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

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.

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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Scuzz Sundays: The Pretty Reckless – ‘Make Me Wanna Die’

Good Morning to you! This is Jacob Braybrooke, and it is time for me to offer up another Scuzz Sundays post that you would probably not be prepared ‘to die for’, since it’s always my day-to-day pleasure to write up about a different piece of music every day! One of the most commercially successful female-led bands of the Mascara-dripping 00’s going through the 2010’s was The Pretty Reckless, who are still active regularly today. Led by Taylor Momsen, who was previously known for being a teen TV star in productions like ‘Gossip Girl’ and ‘Spy Kids 2: The Island Of Lost Dreams’ – as well as playing the child role of Cindy Lou Who in the Jim Carrey version of ‘How The Grinch Stole Christmas’ in 2000, the band have topped the US Album charts with albums like ‘Going To Hell’ and ‘Who You Selling For?’ and topped the US Rock Charts with fairly well-known singles like ‘Heaven Knows’ and ‘Messed Up World’. Momsen’s misfits last released ‘Death By Rock and Roll’ last year, which found her getting the chance to collaborate with legendary Rage Against The Machine guitarist Tom Morello for a track. ‘Make Me Wanna Die’ is instantly recognizable if you have seen the edgy comic book movie ‘Kick Ass’, which helped to bring actors like Chloe Grace Moretz and Aaron Taylor-Johnston some of their Hollywood stardom throughout the years since 2010. It was produced by Kato Khandwala, and it was the first track to be written for their debut album, 2010’s ‘Light Me Up’. It reached #16 on the UK Singles Chart, and it was initially described as a tragic love song inspired by Romeo and Juliet by Momsen.

‘Make Me Wanna Die’ is the first track that The Pretty Reckless wrote together as an ensemble, and it was based on a fictional story they created where the rough story of ‘Make Me Wanna Die’ tells the tale of a girl with a supernatural lover – a narrative which the vampire-loving Twi-hards of the 2010’s would have also loved – and her desires to be transformed into ‘one of them’ so they can both stay in love together, according to the Genius website. Starting off with some filter-like Mellotron flutes, Momsen sets the stage for her dark tale of lust and loss with her spoken-sung refrains of “Never was a girl with a wicked mind/But everything looks better when the sun goes down” and “I had everything/Opportunities for eternity/And I could belong to the night” that develop a brief backstory for her character. It’s nothing that feels rich in motive or Oscar-worthy performance, but it gets the job done. The verses represent a mix of angsty Grunge-enhanced Pop and stop-and-start Desert Rock, where the melodramatic lead guitar riffs are separated by short gaps and the jagged Bass guitar riffs complement the ‘Broken’ feel of the single’s emotional qualities. The chorus kicks in, with hooks like “Everything you love/Will burn up in the night” and “Every time I look inside your eyes/You make me wanna die” floating seemlessly above the Pop-Punk production. There’s also a little bridge where some overtly emotional Strings come in and there’s a short assortment of backing vocals that feel a little cheesy – for lack of a better term – but they provide some more variety to the track and ensure that it’s effect doesn’t ware so thin. Overall, ‘Make Me Wanna Die’ is a robust reminder of the days where guilty pleasure monster flicks like ‘Underworld’ and ‘Resident Evil’ were gaining some decent box office takings in the 00’s, as the lyrics complement the angsty yet dark tone of the creature features nicely and the looped percussion adds some little bells and whistles to the production. It feels a little bit overly theatrical at points for me, but it feels like a lot of fun nevertheless. It’s very inoffensive and harmless, although it wasn’t going to earn awards for innovation.

If that collaboration between Momsen and Morello sounds good to you, it is very convenient that it was actually covered on the blog prior to release. Check it out here:

‘And So It Went’ (feat. Tom Morello) – https://onetrackatatime.home.blog/2021/03/06/todays-track-the-pretty-reckless-feat-tom-morello-and-so-it-went/

That brings us to the end of another entry of ‘Scuzz Sundays’ on the blog. Thank you for showing your interest in the site today as your continued support is always highly appreciated – and I’ll be back tomorrow to give you a taste of the latest track from a Manchester-based Art Pop band who have covered tracks by The Prodigy and Disclosure and they have gained support from sources as varied as ITV Granada and The Guardian. They are probably best known for singles like ‘Can’t Stop’ and ‘Nobody Scared’ that have been receiving daytime airplay from the BBC Radio 6 Music playlist.

