Christmas Day 2021 Special: The Killers (feat. Wild Light & Mariachi El Bronx) – ‘¡Happy Birthday Guadalupe!’

December 24, 2021 — Leave a comment

Pictured: Cover Artwork for ‘Don’t Waste Your Wishes’ (LP) (Released on November 18, 2016) (via Island Records)

Good Morning to you! This is Jacob Braybrooke – wishing you a very merry Christmas – if you have the time to put those mince pies and gin cocktails aside for a few minutes or require a short break away from those who are driving you insane in the house today, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! Las Vegas natives The Killers are one of the most all-around crowd-pleasing bands in the world with their beloved Desert Rock sound that has established them as key headline acts for huge stages like Glastonbury and Madison Square Garden, as well as selling their way to over 28 million records worldwide, but they started a small festive tradition of their own with the release of 2006’s yuletide track ‘A Great Big Sled’. Since that year, the 21st century rock icons used to release a new Christmas-themed track for charity every year, often featuring collaborations with the likes of Pet Shop Boys’ Neil Tennant, Elton John, Dawes and Ned Humphrey Hanson, among others, on December 1st to co-incide with World AIDS Day, as they released these singles annually between 2006 to 2016 in support of the Product Red Campaign, with proceeds going to the campaign led by U2’s Bono and Bobby Shriver. You can catch all of these singles on a compilation album – ‘Don’t Waste Your Wishes’ – that was released in 2016 both digitally and physically. Debuting at #41 on Billboard’s Top Rock Albums chart at the time, it featured all eleven of their Christmas songs and, by the time of the box set’s release, music videos were also produced for every one of them. Check out 2009’s ‘Happy Birthday Guadalupe’ below.

The Mexican-themed music video for ‘Happy Birthday Guadalupe’ starred the ‘Beverley Hills 90210’ and ‘The Fifth Element’ actor Luke Perry, and, musically, Brandon Flowers and company decided to enlist the diverse help of indie four-piece Wild Light and Mariachi El Bronx – who both toured with The Killers throughout 2009 – to complete the fourth chapter of their series in aid of Product Red. Paired to the noir-esque visuals of Perry searching for his long-lost love of Guadalupe across the Mexican desert, the super-group of wild artists create a Mariachi-flavored take on heartbreak during the most wonderful time of the year, as per Andy Williams. The Killers clearly wanted people to feel that anything is possible during the much-hyped holiday season with lyrics that talk about how a Christmas day hook-up can lead to a long-lasting relationship in the form of the expedition to find Guadalupe. Like most of The Killers’ songs, it combines an Americana sound with a more radio-friendly Punk one – with earnest Killers-like lyrics that tell a brief narrative, and they contribute to the ‘Alternative’ side of Christmas music by providing sunny disposition for a season that is typically associated with ice and snow, instead depicting the excessively hot and dry environment of a Latin American desert with a Spanish guitar backdrop and some Mariachi style chords. I feel this blend is a little uneven at times, with some refrains like “Living in a difficult time” rubbing against the over-the-top Tex Mex cheer of the tone. However, it is very catchy and quite memorable – with some jaunting moods and exciting instrumentation that manages to make it feel different for a Christmas track. Overall, it is a bit rough around the edges in the way of seeming messy at points because it doesn’t quite pull of the balance of severity and frivolity quite rightly, however, it will definitely keep you entertained and the idea of mixing Mexican angels with seasonal salutations is an intriguing and daring one, so I still find it to be quite enjoyable and pretty cheerful to listen to. All that remains for me to say to you on this morning is have a Merry Christmas and a Happy New Year. Joeyux Noel!

Pictured: Brandon Flowers (Lead Vocals/Synths), Dave Keuning (Lead Guitar/Occasional Backing Vocals), Mark Stoermer (Bass Guitar/Rhythm Guitar) and Ronnie Vanucci Jr. (Drums) (2018) (Photo via Press Hire Publicity)

(EMBED LINKS TO PREVIOUS THE KILLERS BLOG POSTS HERE)

Pictured: Cover Artwork for ‘Imploding The Mirage’ (LP) (Released on August 21, 2020) (via Island Records)

That’s all for today – and I’ll leave you be to enjoy a hot meal and a day off work. Christmas for the adults, am I right? Anyways, I’ll be waiting for you here on Boxing Day with another brief one coming from an Australian artist who has been covered on the blog recently because she has just released her third solo studio album on Mom + Pop Records. One of the singles, ‘Write A List Of Things To Look Forward To’ was included on Barack Obama’s new list of his favourite singles to be released from 2021.

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Today’s Track: Marissa Nadler – ‘If I Could Breathe Underwater’

December 20, 2021 — Leave a comment

Pictured: Marissa Nadler in a promo photoshoot for ‘For My Crimes’ (2018) (Photo via Sacred Bones Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for you to catch up on some great music from 2021 that may have skipped you by during the first time with yet another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! If you’ve been a regular follower of my site for a while, you may know that I love a bit of moody, bluesy and sometimes Folk-ish Americana, with artists such as Weyes Blood, Sharon Van Etten and Alexandra Savior being some of my favourites of this style, to name just a few. One of the genre’s most memorable offerings from the past year was ‘The Path Of The Clouds’, an album released in late October by the Boston-based and Washington-born singer-songwriter Marissa Nadler via Bella Union Records. She has managed to sustain a 20-year-plus career, and her latest record was her tenth mainline studio album. She typically swings for a Chamber Folk style of sound with elements of Gothic Rock and Dream-Pop mixed into the cauldron, but myself and a few online publications, such as Pitchfork and The Boston Globe, have each also noticed an underlying influence of Black Metal within her production too, an element of her mezzo-soprano vocals and dark instrumentation that sets her apart from other fine artists of the genre. Raised as Jewish, Nadler studied Painting at the Rhode Island School Of Design, where she learned artistic drawing techniques such as illustration, bookbinding, woodcarving and encaustic painting while singing at Open Mic Nights in the Providence area while she achieved a bachelor’s degree and a Master’s degree a year later, and the hard effort that she puts into the visual storytelling of her music is evident through her unique background in Art Education, later touring with Drone Metal bands like Earth and the American primitive guitarist Jack Rose. Like many others, the origins of ‘The Path Of The Clouds’ were established during the Covid-19 pandemic, where she spent her time of self-isolation by watching repeats of the True Crime documentary series ‘Unsolved Mysteries’ and began writing songs about, and inspired by, the subjects of the series through their perspective. Receiving a wealth of positive reviews throughout NME, UNCUT, Record Collector, MOJO and more, Nadler fulfilled her goal of immortalizing the stories of people who deserve to be told on the recent LP. She also enlisted guests like Mercury Rev’s Jesse Chandler and multi-instrumentalist Milky Burgess. Her longtime friend Mary Littlemore, who plays the Cosmic Harp, features on Nadler’s wistful song ‘If I Could Breathe Underwater’ below.

