Ambient

Today’s Track: Ross From Friends – “Pale Blue Dot”

February 22, 2020 — Leave a comment

This is like something straight out of a TV sitcom…oh wait! It’s time for your new post!

  • Pictured: Ross From Friends (Felix Cary Weatherall) in a press photoshoot for his own Facebook artist page (2018)

Good evening to you, I’m Jacob Braybrooke, writing about your daily track on the blog, as it’s my everyday pleasure to do so. If you’re looking to find a new Saturday rave vibe, you’re in the right place, as I’m sharing my feelings of “Pale Blue Dot” by Essex-born British producer Felix Clary Weatherall, who goes under the alias of Ross From Friends. Alas, this is not David Schwimmer’s character from the beloved TV sitcom Friends, it’s the work of Weatherhall, who chose the name because a recording studio he used had a DVD of Friends stuck inside the TV, meaning it was the only form of entertainment that was available to him. “Pale Blue Dot” is a single taken from his debut LP, “Family Portrait”, which he released in November 2018 via the Brainfeeder music label. The official music video for “Pale Blue Dot” is embeded below and it’s put together from archival You’ve Been Framed-style home videos which tell the story of Weatherhall going to spontaneous raves set up by his mum and dad, using his dad’s homemade sound-system, which they took out on a tour bus with them around Europe in the 90’s. Let’s have a listen to “Pale Blue Dot” by watching the video below.

Weatherhall, labelled by The Guardian as “one to watch”, combines hints of lo-fi jungle, Latin disco-pop and Techno house, to create a vibrant electronic dance anthem which feels reminiscent of the abstract melancholy of Totally Enormous Extinct Dinosaurs and the synthesized drum lines of DJ Seinfeld. The track is entirely instrumental, with no lyrics or vocals to be heard. This allows Weatherhall the space to experiment with different hints of several genres, with a shuffling acid strobe which stutters around the pop-oriented layers of the track, married by a neo-psychedelic synth line which takes inspiration from the leftfield disco side of Mount Kimbie. There is a subtle narration in play, as the high-pitched squeals of a disc scratch and the wash of the core bassline fizzle to a tropical kilter. The texture is domineered by a glitched arrangement of violin strings and strategically-placed ambience. It expresses a hint of Weatherhall’s personality, with a cohesive structure that feels like a nostalgic backdrop to the overall nu-disco rhythm. It’s clear the keyboard riffs have been lovingly crafted and the music video adds a more intimate layer to the track than you might expect at first glance, although I don’t find the electronic instrumentation to be hugely interesting, with the track pulling influence from the emotive composition of Caribou and the ever-shifting beats heard in The Knife’s music to entertaining effect, even if it doesn’t go beyond these peers in as much detail as I would have liked. On the positive side, it doesn’t sound too commercial or generic and I think the track’s fairly listenable on repeat due to the hidden complexities underneath the surface. I think he could probably do with a better stage name, but he sounds as solid as a rock!

  • Pictured: Cover Artwork for “Family Portrait” (Released in July 2018) (via Brainfeeder)

Thank you for reading this post! Make sure you check back tomorrow, as it’s nearly time for another Scuzz Sundays post on the blog – and I’ll be looking at an iconic track from an American heavy metal band whose lead vocalist once appeared on an episode of BBC 2’s TV quiz series, “QI”! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: The ORB – “Little Fluffy Clouds”

February 18, 2020 — 1 Comment

These guys sharpened up their “Orb-anization” skills for this! It’s time for a new post!

  • Pictured: Cover Artwork for “The Orb’s Adventures Beyond The Ultraworld) (Released in 1991) (via Big Life)

I hope you’re not getting soaked in the rain too much! I’m Jacob Braybrooke, writing about your daily track on the blog, as with any other day! Although I’m not very familiar with The Orb – a landmark 1990’s ambient electronica project set up by English producer Alex Paterson – with his partner-in-crime being changed over the years, with Thomas Fehlmann currently in the seat, taking over from original co-founder Jimmy Cauty, a former member of the KLF – I can still appreciate everything that the act has done in progressing their ambient electronica genre to new heights since the duo released their debut album, “The Orb’s Adventures Beyond The Ultraworld”, in 1991. A total of 15 LP records have been released ever since, with a sixteenth set to drop in March this year. The Orb are a pioneering spirit of the 90’s psychedelic EDM music and drug-infused clubbing scenes they’ve become very beloved for channeling a hefty part across the last two decades, where they used to perform live with digital audio tape machines which they’ve programmed live sampling and beat mixing with, a technique they still perform with the use of laptops, since everything’s moved on from analogue production to digital effects. The Orb have been embarking on a recent 30th Anniversary Tour and they’ve been confirmed for this year’s All Points East Festival lineup. “Little Fluffy Clouds” was a landmark in their discography, a chilled ambient folktronica-style track which reached #10 in the UK Singles Chart following a reissue in 1993. Let’s listen to the edit of the track below.