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Way Back Wednesdays: The Smashing Pumpkins – ‘Cherub Rock’

Good Afternoon to you! This is Jacob Braybrooke, and I’m here to deliver a ‘Smashing’ new entry into our exhaustive library of weekly ‘Way Back Wednesdays’ posts on the blog as we remember some of the seminal sounds of the past with another daily track on the blog, given how it has always been my day-to-day pleasure to write up about a different piece of music every day! TNA promoter, of all surprising side hustles, Billy Corgan is a 90’s-leaning songwriter with an artistic drive who always puts a great effort into the visual aspects and the guitar effects within his material. Although some of his Smashing Pumpkins work has varied in quality, he is still going today and, as I’ve mentioned on the blog in previous relevant posts, he is never without inherently uninteresting ideas and one of his risks paid off neatly with ‘Cherub Rock’, a 1993 hit that was taken from his band’s second studio album – ‘Siamese Dream’ – that was unveiled to the globe as the first single from the release at the time. It was nominated for a Grammy Award for ‘Best Hard Rock Performance’ and it was later covered by Rochester-based indie rock band Roses Are Red in 2005. ‘Cherub Rock’ was one of the last songs to be written for ‘Siamese Dream’ and it peaked at #31 in the UK Singles Chart. The influences and lyrics of ‘Siamese Dream’ stood out among other Alt-Rock releases at the time despite recording sessions fraught with high tensions and some difficulties, and it was regarded as one of the most critically-acclaimed alternative albums of the 90’s by institutions like Rolling Stone. Let’s revisit ‘Cherub Rock’ below.

Although ‘Cherub Rock’ was not as widely marketable or commercially successful as ‘Today’ by critics upon its initial release, it remains to be a fan favourite and it was given a new lease of fresh life during the 00’s when it was included on the playable soundtracks of popular rhythm action video game franchises like ‘Guitar Hero’ and ‘Rocksmith’ available for multiple console platforms. Starting off with marching drums that remind me of The Red Hot Chilli Peppers, who arrived on the scene a bit later on, that morphs into a prominent set of guitar riffs that have a heavy Grunge aura to them, we thrust defiantly into fuzzy and soft instrumentation that is energetic and driving in its excess of feedback. This glitched delivery has a clear Shoegaze element that also points towards My Bloody Valentine or Ride with the textually thick balance of hypnotic Post-Punk and high-cadence melodic precursor to mid-90’s Brit-Pop. Lyrically, Corgan relates to his own relationship with the ‘Indie’ music community of the 90’s and his perceptions within the larger media, with forceful lyrics like “Doesn’t matter what you believe in/Stay cool” that encourages you to follow your instincts as an artistic matter and “Hipsters unite/Come align for the big fight to rock for you” that carry his determined ethos to bring rag-tag gangs together to enjoy music socially and within a communal environment that is free for you to express yourself in as an artist or audience member, with a bad-tempered hook of “Let me out” that mirror the relationship of a songwriter and a record label getting sour as towering creative differences ware on. Corgan delivers one of his most fiesty vocal performances and the soaring guitar solo is a highlight in showcasing his skills as a guitar player. What is interesting is how he recorded the prominent effect section of his guitar parts by recording the music to two different tapes at simultaneous fashion, and he clearly alters the speed of one of his tapes. What this means is that it makes the effects feel as though they are not really coming from the guitar, leaning into his Shoegaze influences most directly. Overall, ‘Cherub Rock’ still sounds great as the lyrics ring true, the instrumentation is more diverse than it may feel at first glance, and you have a well-informed vocal performance by Corgan who layers his furious songwriting on top of the stellar drums and the distortion-drenched guitar melodies to build up a cascading wall of sound around him as to convey his emotions with a swelling buoyancy. Drifting through Shoegaze, Alternative Rock, Electronica, Psych-Rock, Prog-Punk and Dream Rock through a vicious cycle that is paced coherently, ‘Cherub Rock’ could represent Corgan at his most creative and most visually detailed.

If you’re looking to smash some more pumpkins, you’ve come to the right place. You can get festive with my write-up of the rare track ‘Christmas Time’ from 1997 here: https://onetrackatatime.home.blog/2021/12/19/santas-scuzz-sundays-the-smashing-pumpkins-christmas-time/. You can dive into some of Corgan’s latest material with ‘Wyttch’, a promotional single taken from his 2020 album ‘Cyr’ here: https://onetrackatatime.home.blog/2020/11/27/todays-track-the-smashing-pumpkins-wyttch/. Or take a trip to the moon with my older assessment of ‘Tonight, Tonight’ with this post: https://onetrackatatime.home.blog/2019/10/27/scuzz-sundays-the-smashing-pumpkins-tonight-tonight/.

Thank you for checking out my latest post, and it is always a pleasure to join you in remembering the creatives who bought the excellently produced LP ‘Mellan Collie and The Infinite Sadness’ to the world in the 90’s. I’ll be back tomorrow, however, with a large emphasis on fresh new music as I introduce you to a very interesting Berlin-based Experimental Rock musician who made a name for themselves as a part of LA’s LGBT community of underground producers. They have performed alongside Charli XCX and Flume, and they’ve received positive support from the likes of Mixmag.