Accompanied by an official music video directed and edited by Jenni Hensler with cinematography by Nick Fancher that depicts a preternatural world of fiction where Nadler changes the colour of the water and the sky, while floating effortlessly through a lake, becoming one with the colours and the ink, Nadler says, “When I wrote ‘If I Could Breathe Underwater’, I was contemplating the possibilities of possessing various superhuman powers: teleportation, aquatic breathing, extrasensory protection, and time travel to name a few. As a lyrical device, I married those powers with events in my life, wondering if and how they could change the past or predict the future”, in her press release. ‘Ethereal’ seems like an over-used word to me in the music press of today, but, really, there’s no better word to use for describing the textures of Nadler’s soundscape craftwork here, using a pulsating keyboard rhythm and a delicate, seductive bassline to create a light and flute-like series of sounds. Lyrics like “Shapeshifter, a cloud above your door/Late winter, like a storm” merge together with a poetic fluidity that conjures up a Shoegazing atmosphere and creates some menacing, but defiant, chords that feel as if they’re skipping weightlessly between a row of imaginary clouds while carrying an anchoring resonance through the zoned-out state of the subtle grooves of her rhythm guitar melodies. Lyrics like “If I could bring the moon down/So the day would never come/Would you fly, circle around the sun?” ponder something more philosophical and shore up against her vocals like the tide slowly coming in during a frosty morning at the seaside. Overall, it feels like perfect listening for the dry and icy December or January season of the year, as the melodies feel a bit ‘dreary’ in a way. That’s usually a derogatory statement, but what I really mean to state is that her sound is very cerebral while just about reaching some melodic heights that make it feel catchy enough to resonate. Moreover, the very layered and hallucinatory toolkit of Mary Littlemore’s cosmic harp echo the tone of the story nicely, as to bring the conceit of the song’s title to life in a fictional dream-state way when met with the consistency of the mildly anthemic guitar beats and the gradually paced Drum riffs. An intricate beauty with plenty of diverse inspiration to it.

Pictured: Cover Art for ‘The Path Of The Clouds’ (LP) (Released on October 29, 2021) (via Bella Union Records)

That’s all for now! It is almost time to float away into the good times of Christmas in just a few days away, and so we will be soldiering on with our ‘Countdown To Christmas 2021’ series tomorrow with a brand new and original Christmas single that is also raising money for Feed The Homeless in Bristol. It comes from an equally talented female solo artist who released her debut self-titled LP on Invada Records last year with a follow-up EP releasing earlier this year. She also performed ‘Mork ‘N’ Mindy’ with Sleaford Mods on ‘Later With Jools Holland’ on BBC Two earlier this year.

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Countdown To Christmas 2021: Emily Alyn Lind – ‘That Was The Worst Christmas Ever!’

December 16, 2021 — Leave a comment

Pictured: Emily Alyn Lind on the set of HBO’s ‘Gossip Girl’ (2020) (Photo by Jose Perez/Bauer-Griffin/Getty)

Good Morning to you! This is a tired Jacob Braybrooke, but I’m here to ‘Countdown To Christmas’ with you before the Christmas sandwich ranges of the major supermarkets get shelved for another year, since it has always been my day-to-day pleasure to write up about a different piece of music every day! My fairly recent discovery of Emily Alyn Lind was an interesting and unusual one. That’s because the 19-year-old indie folk singer-songwriter is actually a multi-talented creative and, in fact, I didn’t discover her through listening to music initially. I was simply sat on the sofa during a rainy evening watching ‘Doctor Sleep’ with my two parents at home, and she popped on-screen in the role of Snakebite Andi during the movie, which is well worth checking out. I enjoyed her performance very much and I decided to do some casual research into her, and I found out that she’s also an independent musician – as well as a film and TV actress – who has released some Americana-style music that is right up my alley, as I’m a huge fan of Alexandra Savior and Weyes Blood, who she reminds me of musically. She also directs her own music videos and she’s also been talking about releasing her own full-length album since 2020. ‘Spotless Mind’ and ‘Tantra Practice’ are my favourite songs by her, but her first track was a cover version of Sufjan Stevens’ ‘It’s The Worst Christmas Ever!’ that she issued in 2019. As an actress, Lind can be seen in the duology of ‘The Babysitter’ movies on Netflix, as well as the recent reboot of ‘Gossip Girl’ made by HBO. She began her acting career as a child star on ABC’s ‘Rampage’ and CBS ‘Code Black’ television series in the US, but she has also appeared in some productions like Hulu’s ‘Future Man’, Keanu Reeves’ 2019 Sci-Fi vehicle ‘Replicas’ and 2010’s ‘November Christmas’. Speaking to Vice about the niche dynamic of balancing music with her love for acting on camera, she says, “I was just always writing music since I could remember. My dad introduced me to folk music really young – Bob Dylan, Neil Young – and I just thought they were the coolest people in the world. Instead of wanting to be a ballerina, I just wanted to be Neil Young. I just loved the 60’s”, adding, “But I picked up a guitar and I started writing, so it started to become an outlet for me and I never stopped”, in her conversation. I’d very highly recommend her music videos for ‘Spotless Mind’ and ‘Castles’ because the two tracks showcase her unique personality excellently. However, the Sufjan Stevens cover really fits the theme of the moment here on One Track At A Time. Let’s give it a listen below.