A melodic sci-fi anthem which stands up to the heavyweight influences of The Prodigy and Aphex Twin in the early 90’s time of it’s ilk – “Little Fluffy Clouds” sounds instantly familiar, with the track receiving heavy licensing use for many films and television series. The lead vocals have a whimsical quality which feels reminiscent of a lullaby you might tell a child before bedtime, as a female vocal narrator recites a story of adventure and maturation with “Little Fluffy Clouds” as the centerpiece, she reads: “What were the skies like when you were young?/They went on forever and they, when I lived in Arizona/And the skies always had little fluffy clouds”, with the chronological structure of the narrative being obscured by virtuosic sampling effects and complex synth patterns. It’s the kind of track you’d be best off listening to on a good pair of headphones to experience every little nuance of sound, as the layers are meticulously programmed on top of of an irregular keyboard riff and erroneous tones of chilled house. This quality is lyrically referenced in the track: “Layering different sounds on top of each other”, leading to a pulsating bass vibration to the tune of: “The sunsets were purple and red and yellow and on fire”, with the refrain broken up by a sample of an airplane taking off. There’s also a light sample of a weather documentary and a rooster clucking in the beginning, blatantly creating a dream-like opening which transpires as a recurrent theme in the euphoric arrangement of strings and mid-tempo synth pads. Due to it’s eclectic range of assorted samples, with their highly manipulation composition – the track is a complex work of true art and a dream-scoped soundscape rewarding of multiple listens to shape your own interpretation and experience of. It’s very easy to get obsessed about – and The Orb’s fandom really are! It’s fitting since the track was listed at #40 in Pitchfork’s Top 200 Tracks Of The 1990’s and also #275 in NME’s list of The 500 Greatest Songs Of All-Time.

Whew, there’s a lot to talk about! Don’t forget to join me tomorrow, where I will be introducing you to a fantastic independent singer-songwriter who has previously been collaborating with Arctic Monkey’s Alex Turner and she also performed her own track for the second season of the “True Detective” crime-drama TV series under a different name! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/https://www.facebook.com/OneTrackAtATime/

Today’s Track: DJ Seinfeld – “Electrician”

January 28, 2020 — 1 Comment

There are a couple of dodgy lightbulbs dotted around my house, so I think that I might be needing an “Electrician” in my house soon! It’s time for your new blog post!

  • Pictured: DJ Seinfeld (Armand Jakobsson) producing his own “After Party Playlist” mix for BBC Radio 1 (April 2018)

Jokes aside, I played this little trance gem on my show just a few hours ago. Jacob Braybrooke here, as always, with your daily track on the blog. This track comes from Swedish disc jockey and electronic music producer Armand Jakobsson, who goes under the alias of DJ Seinfeld. He’s also been creating EDM tunes under the aliases of Rimbaudian and Birds Of Sweden over the years, having become known for his emotive cuts and sweeping ambient breaks as part of his own Lobster Fury label. Seinfeld’s made a definitive career for himself in the American house scene, also taking influence from Acid Techno pioneers and vintage Jungle artists of the 1990’s. “Electrician” is taken from his recent “Galazy” EP, a four-track EP release which sees DJ Seinfeld explore a mellow Acid Techno sound. Let’s check out “Electrician” below!