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Today’s Track: Placebo – ‘Surrounded By Spies’

Good Morning to you! This is Jacob Braybrooke, and it is time for me to bring you some company for this barren January wasteland with yet another daily track on the blog, given that it’s always my day-to-day pleasure to write up about a different piece of music every day! A high-profile act formed in 90’s London who became widely praised for their androgynous appearances in their music and the media with lyrics that openly discussed taboo topics of the time like drug abuse, mental health and sexuality, it feels fitting that there is once again a gap in the market for Placebo, a London-based alternative rock/grunge band who have sold over 11 million records worldwide, to shed their skin. In their earlier years, Placebo collaborated with prolific names like David Bowie and Michael Stipe and, to date, each of the seven studio albums they have released have all reached the Top 20 of the UK Album Charts. Anybody who grew up in the late-90’s may recall the divisive single ‘Nancy Boy’ that was famous for it’s genre-blurring content. It has been 9 years since 2013’s ‘Loud Like Love’ was released, but the now-duo of vocalist-guitarist Brian Molko and bassist-guitarist Stefan Olsdal are about to follow that LP up with another – ‘Never Let Me Go’ – which arrives on March 25th via Rise Records and Elevator Lady. Following the first comeback single – ‘Beautiful James’ – the more recent track of ‘Surrounded By Spies’ was created using William S. Burroughs’ cut-up technique. Molko says that he used shredded pieces of written words to rearrange into a new text to piece together the track that lyrically envisions a society where every camera is fixated on the fictional narrator, forming a wise commentary on CCTV surveillance. Let’s give it a spin below.

“I began writing the lyrics when I discovered my neighbours were spying on me on behalf of parties with a nefarious agenda”, Molko explains about the source of the inspiration for his production techniques and the music video in a press release, later writing, “It’s a true story told through a lens of paranoia, complete disgust for modern society’s values and the deification of surveillance capitalism. The narrator is at the end of their tether, hopeless and afraid, completely at odds with our newfound progress and the god of money”, to his text description. The most die-hard of Placebo’s fans have noted how the music video has a few similarities with that of 2013’s ‘The Bitter End’, and the audio experience of ‘Surrounded By Spies’ similarly does not pull any punches as Molko charismatically repeats hooks like “The search for meaning is killing me” and “Dead fly on the national anthem” with a dark-natured heart over the top of some harsh instrumentation. While ‘Beautiful James’ – the preceding single – buzzed with some light-hearted Synths, ‘Surrounded By Spies’ feels starker and more brutal in contrast. The building guitar riffs are a subtle slow-burn, as Molko buckles under the weight of a lack of public privacy with blunt lyrics like “I saw you jump from a burning building” and “I’ve seen you move like Elvis set on fire” that conjure up some gothic rock-based imagery. The vocal delivery has a gentle air of Spoken word about it, as Molko recites a collage of dark-pop lyrics that touch upon paranoia and consent as key themes, with the half-way refrain of “I gave my heart, now I want it back” forming a key moment of soul for the song. It starts off with a backdrop of ethereal Organ chimes aided by fragmented percussion as the tension builds within the soundscape and the titular hook of “I am surrounded by spies” grows the intensity of the sound before an eventual payoff. The deft lyrical delivery portrays a claustrophobic mood in effective ways where the quiet-and-loud pace of the fluctuating sounds connects with the wry refrains throughout the track as the walls fittingly close in on the central character. It doesn’t really fit the feel-good direction of most late-90’s Pop Punk acts and so it subverts my expectations in a moving way, and the darkened Synth riffs relate to the sharp qualities of the songwriting nicely. All-around, it is a neat and cohesive package that continues to make Placebo feel like a band with a definite edgy sensibility to them. The vocals sound a little disorienting in the mix, but to be honest, I enjoyed how ‘Surrounded By Spies’ feels candid and casual instead of over-produced in any way. A poetic piece that feels dark while moving towards realism, this is a still strong offering by Placebo.

As Placebo were a fairly prominent part of the 00’s Pop-Punk scene, they have also been subjected to my distinctive feature of ‘Scuzz Sundays’ before. You can revisit the sound of ‘Pure Morning’ from 1998 here: https://onetrackatatime.home.blog/2020/03/15/scuzz-sundays-placebo-pure-morning/

That’s enough privacy invasion for one morning! Thank you for joining me today, and I’ll be back tomorrow for another weekly installment of ‘Scuzz Sundays’ which, this week, features a unique Pop-Punk cover of Nena’s German 90’s hit ’99 Red Balloons’ by a California-based ska punk band who got their own version used in pop culture media productions like ‘Not Another Teen Movie’, ‘Our Lips Are Sealed’ and ‘Eurotrip’.