Although she’s only an emerging talent in the film world, the roots of the medium are also in her blood, as she’s one of the youngest members of a dynasty of creatives from the film industry. The ‘Haunting In Connecticut’ 2 star has been working since she was four years old, and she is the daughter of the actress Barbara Alyn Woods and the producer John Lind. Her two sisters, Natalia Alyn Lind and Olyvia Alyn Lind, are also actresses. Her charming and reflective cover of ‘That Was The Worst Christmas Ever!’ captures the slight melancholy of the winter season acutely and insightfully, and she told American Songwriter, “I’ve always loved Sufjan’s take on writing holiday music. Not to get all sad boy here, but I think there’s something so nice about the realistic spin he puts on a genre of music that is very one dimensional. It’s a beautiful song, and a stunning melody, and I hope you like it as much as I do”, in late 2019. I feel that Lind’s sincere, stripped down rendition of Sufjan’s track is probably compared most favorably to Phoebe Bridgers and Bob Dylan, while Lind herself has been drawn intensely to Leonard Cohen and Neil Young since her childhood. It starts off with a sweet, soulful vocal sample that provides a swift opening for her lyrics, which feel soothing and graceful. They are gently poetic, with Lind using her natural voice to complement the radiant and mellow sound in a lovely way that makes the song sound more akin to one of her own. Some of her vocals have been layered, and I love that she doesn’t use any auto-tune here, instead relying on her harmonies and contemplative vocal delivery instead of a sense of over-production. The lyrics are about the commercial industry of Christmas if you will, and so the production choice fits the theme well and pays respect to it. I really like the laidback acoustic guitar melodies as they create a measured pace that works cohesively with her soft and clear vocals, walking the tightrope between soft and bright nicely. There’s some moodier and slowed pacing here and there, but the textures remain warm and delicate throughout with a vulnerability in her voice that is attentive. Overall, the track is a real hidden gem as such from Lind, with a lush fusion of gentle Dream Pop and Americana-tinged indie folk that works with her pure, unsullied by any artifice, vocals beautifully. I follow Emily on Instagram, so I can’t wait to hear more about her upcoming music and movie projects in the future. I think that she’s got an absolutely lovely voice and a natural likability, and I feel she’s a decent actress as well since I felt inclined to do some casual research into her after coming across her instead of just simply forgetting it, and I wish all the best to her with her diversity of projects, since I am glad that I came across her. This cover is a perfect vibe for this ruminating season.

Pictured: Emily Alyn Lind in a recent photoshoot wearing Dior for Harper’s Bazaar (2021) (Photo by Lucas Garrido)

That’s all for now! Thank you for reading my latest post and supporting my daily content on the blog, and I’ll be back tomorrow to guide you through another daily track on the blog, as we take a brief breath of respite away from our annual Christmas coverage. The refreshing change of pace will be a funky one, coming from a Nashville-based Psych Rock singer songwriter who began writing poetry at the age of 8. He released his latest EP, ‘What Box?’, this July and he describes himself as a “walking question mark”. The track was supported by BBC Radio 6 Music host Tom Ravenscroft.

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Countdown To Christmas 2021: Julien Baker – ‘A Dreamer’s Holiday’

December 11, 2021 — Leave a comment

Pictured: Cover Art for ‘A Dreamer’s Holiday’ (Single) (Re-issued on November 29, 2021) (via Matador Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for you to decide upon all of your last-minute Christmas gift purchases straight after reading our latest installment of this year’s ‘Countdown To Christmas’ on One Track At A Time, not forgetting that it’s always my day-to-day pleasure to write up about a different piece of new music every day! ‘A Dreamer’s Holiday’ is a recent cover of the 1945 track of the same title that was originally performed by Perry Como, which the Tennessae-based 26-year-old indie rock singer songwriter Julien Baker released for a ‘Spotify Singles’ collection of Christmas covers by alternative artists in late 2020, exclusively issued for the conglomerate streaming platform – with Black Pumas, Jazmine Sullivan, Ruston Kelly and Dashboard Confessional also appearing on the extended play. Baker has recently re-uploaded the cover to her Bandcamp page, however, and so the 12 month exclusivity deal must have expired, meaning that it is now available to actually buy or download for the first time and it is technically a brand new release if you look at it one way. You may already know that Baker was a member of the Boygenius trio that has similarly launched the solo careers of Phoebe Bridgers and Lucy Dacus to the stratosphere in recent years, and Baker’s latest main release was ‘Little Oblivions’, an album that she released in February to solid acclaim and decent commercial success. On the record, she tackled the theme of underlying darkness inside the corners of her mind. Themes such as sobriety, heartache, relapse, failure and redemption were explored on the album, which was mixed by Craig Silvey (Florence & The Machine, The National, Arcade Fire) and engineered by Calvin Lauber, and she recorded it at home in Memphis. ‘A Dreamer’s Holiday’ has only been covered once before by Willie Nelson in 1983. Let’s hear Baker’s spin on the old formula below.