A DJ who has received a bit of flack from working in the lo-fi house scene, a controversial genre in the music industry at times, Seinfeld learns to craft a haze-dipped, maturely earnest pop house sound for his first release on the Young Ethics label. A repeated “I love you” line repeats and swirls on the top of a sonically identifiable line of ocassionally placed cowbells and a swollen build of atmospherically introspective moods and a low-key bassline. The vocals are later replaced by the digital sound of bird calls, which chirp in the background, adding an important layer of comfort and warmth to the textured sound. Running at just under seven minutes in length, the constant spiral of pop-heavy treble inflictions and soft, Aphex-influenced drill ‘n’ bass sections are given a breather by the propelling Breakbeat snares, which are used in a quality-over-quantity manner, along with a slight Jungle sound. It may not be Seinfeld’s most experimental work to date, with a lack of noisy Techno percussion or off-kilter snare stabs, but “Electrician” is a well-paced, gradually building layer of slow-dance sounds which end up being more interesting than they may seem when taking from an analytical point of view. A lush, spacious synth backdrop is the highlight of a track which is safe, but nicely produced.

  • Pictured: DJ Seinfeld (Armand Jakobsson) at an undisclosed rave (March 2019)

Thank you for reading this post! I’ll be back tomorrow, as usual, with a look at another track from an Australian singer-songwriter who’s returned from a six-year hiatus who gained over a million plays on Soundcloud for one of his earliest tracks and he’s often been likened to Morrisey, Lana Del Rey and Gotye! (remember him?) If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Floating Points – “Anasickmodular”

January 8, 2020 — Leave a comment

Is it science, magic or great music? a combination of all three? Time for a new post!

  • Pictured: Sam Shepherd in a photoshoot for an interview on the RedBull.com website (January 2018)

Jacob Braybrooke here! It’s not Rocket Science! Well, for this guy, it’s Neuroscience! Seriously, he has a degree in it! I’ve been listening quite a bit to Floating Points recently, a DJ of all things acid techno whose real name is Sam Shepherd, the co-founder of the Eglo Records label. His recent album, “Crush”, was released last November on the Ninja Tune label. It’s an experimental piece of music which dynamically mixes a range of improvisational sounds and electronic ambient works recorded around the world. It’s January, so there isn’t going to be much out until the early Spring heats up. That gives you the perfect excuse for you to go and check it out!

“Anasickmodular” is one of the singles from the album, which has made the A-list of BBC Radio 6Music for several weeks. It was named after the team who did the visual projections, the fact that he was feeling poorly on the day and how he bought a modular out of the box to record it! For me, “Anasickmodular” draws a heavy comparison to the likes of Aphex Twin and Squarepusher. Since the genre of this single is of a similar tone and style, it reminds me of several Warp Records releases from around the mid-90’s, which partially contributes as to why I like it so much. The mixing and production of the track was created during Shepherd’s live improvised set at Dekmantel Festival in 2017, with other engineering stages completed during a tour date in Sydney. For me, this gives the track it’s freeform and carefree style, which echoes throughout the strange break-beat melodies and the ethereal, percussive garage beats. The texture, as a result, sounds very warm and euphoric, due to a hypnotic trance transition which feels like the music equivalent to a child’s drawing. A twitching, off-kilter drum pattern harkens back to Warp’s late-90’s IDM exports. The midway point is a real standout, as the assortment of ambient sounds swell up to form a synth tendril which forms the effect of an orchestral crescendo. It feels like Shepherd has definitely put his club sensibilities to the test and really pushed himself, as an artist, to deliver this track. He adds a layer of scientific IDM to make it essential!

  • Pictured: Cover Artwork for “Crush” (October 2019)

Thank you for reading this post! I’ll be back tomorrow, as usual, with a look at a new track from an Irish singer-songwriter and music producer who is known for being part of the Irish Trip Hop duo Moloko, who were responsible for the chart hits “The Time Is Now”, “Sing It Back” and “Familiar Feeling”! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Khruangbin – “Christmas Time Is Here”

December 13, 2019 — 3 Comments

It’s not here yet, but we’ve only got 12 days to go! It’s time for your festive Friday post!