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Today’s Track: LYR (feat. Rozi Plain) – ‘Cascade Theory’

Good Morning to you! This is Jacob Braybrooke, and I’m crossing my fingers for a peaceful start to a new week for you as we invest 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! ‘Cascade Theory’ is a brilliant new track from LYR, an experimental Post-Rock trio that is currently comprised of British poet laureate Simon Armitage, musician Richard Walters and multi-instrumentalist Patrick Pearson, with additional vocals by Winchester-based Alternative Pop singer-songwriter Rozi Plain. The trio’s name is an acronym for Land Yacht Regatta, and the three creatives say they found each other through the galvanizing philosophy of blending words. Last year, they released their debut album – ‘Call In The Crash Team’ – and they collaborated with Hollywood actress Florence Pugh and Melt Yourself Down’s Pete Wareham on their single ‘Lockdown’. A follow-up EP – ‘Cascade Theory’ – was released in late November via Mercury KX, a five-track release that elevates their typically Spoken Word blended with Ambient Rock style of music to more scientific proportions. LYR have said that “Cascade Theory takes a scientific principle and applies it to a social or psychological setting. Things crash into each other – especially thoughts and ideas – and the resulting fragmentation is both bewildering and exciting”, in their product description for the short-form release. The attached music video follows actor Richard Fox and it was directed by Jordan Martin, as well as produced by Double Vision, and it matches the single to some Noir-like visuals that finds the real world and an imaginary setting colliding at full speed, leaving behind a mess of stardust and glitter. Let’s check it out.

“The scientific phenomenon that is central to the EP is found in behavioral economics and explains decision making in sequential fashion, enlightening us on why observation follows imitation”, Mercury KX adds about the EP’s titular track in a press statement, explaining, “Simon Armitage’s ambient Spoken Word passages, at the forefront of the track, expand upon their personal interpretation of the network-based theory”, in the EP’s listing pages. This collision of objects, like the paint of the music video colliding with “space junk” as Armitage recites in the single, mirrors the vibrant explosion of poetry and Post-Punk of LYR’s sound on the track, as Armitage recalls that “one thing follows the other” in a key refrain of the lyrics. We start off with a minimal Piano beat that builds up to a soaring drum beat before a guitar riff is introduced to the melody, which becomes lightly distorted and feels suitable for the grim black-and-white colour palette of the music video. Meanwhile, Armitage uses a fairly laidback tone for his vocals that feels insistent as brief anecdotes like “Drop the tight bow in next door’s pond and call it a song/Broke a borrow side on a hiding rock, Mowing wet hay” and “It built a business park in a green field, While I fitted about and fine-tuned, the useless Haiku of a Rubik’s cube” that not only explain the cascade theory that is relevant to the track’s title, but apply the theory to everyday practices. A key refrain later on, where Simon Armitage recounts, “In the face of Jesus, I saw the orangutan” connect the theory to ongoing debates around religion and science. Not only are the lyrics intriguing, but the instrumentation feels cinematic and engrossing, as the chirping guitars and the reminiscent Drums create a stirring soundscape of unyielding chords. There are echoes of Sigur Ros in the Post-Rock textures, while the bass lines are more comparable to Future Islands in how the lyricism melds with the ascending melodies. There’s a hint of Jarvis Cocker to the male vocals, which come across with a near-equal mixture of light humour and academic intellect. A solid interplay between the male vocals and the female vocals of Rozi Plain is present too, who uses warmer lyrics like “Ding, Ding, Ding/You’re bowling in a pan” and “We need everyone sitting, now everyone stand” to contrast the high-tempo aggression of the Prog-Rock elements with a softer tone of voice that controls the chaos, for lack of a better term. Overall, thanks to the excellent pacing and the good interplay between Armitage and Plain – that reminds me a little bit of how the tone was calming on Peter, Bjorn & John’s mid-00’s cult hit ‘Young Folks’ in a few ways – ‘Cascade Theory’ is a treat that combines anthemic Post-Rock with clever intellect to engaging results.

That brings us to the end of today’s presentation on One Track At A Time, and I thank you for sticking to the blog with me. Please feel free to join me again tomorrow as I shine a spotlight on some more music that came out in the latter end of 2021 that deserves a listen. My next pick comes from a Liverpool-based solo artist who found fame on TikTok and then began touring with bands like The Orielles and Trudy & The Romance – before he released his debut album through Melodic Records last October.