“I chose ‘A Dreamer’s Holiday’ because I found it incredibly unique as far as holiday songs are concerned. It’s a very understated song – both lyrically and musically; while it’s technically about a ‘holiday’, it doesn’t reference any specific holiday theme, it leaves the lyrics a bit more open-ended”, Julien Baker explained last year, adding, “It’s the same way with the music – the chord structure is complicated but surprisingly timeless to me even though the song itself is over 70 years old. It’s the kind of song whose arrangement can be re-imagined so many times, and I love the feeling of sonic potential a single like that gives me”, as she discusses how the task of tackling ‘A Dreamer’s Holiday’ could be considered a challenging one, but her own cover of the track passes off well due to her hard work and determination. The Tennessee native sets the mood with “Climb aboard a butterfly and take off on the breeze” for her daydream-like opening, using some vulnerable finger-style guitar playing before the gentle Horn section enters the picture, with Baker promising to “Make it a long vacation/Time, there’s plenty of” as her reverb-drenched vocal tones create some space for an inviting Piano solo to join the soundscape, with Baker encouraging us to “Help yourself to happiness/Close your eyes and concentrate” prior to the main musical hook of “You will feel terrific when you come down to earth/From a Dreamer’s Holiday” as the tight track draws to it’s natural conclusion. Although not mentioning ‘Christmas’ as a key concept, it feels suitable enough for the season. Baker’s vocals and laidback production provide a mellow quality to the original source material, while her minimalist take on the instrumentation and her tactile guitar melodies would still feel cohesive with the music found on her recent album ‘Little Oblivions’ as the track feels like a somewhat underground choice for a cover version. While the groundwork of the airy String-based scatterings and the subtle scratches of her crackling Vinyl production bears resemblance to her said latest album, sharing similarities with the style of her chronological music, it replaces the more morbid lyricism of that record with lyrics that are brighter. It never gets too excitable and Baker thankfully doesn’t feel the need to place some filler vocals or reach into the realms of a high pitch solo for this, and so I think the track is a good merger between the feelings of anticipation and longing that she wanted to portray. Really, it’s her vocal performance that gets the emphasis here, and she gives the track a relatively short duration so the themes don’t overstay their welcome. Overall, this was a lovely little cover that got the job done and Baker is a true musician having played all, or nearly all, of her instruments on this here track, with some newfound textures that were edited in her signature style. A sumptuous addition to your playlist.

Pictured: Julien Baker in promotional artwork for a ‘Spotify Singles’ collection (2020) (Photo by Alysse Gafken/PR)

‘Little Oblivions’ was previously a pick for ‘New Album Release Fridays’ on the site. We covered ‘Hardline’ here: https://onetrackatatime.home.blog/2021/02/26/new-album-release-friday-julien-baker-hardline/

Pictured: Cover Artwork for ‘Little Oblivions’ (LP) (Released on February 26th, 2021) (via Matador Records)

That’s all for now! I’ll be taking my own ‘Dreamer’s Holiday’ tomorrow morning as Father Christmas himself will be spreading his share of seasonal cheer by introducing you to one of his favourite edgy hits for ‘Scuzz Sundays’. He’s told me to relay that it will be coming from a legendary Brooklyn native Synth Punk band whose leader is the co-founder of DFA Records. Their 2007 album ‘Sound Of Silver’ was listed as one of the 666 greatest albums of all time by KEXP listeners during a poll finished in 2019.

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New Album Release Fridays: Dan Sartain – ‘People Throwing Stones In Glass Houses’

November 26, 2021 — Leave a comment

Pictured: Cover Art for ‘Arise, Dan Sartain, Arise’ (LP) (Released on Nov 26th, 2021) (via One Little Independant)

Good Morning to you! This is Jacob Braybrooke, and it’s time to throw some stones in some glass houses to the beat of 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! This week’s pick for ‘New Album Release Fridays’ arrives with a dose of sadness because it also means that it’s time for us to say goodbye to a cult favourite singer-songwriter – Dan Sartain – who left us at the young age of just 39 at the end of March 2021. Dan Sartain got an early start by playing in the local hardcore punk band Plate Six in the 1990’s, and the Blues artist from Birmingham, Alabama went on to release eight subsequent solo albums. During his career, Sartain got the chance to be the opening act for The Hives and The White Stripes on tour in 2007 and he notably issued the ‘Bohemian Grove’ single on Jack White’s legendary imprint Third Man Records in 2009. After building traction as an extroverted artist on open mic nights in the US and building his cult following as an unsigned talent, he finally released his first widely commercially available LP record ‘Dan Sartain vs. The Serpientes’ in 2005.

Sartain’s music encompassed a variety of Rockabillly, Blues, Country and DIY Punk music but his sound had a characteristically combative relationship with the genres and their surrounding subculture. He would also promote social causes like the Black Lives Matter Global Network. The cause of his death has never been revealed, but tributes poured in from the likes of James Skelly, Sarah Waters, Jeff Klein, AIM UK and his fanbase when the news of his death was announced by his family and his manager earlier in the year. His final album – ‘Arise, Dan Sartain, Arise’ – was finished a few months before he passed away and it is being released today on his UK-based longtime label One Little Independent as unchanged and how it was intended to be. 100% of the proceeds and royalties will be donated to a trust fund for Sartain’s young daughter as per his family’s request. The only single to be taken from the record is ‘People Throwing Stones In Glass Houses’ – which arrives with the music video below.

Confirming the tragic news via the GoFundMe page set up to help pay for the Center Point-born Garage Rock musician’s funeral expenses earlier this year, Dan’s family wrote, “Dan Sartain left us many memories and music but unfortunately left us way too early”, elaborating, “As wonderful as his legacy is, he had no plans for the unmentionable and, thus, here we are. We aren’t trying to do much, but have a small service for family and friends, and with Dan’s wide range of friends, this should be available. From all of his family, we thank you”, in their statement that is readable on the site. Set against the backdrop of the black and white music video directed by Darryl Jakes, Sartain struts his mature voice for his early age with a hazy, mid-tempo reflection on how we see ourselves and other people through watching our attitudes and those of others. There isn’t a whole lot of production to the track, and the sound is very raw and bitter instead. The track starts off with a beautifully haunting Organ jab, before some searing Surf-Rock melodies created by the rhythm guitar establish the theme of the track. The vocals have a wink-at-the-camera playfulness to their aid, but the twangy guitar riffs and the bitter tone of his lyrics introduce a harsher edge to the beat. I get a classic 60’s Punk vibe from the guitar solo that runs throughout the final stretch, with another solo created by a Horn section introducing a more Gothic rhythm to the instrumental before the final repeat of the chorus. There’s simply no nonsense or filler material here at all and Sartain does everything with his own original purpose. He is not the best singer in the world and the lyrics are lacking a little polish here, but he isn’t necessarily trying hard to be. Instead, he’s following that ethos of a true artist by making the art that he creates as originally intended with his own expression. Crowd pleasing, sharp Alt-Rock from a musician who left us too early.