  • Pictured: Laura Lee (Bass Guitar), Mark Speer (Lead Guitar) and Donald “DJ” Johnson (Drums, Percussion)

One day removed from a, let’s say, very eventful snap General Election poll in the UK, it seems like a very weird day for the nation where we’re all very slowly getting back to grips with reality and slowly beginning to resume our normal lives, but there are still loads of current affairs events happening in the background that can be difficult to escape from in the 24/7 and social media society we’re living in today. What better chance, then, than to sit down with a hot mug of cocoa, coffee or tea and listen to some chilled soul/world vibes from Khruangbin? A band from Houston, Texas who manage to blend elements of classic Soul, Neo-Psychedelia and Jamaican Dub/Rocksteady to create a very unique and earthly sound. A track that I really enjoy listening to from this band is “Maria Tambien”, an almost entirely instrumental funk rhythm that feels like a journey through several different West African countries at a frantic pace. I’m Jacob Braybrooke and I’m giving a listen of a festive offering from the band, “Christmas Time Is Here”, a single released in time for last year’s festive season.

“Christmas Time Is Here” is a very interesting and curiously appealing mix of classically composed ambient sweetness, organic instrumentation and a slow-paced funk groove which calls back to old-school soul and psychedelic lo-fi rock. It’s a cover version of a classic track written by Vince Guaraldi for “A Charlie Brown Christmas”, a TV film starring the Peanuts Gang released in 1965. There have been countless covers since, from the likes of Chicago, Jars Of Clay and Sam Sparro. However, it’s a testament to the unique sound of Khruangbin how they manage to adapt the original format and make it sound original to them. This cover is almost an instrumental jam session by the US trio, with a beat-driven style which encompasses the Jazz roots of the original track and marries it with a luscious acoustic direction. It evokes a hypnotic effect as a result, which is created by the gentle guitar chords and the quiet vocal arrangements, along with a natural simplicity to the lyrics. It is composed beautifully and it’s an effort that helps with relaxation at this hectic time of year. Overall, it’s a track which manages to pull genres from a Magician’s hat and the band successfully mixes them together with a sound that is ultimately vintage, classic and laidback, with a broad roughness and an edge that makes it sound fresh and inspired.

  • Pictured: Khruangbin performing a live set at the “Coachella Valley Music and Arts Festival” (April 2019)

Thank you for reading this post! Tomorrow, I’ll be taking a break from the alternative Christmas vibes to shine a spotlight on a new R&B/Soul artist from Ireland who used to work as a dealer in Poker and got her name from a Pizza menu! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Jon Hopkins – “Open Eye Signal”

October 23, 2019 — Leave a comment

If you’re looking for a signal towards great music, you’ve hopefully come to the right place for a daily musing! It’s time for your Wednesday post!

I remember flicking through the highlights of Glatonbury Festival 2019 on BBC iPlayer and catching a few tracks from an enchanting live set from Jon Hopkins, a UK electronic dance artist with a background in producing scores for film soundtracks, most notably for Gareth Edwards’ 2010 breakout hit sci-fi smash “Monsters”. He’s a very talented individual who used to work closely with renowned singer-actress Imogen Heap, as he first gained notoriety from playing the keyboard alongside her, before moving on to a production role for albums from the likes of Brian Eno, David Holmes and, weirdly enough, Coldplay, of all bands. His biggest hit is “Singularity”, an album which gained lots of critical acclaim and charted within the top 10 of the UK Albums Chart when it was first released in 2015. “Open Eye Signal” is a single from his fourth LP record, “Immunity”, which was released in June 2013 by Domino Records and it was nominated for the Mercury Prize Award of the next year.

“Open Eye Signal” is a track from Hopkins which really makes a great deal of sense when you consider that Hopkins has a vital background in performing for soundtracks on films and television. This is an ambient electronic dance track that has a cinematic quality to it, created by the mixing of the heavy bass colliding with the percussion which feels industrial in texture, smashing into the techno-infouenced rhythm and the consistently fast pacing, although the beats feel very merticulously layered as the track builds upon it’s layout in a gradual manner. The result is an 8-minute delight which never lets up, a track which is very cerebral in it’s delivery, leading to a close which feels organic in a rather subtle way. Overall, it’s very methodical in nature and it’a harkening back to the intelligent dance craze of the late 90’s, while conveying new tones of human evolution and drawing on the themes of science and the environment in a way which feels, in the ending, successful in it’s delivery.

Thank you very much for reading this post! I’ll be back tomorrow, as usual, with a signature track from an alternative rock group who have famously produced a metal/punk cover version of Simon & Garfunkel’s 1964 classic “The Sound Of Silence”! If you really liked what you just read, why not follow the blog to get notified when every daily new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Metronomy – “Miracle Rooftop”

October 11, 2019 — Leave a comment

To be quite frank, it’s a miracle how I’ve managed to keep up with the blog each day for nearly two months! It’s time for a quick Friday post!