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Today’s Track: Mandy, Indiana – ‘Bottle Episode’

Good Morning to you! This is Jacob Braybrooke, and I’m thrilled that you’re getting 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! Formerly known as ‘Gary, Indiana’ – which is a true story according to Pitch Perfect PR – a bizzare twist of events saw this Manchester-based Alternative Punk project settle on Mandy, Indiana as their current name. Originally a duo comprised up of Valentine Caulfield (Vocals, Lyrics), Scott Fair (Guitar/Producer) and Liam Stewart (Drums/Percussion), the band mesh Noise-Punk with experimental recording methods that have found SFX of cluttering footsteps and muffled piano appearing on their debut EP release – ‘…’ – which was released digitally on November 19th, 2021 and later physically issued on December 10th, 2021 via Fire Talk Records. Their tracks for the EP were recorded in a variety of different places, from the band’s rehearsal spaces and traditional studio set-up to outside locations like a cavernous industrial mill. The band are also known for directing their own music videos that combine found footage clips with a style of macabre film-making craft which the batch of musicians state were influenced by film directors like Leos Carax and Gasper Coe in style and structure. ‘Bottle, Episode’ was recently featured on KEXP’s ‘Song Of The Day’ podcast, and you could also know Stewart from commonly touring with Lonelady. Let’s check out the new single below.

Seeking to capture a tale of conflict between armed forces for ‘Bottle, Episode’ – Caulfield says, “I wanted to build up on the military style of the track, but in a very slow crescendo, and not in a very obvious way”, as she explained in a press statement. Fair added, “The inspiration for the guitar line was based upon a recording of a flood siren in Todmorden. I was going to use the recording as a sample but then I decided to try and recreate it with the guitar”, to the conversation. Seeking to capture a somber and hawkish tone with their intriguing single, the band get off to a riotous start with a ramshackle drum beat that patters along to a brisk pace as Caulfield delivers some foerign language vocals, before a taut guitar melody is introduced to the fray in mimicry of a siren, as Caulfield snaps with her vocal pitch as the sinister pulse of the single violently screeches along with its layered soundscape of carefully programmed snare beats and destructive guitar riffs that, ironically, feels very combative in nature. Lyrically, war is never explicitly being mentioned, but there are clearly bleak themes afloot as Caulfiend’s growling vocals imply that men are all waiting for a massacre of-sorts. Instrumentally, however, it relies a little on a Club-oriented sound as the melodicism rises gradually as to introduce the new elements of the track in coherent ways and the battle between harsh abrasian and lyrical edge owes some debt to the No Wave music of decades past. While not for the faint-hearted, ‘Bottle Episode’ conjures up some disturbing imagery of bullets tearing apart the lives of soldiers in effective ways as it feels similar to a dance-oriented track in it’s layering, but they’ve made sure the chords are dark and dissonant enough and the arrangements are brutal enough to convey the very dark textures of the lyrics to strong effect. Overall, a strangely fun but all the more sinister recording that certainly includes some fascinating production tactics that has a unique selling point for the band and a stark visual reminder of the brutality of military conflict that earns notice.

That’s all for now! After an understandably bleak note on the site today, we’ll be turning up the good times tomorrow as ‘Way Back Wednesdays’ makes its return to the blog as a weekly fixture. We’ll be remembering the third and final single to be taken off a UK top five album from the original Trip-Hop act of 90’s Bristol. The band won a BRIT Award for Best British Dance Act and have sold over 13 million copies worldwide. The trio have won two Q Awards and a pair of MTV Europe Music Awards.

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Today’s Track: The Spirit Of The Beehive – ‘I Suck The Devil’s C***k’

Good Morning to you! This is Jacob Braybrooke, and you’re tuned into the final part of my underrated underground series leading up to New Year’s Day as I deliver 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! ‘I Suck The Devil’s ****’ is a title as irreverent as they come, and one that I write about hesitantly due to the demonic implications of the name, however, this is the most suitable representation of ‘ENTERTAINMENT, DEATH’ – the latest album from the Pensylvania-based Prog Rock band The Spirit Of The Beehive – that we’re going to get. An insanely beautiful yet intensely difficult project to wrap your head around, the record reflects late-night paranoia music that is enigmatic and cryptic. It is also intimate without giving any significant details away, and that’s made it a favourite among the year-end lists of high-brow critics this year. Taking their name from a Spanish cinematic masterpiece released in 1973 with the same title, the band are signed up to Saddle Creek Records and boast Zack Schwartz among their lineup who honed his Vaporwave craft as a former member of Glocca Morra. A reclusive release that has gained universal acclaim this year – and one of my back-and-forth favourite listens of 2021 – ‘ENTERTAINMENT, DEATH’ is the band’s first album without the former drummer Pat Conaboy and rhythm guitarist Kyle Laganella who left the band in 2020. The second single – ‘I Suck The Devil’s ****’ – is a four-part song that essentially feels like four different singles sewn together through post-production trickery. The workout-in-hell themed music video was also helmed by a trio of different directors (Part 1 is by Ada Babar, Part 3 is by Documavision and Parts 2 and 4 by Noah Burke) that each unfold in four chapters along with the music recording. You will just have to see how it all fits together below.