Pictured: Dan Sartain in an official photoshoot for an in-depth interview for Autre.Love (2016) (Photo via PR)

That’s enough for today! Thank you for checking out the blog and supporting the independent creatives, like Dan Sartain, who are behind the music regularly featured. I’ll be back tomorrow to carry on our unique ‘Countdown To Christmas 2021’ with a track from a legendary 70’s British Glam-Rock band who explored many genres and were led by Marc Bolan. They were inducted in the Rock ‘N’ Roll Hall Of Fame in 2020.

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Today’s Track: Sam Evian – ‘Never Know’

November 22, 2021 — Leave a comment

Pictured: Cover Art for ‘Time To Melt’ (LP) (Released on October 29, 2021) (via Fat Possum Records)

Good Morning to you! This is Jacob Braybrooke, and I hope to inject some energy into your Monday as we go for something that sounds a little retro, not forgetting that it’s always been my day-to-day pleasure to write about a different piece of music every day! A New York-based songwriter, producer and guitarist, Sam Evian is a Broolyn-born indie rock and psychedelic pop recorder whose music is pitched as a soft blend between 60’s Jangle Pop, Americana and 70’s tinged Psychedelic soft rock that nods towards Sly & The Family Stone and T-Rex, as well as each of the classic Soul legends who have inspired him. Having previously released his material on Saddle Creek Records, his third studio album – ‘Time To Melt’ – has shifted him over to Fat Possum Records, and it has received a positive reception from publications like The Quietus, Uncut, Mojo and Glide Magazine, with further support from BBC Radio 6 Music DJ Huw Stephens and MPR’s The Current, since it was released a handful of weeks ago. The follow-up to 2018’s ‘You, Forever’ – which Digital Trends have included in their rankings of their best albums of that year – ‘Time To Melt’ is a backward-looking collection of fun tracks where his studio does the talking. It was recorded at his own studio, Flying Cloud Recordings, located in a Catskills Town in Upstate New York with his frequent collaborator and real-life partner, Hannah Cohen, during the outbreak of the Covid-19 pandemic last year. It also features remote production work from The War On Drugs’ producer Jon Natchez, as well as contributions from Chris Bear and Spencer Tweedy. Check out his final pre-release single off the LP, ‘Never Know’, below.

Sam Evian had this to say about ‘Never Know’ in his press release, “Never Know is kind of about escapism, dystopian realities and aliens. Sometimes it’s more fun to sit there and look out, you know?”, adding, “It’s a wild time to be alive, for better or worse. It used to be that we only had fiction and conspiracy to feed off our real-world fantasies. Now we have fighter pilots coming forward about strange, impossible experiences they’ve had in the sky”, to his notes. Exploring some distinctive subject matter on ‘Never Know’, Sam Evian seems to suggest that George Harrison was his favourite member of The Beatles with his slide guitar outro and his instrumentation which nods towards progressive Soul artists like Curtis Harding and Issac Hayes. Evian calls out to the skies for answers beyond our understanding with lyrics like “I look in the eyes of the one who loves me/Can we live in the afterglow?” and he touches on how he sees the world as a human with later lyrics like “Is there life in the great wide open?/I saw some in the sky today/But my eyes are always joking” above some twinkling keyboard riffs and slightly distorted bass riffs that echo the science vs. fiction themes of his songwriting. Therefore, he uses the idea of escaping our world to a path beyond our own by looking past the social constructs of our current reality and leaning into what could be as a hook being expressed through the swooning basslines that imply a sense of fantasy and reverie. Overall, Sam Evian manages to strike a good balance between serious and silly on his recent track, ‘Never Know’, as he combines honeyed vocals with nostalgic, 70’s-esque guitar riffs with some more ethereal elements of his Dream-Rock and Psychedelic-leaning sound. As a result, it never feels like too much of a bad pastiche or a caricature, but it takes solid influence from the vintage to fall on the softer side of pioneering 70’s Funk and Soul acts like Parliament.

Pictured: Sam Evian in promotional artwork for ‘Time To Melt’ (2021) (Photo Credit: Josh Goleman)

That’s all for now! Thank you for checking in with me on the blog today, and I’ll be back tomorrow for something that diverts our focus to the electronic and ambient realm of releases instead. The music comes from another artist who is based in New York. Formerly known as Ital, his brand new album has just been issued on Planet Mu.

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New Album Release Fridays: Courtney Barnett – ‘Before You Gotta Go’

November 12, 2021 — Leave a comment

Pictured: Cover Art for ‘Things Take Time, Take Time’ (LP) (Released on November 12, 2021) (via Mom + Pop Records)

Good Morning to you! This is Jacob Braybrooke, and it is time for us to delve deep into one of the weekend’s most exciting new LP releases for your daily track on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! If you’re looking for some gift ideas for the hardcore music lover in your household at the moment, this week’s helping of new albums may give you some inspiration. There is the first entirely self-produced new album from the critically acclaimed Worship singer Sara Groves, which certainly seems worth picking up. The likes of Blur and Gorillaz frontman Damon Albarn, popular Hardcore Punk stars IDLES and the cult classic American Alt-Rock outfit They Might Be Giants join the ranks. I, meanwhile, have been looking forward to hearing the first solo album release from the multi-time ARIA Award winning and the Brit Award nominated Sydney-Born Alternative Rock singer-songwriter and producer Courtney Barnett in three years. I really enjoy listening to her dry, witty mannerisms and her gut-punch guitar riffs that she has become known and well-reviewed within the industry for, and I think she’s perfectly on-brand for this blog too. You may recall her recording the ‘Lotta Sea Lice’ collaborative album with Kurt Vile from The War On Drugs fame, and I love how that album has since introduced more Blues and Country influences into her music. She returns today with ‘Things Take Time, Take Time’ via Mon + Pop Records or Marathan Artists depending on where you live, which she recorded between late 2020 to early 2021 with producer/drummer Stella Mozgawa between Melbourne and Sydney as an attempt to delve into her own psyche to explore themes of love and renewal, as well as healing and discovery. It includes the previous singles ‘Write A List of Things To Look Forward To’ and ‘Rae Street’. So, let’s check her out ‘Before You Gotta Go’ below.

