and how we all find our own place within it. Later hooks like “Lost in a magazine town/It’s all falling up again and in my head, I tell myself/It’s all just a necessary evil” dig their fans into isolation habits and the fortune that favours some of us above others. It never feels over-produced, although clear signs that bigger producers have been set up with the band for tracks like these. There’s nothing here that I haven’t really heard before, however, it has a more gritty sound than 2020’s ‘Sideways To New Italy’ which I enjoyed and skews towards a decidedly 90’s Indie sound that gets a nostalgic quality across. Pleasing to fans of the band’s existing material, I also think ‘The Way It Shatters’ appeals nicely to fans of bands like Mumford & Son’s who operate in a similar genre, but have a slightly more known profile to them. A clean, solid track with catchy lyricism and progressive ideas.

Pictured: Fran Keaney (Lead Vocals/Acoustic Guitar), Joe White (Lead Guitar), Tom Russo (Rhythm Guitar/Backing Vocals), Joe Russo (Bass Guitar/Percussion) and Marcel Tussie (Drums) (2020) (Photo via Nick MC/DIYmag.com)

Rolling Blackouts Coastal Fever seemed really popular in 2020 and, as someone who likes to comment on the fuss, its only natural that we met before in the entries below:

‘She’s There’ (2020) – https://onetrackatatime.home.blog/2020/06/08/todays-track-rolling-blackouts-coastal-fever-shes-there/

‘Cars In Space’ (2020) – https://onetrackatatime.home.blog/2020/03/24/todays-track-rolling-blackouts-coastal-fever-cars-in-space/

Pictured: Cover Artwork for ‘Sideways To New Italy’ (LP) (Released on June 5th, 2020) (via Sub-Pop Records)

That’s all for now! Thank you for checking out my latest post on the blog because I appreciate that on a Saturday, much like the band, you must feel shattered. ‘Scuzz Sundays’ is back tomorrow, and we will be tying it into current affairs once again because the central band have just released their eleventh studio album. They are known for singles like ‘Last resort’ and ‘..To Be Loved’, and the following was used as the main theme song for WWE’s ‘Monday Night Raw’ TV show between 2006 and 2009.

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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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New Album Release Fridays: The Lazy Eyes – ‘Fuzz Jam’

April 22, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Songbook’ (LP/Album) (Released on April 22nd, 2022) (via Self-Released)

Good Morning to you! My name is Jacob Braybrooke, and the time has finally arrived for us to take a walk on the psychedelic Gen-Z side of music as I take you through 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! While the new albums from Fontaines DC, The Psychedelic Porn Crumpets and Poppy Ajudha have each been coming out today and they are all shaping up to be good, nothing has quite sparked the same interest for me as the long-awaited and slightly delayed (as it was originally set to be released in March) debut album by The Lazy Eyes. ‘Songbook’ has been self-released through the Australian Psychedelic Rock band’s channels on this day – a record that, according to the Vinyl’s product description, “is evidence of an edifice slowly being formed, a trepidatious first footstep by the band into the wider world” as they match a 60’s Neo-Psychedelia influence with a kaleidoscopic aesthetic that blurs the lines between fantasy and reality. The Lazy Eyes have developed a cult following and earned acclaim for their live sets since forming as a unit in 2015 when they met at Sydney’s Newtown High School of the Performing Arts. Not only have they sold out shows across the Australian east coast, but they are also responsible for the creation of their own live music festival LazyFest. They have also earned praise from numerous sources including KCRW, FBI Radio, BBC Radio 6 Music, Triple J Unearthed and NME. ‘Songbook’ follows the releases of 2020’s ‘EP 1’ and 2021’s ‘EP 2’, and the group’s profile will continue to grow when they support The Strokes on tour next year along with The Chats. Prepare yourself for the unadulterated liveliness of ‘Fuzz Jam’ below.

Matching the dynamic structure of ‘Fuzz Jam’ with a psychedelic monochrome outset for the music video, the band’s vocalist-guitarist Harvey Geraghty has discussed the foundations of the track’s vibrant soundscape, saying, “I wrote ‘Fuzz Jam’ to use this instrument that [guitarist Itay Sasha] bought live. It’s this Hohner Planet T, and we wanted a more hard track to play on it, instead of just singing songy songs”, in a press statement. Ever the humorous bunch, The Lazy Eyes take some influence from the sprawling, cinematic post Neo-Psychedelia of The Flaming Lips and a 60’s Beatles-esque Jangle Pop vibe to conjure up a heightened Noise-Rock collage of effects-filled Synth sounds and delay pedal-dominated guitar riffs that feels almost self-referential to its core influences. This one starts off with a threatening bassline accelerated by the animalistic Drums and seductively sultry lead guitar riffage that creates a very improvisational feel to the instrumentation where the tempo chops and changes throughout the track, endlessly segueing in and out of sparkly Psychedelic Pop and ‘turn up that dial’ good time rock. These grooves mutate and twists, so you never quite know what’s around the corner. Simple lyrics like “I want it all to be ok, I want to stay the same” and “Run for the door, You’ll be okay/Don’t be afraid to say my name” often get repeated, which leans loosely on the heavy and inciting soundscape while occasionally dipping into a sweeter harmony. It can often seem like you are listening to three or four different songs thrown in a blender together here as the overall instrumentation is fairly unpredictable and the rhythms are complex, not to mention the full-blast feel of the saturation effects which turn their Psych-Rock world upside down, but their vocals are played out with some subtle sense of comfort while the incendiary electronic elements penetrate the rhythmic bass grooves to a satisfying cohesion, despite the track having its lofty ambitions. These elements are all major thorough-lines in the track, and so the pacing never feels massively out-of-place as to make the track feel incomprehensible. Overall, this is all playful fun and it seems like the kind of track that really could not have been made 20 years ago, which is a quietly incredible feat. It never shakes off the meditative qualities which have set them apart.

Pictured: Harvey Geraghty (Lead Vocals/Keyboard/Rhythm Guitar), Itay Shachar (Lead Guitar/Backing Vocals), Leon Karagic (Bass Guitar) and Noah Martin (Drums/Percussion/Occasional Backing Vocals) (2022) (Photo Credit: PR)

Thank you for checking out my latest post, and please make sure to follow the blog on Twitter (the links are below) to get notified whenever my daily posts are uploaded and help me to dominate the social media algorithm, eventually allowing me to take over the world. In the meantime, I’ll be back tomorrow to review a recent single by an established Manchester-based Art-Rock band who have a Mercury Prize nomination and five Ivor Novello Awards nominations to their name. They follow in the same tradition of Django Django, Talk Talk and Years & Years in having a double title for their name. Thinking about it – this is actually great material for a Pub Quiz question.

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