In what initially feels like a labyrinth of a near 7-minute recording, the band notes, “It’s our take on ‘A day in the life’. A man, overworked and undervalued discovers a portal to another time and a place where he hears a familiar song on the radio. In the context of the record, this track specifically encapsulates the dread of required performance, ultimately leading to a freeing death”, in a joint press statement. As the band channel a multitude of influences including Post-Hardcore and Vaporwave among many others, the band deliver a lengthy ego death sentence that blurs the lines between homespun Lo-Fi Rock to mangled Dream-Pop to aggressive Post-Rock to dis-associative Ambient Pop – all while wrapped in a noise collage Shoegaze thread – to create a very psychedelic journey that takes listeners from upside-down textures to inside-out downbeat sounds. Through these ever-winding spirals of self-reflection, the group pull us from one realm of bizzare fantasy to another, while creating enough compelling rhythms and bold, if fairly obscured, textures that make up the highly experimental piece of twisted Psych-Rock and melodic bursts of Post-Rock that echo glimmering fragments of Tame Impala and Black Country, New Road among other diverse comparison points. There aren’t any particularly memorable lyrics, but there are multiple planes of eclectic instrumentation that underscore the more emotive qualities of lyrics like “Scared of needles, but not of everything” and “Another middle class dumb American, falling asleep” to a notably playful effect, and so the complete package is more enticing, lyrically, than the wonky title of the track may lead you to believe. The music, however, sounds just as mischievous – mixing up some ethereal guitar rock with peculiar tangents that keep you guessing what may come next as the trio continue to create unpredictable shifts in tone. At each point in this release, I would forgive you for thinking you were listening to a different track with each few beats skipped, but it is a testament to the band’s abilities to create something so captivating through playing with cohesion, as the track cycles through its chaotic vignettes to build to an acknowledgment of an insignificant fate of the lead character, if you will. If you have been on the fence about Spirit Of The Beehive at any point, this kind of rare recording will certainly help any listeners to decide to be on the right one.

That brings us to the end of a very interesting post. It was nice to deviate from my typical formula a little with this segmented single, and I thank you for joining me by reading the results. Tomorrow, we’ll be looking back at a mid-00’s winter Folk classic in the spirit of the New Year’s Eve and Christmas season. The single comes from a well-known and critically acclaimed Seattle-formed Alternative Folk band who took a hiatus between 2013 and 2016 when the frontman pursued an undergraduate degree.

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Today’s Track: The World Is A Beautiful Place & I Am No Longer Afraid To Die – ‘Queen Sophie For President’

Good Morning to you! This is Jacob Braybrooke, of course, and it is time to get your ears stuck into yet another daily track on the blog, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! *deep breath* The World Is A Beautiful Place & I Am No Longer Afraid To Die are an emo Prog Rock band with what must be the longest band title in the business and, yet, in a digital age of streaming services and IP resurgences, they must also be applauded for ending their latest album on two epic pieces that total half of it’s near 70-minute duration. Their fourth LP record – ‘Illusory Walls’ – is the record in question, an underground release that took its inspiration from the infamously difficult ‘Dark Souls’ series of popular role playing video games. Bridging the gap between genres like Space Rock, Atmospheric Rock, Post-Hardcore and Post-Rock, the Emo collective have released a number of EP’s and Splits, including a memorable collaboration with Christopher Zizzamia, a Spoken Word artist, and they cite a diverse range of influences including Battles, Caspian, Godspeed You! Black Emperor and Explosions In The Sky for their fretwork-style material. A double album released via veteran Nu-Metal label Epitath Records, the new LP is the band’s first album since the death of founding member Tom Diaz and the departures of guitarists/vocalists Dylan Balliet and Tyler Bussey. Now, the members of the 5-piece are split between the bear-filled woods of rural Connecticut and the quarantines streets of Covid-ridden Philadelphia, and it is the band’s first project that recruits outside producers in the form of Greg Thomas (Misery Signals, End), the studio partner of lead vocalist/guitarist David F. Bello, who helped the rest of the band to remotely write and finish the ambitious record within the most part of one year. According to Bello, the new album’s title of ‘Illusory Walls’ “refers to a hidden surface that seems to prevent entry, but upon inspection is nothing more than a visual illusion”. Check out the third single ‘Queen Sophie For President’ below.