A recent press release hyped up Barnett’s new album like this, “Things Take Time, Take Time is yet another assured leap forward for Barnett; a breakthrough really, but not in the ways you might expect”, expanding, “This is Barnett at her most creative and adventurous – an exquisite look at Courtney’s private world, and consequently her most beautiful and intimate record to date”, and the third single to be taken from the record, ‘Before You Gotta Go’, is another refreshing take on her pre-established Indie sound as the vocal delivery and acoustic instrumentation veer more towards in the direction of Americana and Country records. Paired to a few surrealist images from director Claudia Sangiorgi Dalimore in which Barnett tries to capture field recordings in nature, there’s nothing massively bombastic in terms of style here and Barnett angles for something more minimalist than normal. Lyrics like “If something were to happen my dear/I wouldn’t want the last words you hear/To be unkind” get some plaintive emotions across, and she pulls herself into a reflective state as she recalls a fight with her partner and she resets her actual emotions towards them. The instrumentation is smooth, starting off with a tranlucent lead guitar riff that cycles around some beat-matched Drums and an airy feeling of longing. By the end of the track, we’re left with clarity as Barnett regains a perspective and appreciation for the other person, giving the pay off for the soft rock instrumentation and slowly building melodicism that has been built up throughout the song, giving you the chance to breathe in and absorb everything that she’s just unloaded on you in terms of her emotional baggage. It sounds a little 90’s at points, while trading in the harsh Grunge sounds of memorable singles like ‘Dead Fox’ and ‘Pedestrian At Best’ for something that strikes a similar emotional chord in feeling headstrong and personal, yet the delivery is more polished and the rhythms feel more introspective. Like the prior single of ‘Rae Street’, the softly crooned lyrics and the twangy bass guitar beats bear some resemblance to Kurt Vile, her former collaborative partner, and so you can hear the more gentle formula of their album, ‘Lotta Sea Lice’, coming through to her own solo work. ‘Before You Gotta Go’ uses that period of her career and gives her a few fresh ideas for her own solo material. Overall, ‘Before You Gotta Go’ is a lovely single that feels laidback and mellow. The sound is a little more Country-oriented and Folk-driven than her earlier work, and usually the likes of cheesy, twangy and irritating Country music isn’t my thing at all to be honest, but it also feels less sardonic, in a way, to her prior output. It’s nice to see one of our stronger songwriters of the present day switching things up by looking inward, thinking deeply, and blissfully unpacking.

Pictured: Courtney Barnett at Rock The Garden Festival (2019) (Photo via Martin Philbey/Redferns)

You can also check out my thoughts on the previous single – ‘Rae Street’ – here: https://onetrackatatime.home.blog/2021/08/21/todays-track-courtney-barnett-rae-street/

Pictured: Cover Art for ‘Lotta Sea Lice’ (LP) (with Kurt Vile) (Released in 2017) (via Matador Records)

That brings us to the bottom of the page for today. Whether you think it’s too early or not is up for debate, but, tomorrow, we’ll be kicking off our ‘Countdown To Christmas’ assortment of posts for the first time of this year’s holiday season. The first entry is a new single release from an American multi-instrumentalist perhaps best known for scoring a UK Top 20 hit, ‘Ex’s & Oh’s’, in 2017. The song was originally written by Blues legend and pianist Charles Brown in 1960, and it has been covered by the likes of Michael Buble, Willie Nelson, Bon Jovi, Eagles, Kelly Clarkson, Josh Gracin and others.

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Today’s Track: Unknown Mortal Orchestra – “That Life”

October 23, 2021 — Leave a comment

Pictured: Ruban Nielson (Lead Vocals/Lead Guitar/Piano/Keyboard), Jacob Portrait (Vocals/Bass Guitar/Synths) and Kody Nielson (Drums) in a photoshoot for NPR’s ‘World Cafe’ series (2014) (via PR)

Good Morning to you! You’re tuned into One Track At A Time and this is the point where I – Jacob Braybrooke – get typing up for yet another daily track on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! ‘That Life’ comes to you from the fairly well-established Prog-Rock band Unknown Mortal Orchestra, who have been a hit with Psych Rock music fans throughout the 2010’s, originally gaining traction from Pitchfork critics for their uncredited debut single in 2010, before they took home the Taite Music Prize in 2012 for their self-titled debut LP that they released a year prior. The trio, who used to be a quintet, are from New Zealand and were formed in Auckland, and are currently based in Portland, Oregon where they continue to craft idiosyncratic rock music. The group have spent their time between the Fat Possum Records and Jagjaguwar labels, and they have embarked on mostly sold out tours across North America, Europe, The UK, Australia and New Zealand across their time. ‘That Life’ captured my attention due to the amusing music video – despite my relative unfamiliarity with the back catalog of the band – which features a very likeable dancing blue puppet that was created by puppeteer and fabricator Laura Manns, who is the creator of the puppets seen on ‘The Muppets’ and ‘Sesame Street’. Directed by Lydia Fine and Tony Blahd, their recent single follows the release of another single, ‘Weekend Run’, that was doing the rounds of the indie radio circuit across the summer. Ruban Nielson’s gang of non-conformists haven’t announced a follow-up album to 2018’s ‘IC-01 Hanoi’ – which received good reviews – just yet, however, logical time gaps and the steady release of some singles dictates that a new album is coming out. Put your feet up and enjoy ‘That Life’ below.