  • Pictured: Cover Art for “Metronomy Forever” (2019)

I’ve been very impressed with the brand new LP record from Metronomy, which is called “Metronomy Forever” and it was released on September 13th via the Because Music independent record label. It’s a record that shows a sublime diversity of electronic styles, the most stark of which, for me, is the electro-funk interlude “Miracle Rooftop”, an ambient delight that is sandwiched between two of the record’s more zany tracks, “Insecure” and “Upset My Girlfriend”. I have also covered “Salted Caramel Ice Cream” on the blog, which is the lead single, and possibly the least risky choice for one, on the record! You can still read my glowing report for it here: https://onetrackatatime.home.blog/2019/08/26/todays-track-metronomy-salted-caramel-ice-cream/

“Miracle Rooftop” is a very calm, collected dancefloor anthem which feels like the perfect wind-down for a long night-out in the wider context of the record. This track has a more slow-paced and downtempo feel, in comparison to other tracks on the record. It breaks up the pop-heavy focus on the album for a brief, if sustained, moment as it dabbles in Acid House melodies and it also experiments with a variety of different styles, such as a line of synths that can only be described as “spinning”, as they playfully vibrate in your ear-drums. It is an abstract track that has the ability to evoke tones of nostalgia and reassurance, but it may feel slightly different to every listener, although a universal “Mad Hatter”‘s box of party tricks vibe is present. I also live the childish notes created by the keyboard. Overall, It’s a low-key highlight of the new record for me as it’s not the flashiest track on the album, but it’s the purest and the simplicity is the element that creates the poignancy!

  • Pictured: Joseph Mount (Vocals, Guitar), Oscar Cash (Saxophone, Keyboard), Anna Prior (Drums, Vocals), Olugbenga Adelekan (Bass Guitar, Vocals) and Michael Lovett (Keyboard, Guitar, Synths)

Thank you for reading this post! I’ll be back tomorrow, as usual, with a 1971 alternative hit from an old psychedelic funk/soul band who were the first US band in history to feature a racially integrated line-up of both male and female band members! If you liked what you just read, why not follow the blog to get notified when every daily new post is up and like the Facebook page here: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Aphex Twin – “Vordhosbn”

September 24, 2019 — 2 Comments

At this point, I would normally come up with a little wisecracking joke as an introduction to today’s new post, but with a track with a title of “Vordhosbn” from an album where the track titles are a mix of genuine Cornish, Welsh and good old RDJ gobbledygook, I’m lost of words for once! So, it’s just Happy Tuesday for now, I guess!

  • Pictured: Richard at a live DJ gig in his early days!
  • Pictured: Cover Art For “Drukqs” (2011)

As we’ve already established on the blog, I’m a MASSIVE fan of Aphex Twin, the main intelligent dance project by Richard D. James, a genius mastermind and infinite tinkerer of equipment, both analogue and digital. If anybody who knows me is reading this, you will know that I’ve been COMPLETELY obsessed with his work for the best part of a year now. I absolutely love how enigmatic he is, an artist with a very special talent for creating a balance of twisted alien melodies and crooked old school rave anthems, but he’s also got the power of effortlessly tugging at your heart with a simple, or complex, ambient melody. If you haven’t heard of it before, as a wise man once said, you need to look at yourself in the mirror and make a change. The problem is that his music isn’t designed to be very simple or mainstream at all and it requires your brainpower to work it. A term once coined for Aphex Twin is “Braindance” and I honestly can’t think of a better term for it. I’d probably start with Selected Ambient Works 85-92 and make my way through his catalogue, but you should also check out his other monikers, as he’s released music under different titles like AFX, The Tuss, Analord, Polygon Window, Caustic Window and many others. In any case, make sure you go and listen. Then, listen again. And again, again and again, as it will eventually talk to you and it will become the most wonderful feeling in the world – I guarantee it!