Elaborating on the LP’s development stages, Bello says, “The extra time gave the band time to manage the unexpected, such as Katie Dvorak sustaining an injury that meant she was unable to sing or talk for a couple of months at the end of 2020. Had they been on a normal recording schedule, she wouldn’t have been able to get her vocals done”, concluding, “Instead, she was able to channel what happened into her songs. Though ‘Queen Sophie For President’ is ostensibly about the tenacity of oppression, whether on a personal or political level, it is heavily influenced by her injury” in his press statement. While ‘Queen Sophie For President’ scales up the bombast, it also puts a twist on the band’s sad emo-style foundations of their sound by introducing vocals that feel lighter and nostalgic, thanks in part to the keyboardist taking on the lead vocal duties. Lyrics like “Impossibly persistent, waiting for the chance to take over” have a dizzying darkness to them and they blend into Chris Teti’s intricate guitar work with a pulsating 80’s rock sound. A wide array of evocative lyrics like “Never get better and never do anything” chime the chorus along with a feeling of urgency, while rapid-fire refrains like “It won’t burn with the oven off/That damn persistent slime, just burn the whole house down” owe more to Opera Rock with their haunting harmonies that permeate angst and anxiety, riddling the zoned-out Synths of the soundscape with a deep flavour of hard-hitting songwriting that is more anthemic. Instrumentally, the barreling guitar riffs and the percussive drum beats, topped off by a punchy lead guitar solo towards the end, retain their warmth and intimate nature while delivering highly technically proficient production all-around. Most of all, however, it is the fact that Dvorak’s increased involvement threatens to steal the show at times that makes it all more worth the while, and it is the very robust chemistry between Dvorak and Bello, on vocals, which clicks together and strikes the biggest chord with me – if you see what I did there. Dvorak’s sugar-coated vocals blend together with Bello’s emotional croon, as well as the fancy handiwork from guitarist Chris Teti, very cohesively. This creates some of the most enjoyable ‘Jam Band’ moments that you could hear in 2021. An extravagant piece of ferocious Jangle-Pop meets sophisticated Post-Rock, ‘Queen Sophie For President’ is a tour-de-force of feel-good indie and profound lyrical proportions that definitely gets my vote.

That’s all I’ve got lined up for you on the blog today – and I’ll be back tomorrow with the final part of my series shedding light on some of this year’s most unforgettable underground releases, before we go fully back to normal, with a post regarding a band who have made many year-end lists for 2021. Signed to Saddle Creek Records, the trio take their name from a Spanish Drama film of the same title released in 1973.

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Today’s Track: Calva Louise – ‘Euphoric’

Good Morning to you! This is Jacob Braybrooke, of course, and thanks for joining me today as we fill up the awkward post-Christmas and pre New Year’s slot with some music that got a little underrated during 2021 with 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! Formed in 2016, Calva Louise are a Manchester-based indie punk and post-grunge band who take their influence from many variations of Noise-Rock and Synth-Punk between both UK and US outfits, while also getting in touch with their Latin Rock heritage throughout the two albums to their name so far. Fronted by the bold creative vision of vocalist/guitarist Jess Allanic – the trio have supported the likes of Razorlight, Highly Suspect and Albert Hammond Jr in their time together. Earlier in the year, they released the ambitious multi-media project of ‘EUPHORIC’, which was fronted by a concept album about the duality of being human and the different perceptions of reality. The band have stated that the lyrics detail episodes of the dreamer’s experiences in the form of an inner conversation with his other self – the counterpart of the human being – that seeks to experience freedom and have an encounter with the unknown. The sophomore album was produced and mixed by Bobby Bentham of Strange Bones fame. Moreover, the album was accompanied by a 45-minute Animation short film that was entirely created by Jess Allanic, who used software like After Effects and Blender to bring the Graphic Novel-inspired visuals of her band’s creative record to life. For now, let’s have a sample of the title track below.

Released digitally in late August and finally manufactured on physical vinyl copies in December by Blood Records, Calva Louise collectively say, “Our passion for audiovisual production is constantly intertwined with the concept of the album and that is why each new step to take becomes a new challenge, it is as if each completed experience gradually reveals the signs that guide us on our way”, noting, “The perception we have of this adventure shows us horizons that seem to be beyond our rational understanding as artists, and in order to see clearly we try to express these experiences through visual effects, as a complement to the music and the lyrics of the songs”, to their LP’s product description. ‘EUPHORIC’ feels like an expository title for the project, bolstered by a title track that is filled with meaty hooks and soaring melodies that hints about how you may feel after completely listening to the album in a single bingeable session. With eruptive drumming and partially processed vocal peaks, lyrics like “I wait in line, Your head is on fire, Ahead we cry in a simple way” and “When you and me are nothing, Only one of us will be euphoric” that set a fiery temper for the underground feel of the track, Allanic powerfully backs her vocals to some thrashing electronic melodies – including some gradually bubbling Synth riffs in the opening that become more acidic throughout the first verse – and some old-school Punk personality that complements the moody tone of the lyrics. The vocals are partially screamed at different intersections, but the pacing is fairly even, as Allanic uses some slower guitar notes towards the end to give the vocals just a little space to breathe. Meanwhile, the electronic production of the single goes heavy and hard by trading some twinkling keyboard riffs for a hefty amount of grit instead, with plenty of glitchy bass riffs that sweep in for a futuristic tone and Allanic concentrates hard on making her ferocious vocals feel as knife-edge as she can, and she even recites some non-English language lyrics towards the latter half to remind us of her Venezuelan upbringing, and the heavy dancehall influence of this particular touch reminds me of Arca in a few ways, especially with the audio-visual medium of the project hanging in the balance. Overall, while the more Noise-Rock based riffs get a little repetitive at times there is no doubt that Calva Louise explore decent ideas on this project altogether. It is very interesting to see the band expressing their ideas with intriguing ways by leaning into the sci-fi themes that audio-visual side projects can enhance for them. As well as giving them a unique selling point, it gives them more space to create their art, and I certainly like how there is more than just music to this. The sound, meanwhile, is an energetic one that becomes very unrelenting and combines qualities from Nu Metal and Prog Rock with dramatic results. Overall, this is an exciting band and a fresh project that, while not perfect, are certainly worth a look.