“I saw this painting by Hieronymus Bosch called The Garden Of Earthly Delights and in the painting there was a mixture of crazy stuff going on, representing heaven, earth and hell”, frontman Ruban Nielson explained in a press statement, adding, “When I was writing this song, That Life, I was imaging the same kind of ‘Where’s Waldo’ {Known as Where’s Wally? in most other countries} of contrasting scenes and multiple characters all engaged in that same perverse mixture of luxury, reverie, damnation, in the landscape of America. Somewhere on holiday under a vengeful sun”, and thus Unknown Mortal Orchestra’s latest official music video for ‘That Life’ was born. The sound itself isn’t too heavy or raw, and it feels quite warm and breezy instead, replicating more of a beach theme than a chaotic one. Key refrains like “All day swimming, Under the Palm trees, look how they gracefully sway” and “Some kinda gin drink/Some kinda jewelry/Some kind of fancy machine” are lyrics that muse over the small pleasures of life, the treats that people strive to achieve because they are perceived as wealthy and glamorous, and how expensive items represent grandeur that can be sometimes taken for granted by the upper class of society. The lovable, if greedy, puppet in the video proclaims that he’s always going to be about “That life” to a tuneful and radio-friendly chorus that feels cheerful and accessible. The fancy costumes also include multiple nods to outfits the band have worn on stage during certain points in their career too, and so there’s a decent amount of fan service hidden in the music video as well. The instrumentation goes for a pretty sentimental mix of 70’s Rock ‘N’ Roll that nods to bands like The Who gently, and some more contemporary Soul molded together by soulful hooks and funky guitar licks. Nielson’s vocals are also given some light distortion effects to evoke the classic rock vibe and make proceedings feel a tad psychedelic in tone too. There’s also a subtle nod to traditional Disco music in the steady groove too. Overall, I thought this was good. Probably not great, since I found the chords to sound a little dull and the lyrics rather predictable, but I like the idiosyncratic bridge and the visual inspirations behind the tune, so a lot of work clearly went into the graphical side of things. This is also one of the most memorable music videos that I have seen in quite some time too because it fits the overall vibe of the track very nicely while feeling a little nostalgic and quirky in mood. This is the type of music that I feel the likes of BBC Radio 2 should be playing regularly because it is quite universal to a wide audience without playing things too safely, but it’s easy to listen to. A decent commentary on life and perception of luxury.

Pictured: Unknown Mortal Orchestra in promotional art for ‘Multi-Love’ (2015) (Photo via DIYMag.com)

That’s it for today! Thank you a lot for your time, and I’ll be back tomorrow for ‘Scuzz Sundays’ with a post dedicated to one of the, very sadly, few female icons of the male-dominated 00’s Pop-Punk music scene that Scuzz TV, and Kerrang would have supported. The track comes from a cult favourite Gothic rock duo from Austin, Texas whose memorable frontwoman was featured in Guitar Player Magazine’s Top 20 Most Extraordinary Guitarists list – and whose music was used in MTV’s ‘Road Rules’ series.

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Today’s Track: Courtney Barnett – “Rae Street”

August 21, 2021 — Leave a comment

Pictured: Cover Art for ‘Things Take Time, Take Time’ (LP) (Available from November 12, 2021) (via Mom + Pop Records)

Good Morning to you! This is (a sleep deprived) Jacob Braybrooke, and it’s time for me to get typing up on the blog for 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! The chances are likely that you’ve already heard about the Sydney-born indie rock singer-songwriter Courtney Barnett – because she is pretty famous, after all. If you haven’t, however, I would recommend checking out some of her backlog when you get the chance because she is rather cool. Her upcoming third solo studio album ‘Things Take Time, Take Time’ has been announced with a release date of November 12th, arriving through Mom + Pop in the US and Marathon Artists internationally. The new release marks a bit of a gap since ‘Tell Me How You Really Feel’ was released in 2018, but she did also work on a collaborative album with Kurt Vile from The War On Drugs, ‘Lotta Sea Lice’, which saw the light of day in 2017. Since bursting on the scene in 2015, Barnett has won the Australian Music Prize and received four wins out of eight nominations at the 2015 ARIA Awards. Barnett also took home the ‘Songwriter Of The Year’ prize at the APRA Music Awards in 2016, and she was nominated for ‘Best International Female Artist’ at the BRIT Awards in 2016. Her new album was created over a two-year period and has been promoted with a cryptic marketing campaign involving past pseudonyms and Barnett-related anagrams. She has been guided by co-producer Stella Mozgawa (The drummer from Warpaint) on this one, and she told KEXP that it is about “a particularly joyful time in her life”. Stroll to ‘Rae Street’ below.

The Vinyl Factory calls the new album “a finely woven collage of snapshots” and notes that it “dives into Barnett’s own psyche to explore love, renewal, healing and self-discovery”, and Barnett herself posted on Genius that “Some songs are letters that are addressed to my friends. Also myself. The entire album shows an exercise in patience”, but she has stayed relatively hush-hush about her proceedings apart from this, which is admirable in an era where, in some cases, most tracks from most albums have already been unveiled in some capacity before the release date is too near. An ode to mundanity and the cycle of modern living, ‘Rae Street’ finds Barnett mixing up her signature style of rambling, sarcastic and witty songwriting with a noticeably Americana or gentle Country influence, and it’s nice to see how her album with Kurt Vile has progressed her own solo style. She largely mumbles refrains like “Time is money, and money is no man’s friend” and “All our candles, hopes and prayers/Though well meaning, they don’t mean a thing” that comment on the unchanging elements of today’s society. There are a few knowing nods to the pandemic, with lyrics like “I’m just waiting for the day to become night” and she subsequently moves on to chatting about everyday tasks like changing the bed sheets and how the repetition of chores render them meaningless in the long term. It feels very conversational and does not place a huge emphasis on producing catchy beats, as Barnett goes for some more grounded guitar licks and a dose of reverb, matched up to some easygoing drums, in the process. You could definitely picture her making a coffee in the morning, and just unloading all of her observations upon you, and this definitely suits her style because she is a naturally likeable protagonist (if you will) to follow, and her mid-tempo delivery of the vocals are deadpan to a point, and this audibly elicited a few decent chuckles out of me because her humor shines through the songwriting. It didn’t shock me in any real way based on her name value alone, but I still thought this was a well-suited comeback. The tune plays to her strengths as a performer, but it still feels like a natural progression of her sound because there is more of a skew towards Country and Folk this time around, but it’s got the same languid and ambling sound that has made Barnett a high-profile name over the last half-decade. Time and money are no man’s friend, but Courtney is ours.