Today, we’re looking at one of his tracks from his 2001 LP release, “Drukqs”, a record that was released to a divided critical reception and it proved to be his last until 2014’s “Syro”, a comeback which explores a sonic direction. A myth tells us that Richard left a USB stick of all the tracks on a plane and he immediately released the tracks as an album due to fear of it getting leaked. I like to think of it as an extended demo, an utter extravaganza of 2 sides and 30 tracks, which showcase RDJ’s creative freedom at one of it’s highest peaks. I can understand the overall criticisms of the record not really having a cohesive quality, but I really enjoy the batshit crazy tone of the record and the complexity of the different tones created by the ambient tracks on the record. It is really hard work, but it’s still a 9/10, close to a 9.5, record, in my book.

“Vordhosbn” is a track with a spooky opening and a vintage drum-and-bass texture to the overall sound. It’s an abstract piece of work that will take a bit of time and effort to really sink your teeth into, but it’s also a very smooth and rewarding track once you’ve persevered and worked your brain into it. The track has a start-and-stop nature, which allows the glitched-out bassline to flow in and out of the deep acid-based computer synth melodies. It keeps each of the layers running at a fast pace, but there are also little breaths of respite throughout to let the evocative underlayer of strobe effects to hit you with a gorgeous heft of emotional impact. It’s an ambient masterpiece that really has a lot of power in transporting your mind to a different dimension and evoking vivid memories of a time in your own personal life. This track is a fantastic representation of the early 90’s analogue influences which James explores on 2001’s “Drukqs”, an LP record which is designed to play in the method of deep listening, as it’s not designed to be as simple as “you hear it once, you like it” which the mainstream industry is based upon. It’s a polarising record, as some Aphex fans feel as though it lacks cohesion due to the simultaneous exploration of hard drill-and-bass sounds and soft, ambient piano textures being created and produced by James. However, I feel as though Drukqs features a lot of individual tracks which are low-key highlights of Richard’s entire discography on the whole, although I can see where the negative reception is coming from. Overall, I think that “Vordhosbn” is a very beautiful track from an astonishing artist who will, and never could, be replaced.

  • Pictured: Blimp used to promote “Syro” (2014)
  • Pictured: The master in his element!

Thank you very much for reading this post! Don’t forget to join me tomorrow as I explore another fresh jam from “The Return”, which is the debut LP of Sampa The Great! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Halogenix – “Would You?”

September 5, 2019 — Leave a comment

If I asked you to like and follow the blog, Would You? It’s time for your Thursday post!

Halogenix, a moniker for a guy simply known as Laurence, is an EDM DJ and Producer, from North London, who is currently signed to Critical Music and he is managed by Primary Talent. There isn’t much background information available about him, as he likes to carry the 90’s traditions of an electronic music artist remaining hidden from the general public eye. “Would You?” is a single from “Gaslight”, a 4-track EP, which was released by Critical Music Records on June 7th, 2019. A few of his regular collaborators include SOLAH, Shades, and Noisia. He has also worked alongside Drum & Bass legend Goldie and Wilkinson, as well as produced remixes for Maverick Sabre, The Glitch Mob and Banks. He was nominated in the “Best Production” category at the Drum & Bass Arena Awards of 2017 and he was also a member of Ivy Lab, a UK Drum & Bass trio who were influential within the indie dance scene of 2018.

“Would You” has an altered electronic drum beat, which bounces and winds with the ever-shifting and dynamically altering synth melodies as the vocals twist and contort underneath the electronic instrumentation of the track. It’s a very calm and relaxing track to listen to, even if the low-pitched modulation of the vocals add a slightly darker mood of paranoia to the overall sound. It is a track that flips between a light and dark ambient texture, while pulling influences from more obscure genres, such as the Acid House and Vaporwave circuits. The track rolls along at a good pace and the stylistic arrangement is very reflexive. This captures the ethereal context of the track. I feel the signature beat is a little bit conventional and it gets a bit tiring at 5 minutes, so I would have refined the track slightly to make it feel a bit tighter. However, it’s still a very decent track that feels right at home at house parties or late-night festival slots.

  • Pictured: Cover Artwork For “Gaslight” EP (2019)
  • Pictured: Halogenix (Laurence), performing at a live gig, taken from the Critical Music Records biography page

Thank you for reading this post! I’ll be back tomorrow with a look at a Karaoke Classic pop track from 1972 that…, well, if you’re so vain, then you’d probably think this song is about you! If you liked what you just read, then please go ahead and follow the blog to get notified when every daily new post is up and like the Facebook page here: https://www.facebook.com/OneTrackAtATime/