That brings us to the end of the page for another day, and thank you very much for joining me today, as always. I’ll be back tomorrow for a short and sweet edition of ‘Scuzz Sundays’ where we remember some of the Pop-Punk sounds of the late-90’s through to the mid-00’s in memory of the now-defunct Scuzz TV. This week’s pick aims to be positive, and it comes from one of the biggest guitar bands of the time. This Michigan-based act was a brother and sister duo who rose to prominence in the Garage Rock Revival scene of the early 00’s with numerous notable releases. Their last three albums all scooped up a Grammy Awards win for ‘Best Alternative Music Album’.

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New Album Release Fridays: Jade Bird – “Now Is The Time”

August 13, 2021 — Leave a comment

Pictured: Cover Art for ‘Different Kinds Of Light’ (Released on August 13th, 2021) (via Glassnote Records)

Good Morning to you! It’s Jacob Braybrooke here, and it’s time for me to get typing up on the site 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! I’m fairly confident that there is something for everybody hitting record shop shelves today. There’s The Killers ambitious new concept album, the well-reviewed new album from Jungle, the new release from the rapidly prolific US bedroom pop singer-songwriter Still Woozy, quirky Dub vibes from Pachyman (Refer back to Tuesday’s post for more on that), and new EP’s from A Certain Ratio and Bloxx to add to your streaming library or physical collection. However, I’m excited to find out how the Hexham-born indie folk singer-songwriter Jade Bird has grown since her self-titled debut LP release from two years ago. Bird has been given two or three go-around’s on the blog over the years, but that’s because I find her work to be interesting, and she’s the type of artist that I enjoy supporting. She attended the BRIT’s school in Croydon, where she earned a record deal at the age of 16. Since then, she has won ‘Best International Artist’ at the AIM Independent Music Awards in 2019, she has performed ‘Headstart’ on ‘The Tonight Show With Jimmy Fallon’ in the US, and she was the first artist to join Microsoft’s ‘RE: Surface’ series of virtual live-streamed gigs, and she has also been very supportive for black, LGBT and female artists in the industry. Her second album, ‘Different Kinds Of Light’, arrives today on Glassnote Records, which once again sees Jade Bird spanning Americana, Country-Rock and Southern Blues influences with her unique voice. The record has a 71/100 score on aggregate site Metacritic, which indicates that critics’ reviews are trending pretty positive, although it seems to be ever so slightly more of a mixed bag this time around. ‘Now Is The Time’ to give the sampler track a spin below.

“Now Is The Time is the only song to have me smiling and laughing listening to it back at RCA. We had the Bee-Gee’s in mind and soul, triple tracking the vocals and putting a load of chorus on the guitar”, Bird enthusiastically tells us via her press release, explaining, “It’s a big motivational anthem for someone I want to put my arms around or lift them in the darkest time. Given that I wrote it mid-pandemic, the sentiment to getting to the back-end of this hell is heavily felt now”, in her notes about how the track was influenced and developed. While the title track and lead single from the LP saw Bird gently control the mood of change with a low-lit voice, ‘Now Is The Time’ feels much like her older work in the more pop-oriented and uplifting tone. Although she’s singing to a lover that seems to be a bit down on their luck, the lyrics feel rather generalized, and so they can apply to an eclectic range of people’s circumstances. Lyrics like “If I had a penny for all your potential/I’d be left drowning in my mouthful of metal” add her trademark Sass to the vocal equation, while a more Coach-like message shines through the Sunshine Pop melodies and the Jangle Pop sounds, with lyrics like “Never have I seen a better day to get up/Doesn’t matter about the weather” that inspire the listener to face their demons. The production feels polished, yet unsullied by any electronic artifice, and that’s another really good thing. I feel the addition of an auto-tune effect would really distance me away from the vibrant personality that she shows already. I hate to say that I didn’t really hear the Bee-Gees influence coming through very strongly at all. However, as usual with Bird, the simple element of her voice really makes up for any generic faults in the songwriting. I really do love hearing her voice since, as I’ve noted several times on the blog, it makes her come across as distinctive in comparison to other modern pop and rock artists. Bird’s voice is very powerful, especially for someone with her young age, and it enhances her snappy lyrics very nicely, but she’s certainly accessible enough to attract more casual, mainstream ears to her albums because her acoustic instrumentation is very melodic, and her general themes are pretty basic, but still fairly relevant. To sum it up, it’s a lovely summer tune that has something to say to everybody. Truth be told, I felt it was a little formulaic, so I’m not sure if I would like it as much if Bird wasn’t the one singing it. However, that’s also a complement to the way that she infuses her music with an effective “no nonsense” vibe. In the same sense, if Confidence Man originally wrote one of Bjork’s tracks – it wouldn’t make sense. The direction naturally feels more mature than her first album, and she even looks older and more wise in the video, so it’s a delight to see that evolution taking place. Something for the weekend.

Pictured: Jade Bird in a self-titled album era cover shoot (in 2018) (Photo Credit: PR/Alice Burnfield)

If you want to keep up with some of Bird’s earlier releases, you can get a ‘Headstart’ on the blog here: https://onetrackatatime.home.blog/2020/11/28/todays-track-jade-bird-headstart/. Or, if you need another reason to check out the new album from Bird over the weekend, get another taste with my review for the title track here: https://onetrackatatime.home.blog/2021/06/05/todays-track-jade-bird-different-kinds-of-light/

Pictured: Jade Bird in a “Get To Know…” Interview Feature (in 2018) (Photo Credit: PR/DIYMag.com)

That’s all for now! Thank you for your continued support for the blog, and for reaching the end of the page! I’ll be back tomorrow for more where that came from. This time, we’ll be heading over to Sydney for the debut appearance on the blog from a 5-piece Alternative Rock group who seem to be quickly on the rise, who surprisingly released their latest EP – ‘Total Serene’ – with no prior announcement in July. The group’s first album reached #5 on the ARIA Album Charts in 2015, and the band’s second album was nominated for a large number of eight ARIA Music Awards, in 2017.

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