That’s all for now – and thank you for reading about the euphoric melodies highlighted in today’s post. I’ll be back tomorrow with more content that concerns an operatic Conneticut-based indie rock band with one of the longest names in the business. Their discography includes a key collaboration with the Spoken Word artist Christopher Zizzamia – and their influences include Battles and Explosions In The Sky.

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Today’s Track: Parquet Courts – ‘Walking At A Downtown Pace’

Good Morning to you! I’m Jacob Braybrooke, and it’s time for you to jive along to yet another daily track on the blog, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! First of all, apologies for teasing this week’s ‘New Album Release Fridays’ pick at the bottom of the page yesterday a day early – where we’ll be looking at the exciting new album release from the multi-time ARIA Award winning indie female singer-songwriter Courtney Barnett – my brain thought it was Thursday. The fact is that we’ve got one more regular shout-out to go before then, and it’s a golden one coming from the NYC-based Post-Rock quartet Parquet Courts. I really enjoyed their previous album, 2018’s ‘Wide Awake’, and I’ve seen plenty of very positive reactions for their follow-up album – ‘Sympathy For Life’ – which was released late in October via Rough Trade Records – from fellow members of the BBC Radio 6 Music Listeners Group community on Facebook. It has also received positive reviews from Pitchfork, Paste and Pop Matters, also including a five-star review from NME and some lovely words from Professor Skye’s Record Reviews on YouTube, which is one of my favourite channels on the viral platform. Produced by The XX’s mainstay Rodaidh McDonald and musician John Parish, the Garage Rock 4-piece’s new album takes some influence from bands like Primal Scream and Talking Heads. The Grunge-inflicted group have been around for quite a long time, and ‘Sympathy For Life’ is actually their seventh main LP release overall. According to ringleader Austin Brown, “Wide Awake was a record you could put on at a party. Sympathy For Life is influenced by the party itself”, and the band recorded the main bulk of the tracks pre-pandemic in England before they flew back to New York just a couple of days before the official Lockdown periods began. They flirted with the idea of tweaking songs and adding new content for the album, but they decided to just keep working on the songs they had already developed and just delay the release. The lead single, ‘Walking At A Downtown Pace’, comes with an excellent music video put together by the street photographer David Arnold, who captures a diverse array of surrealist and frenetic scenes throughout the band’s city of New York as he captures choreographed chaos in a one-shot technique. On that note, let’s check it out below.

Talking more about their new album’s origins, Brown explains, “Most of the songs were created by taking long improvisations and moulding them through our own editing.”, adding, “The biggest asset we have as artists is the band. After ten years together, our greatest instrument is each other. The purest expression of Parquet Courts is when we are improvising”, in their new album’s description. This sense of improvisational genesis is easily detectable in the scattered guitar riffs and the unclean vocals of ‘Walking At A Downtown Pace’, where the band pin their initial jamming sessions into a delectable drum groove created by Max Savage, who manages to nod clearly towards Disco and Funk in his filtered style. Meanwhile, lyricist Andrew Savage places us on a curbside as we watch the world go by in the complimentary music video. His lyrics, with wry and witty sections like “I’ve found a reason to exist/Written on the tile of the platform wall/Begging not to go extinct to all those who saw”, plays upon a numb reflection of his own disassociation from society. Other lyrics, like “Combining sound from the corners that you use yourself to tune/Like a Piano, well-tuned and walking slowly”, slip his mood down. These sections provide an interesting contrast to the bombastic nature of the music that swirls around him, acting passively like irrepressible downtown traffic and crowded neighborhoods, that warp around the somber analysis from our lead man as the narrator. All in all, ‘Walking At A Downtown Pace’ plays to the strengths of the band in showing off their outstanding ability to deliver bleak observations in the form of catchy grooves that hint towards other, more light-hearted genres than their typical categorization as a Post-Punk or Garage-Rock outfit. The kind of tune that can make you want to nod your head in slight happiness or nod in agreement to the songwriting, it establishes the band in the same ilk of King Gizzard and Dry Cleaning in how they clearly love to just jam a ton of content in the studio together and give us their better takes as their audience. The final results clearly bring a smile to your face.

My introduction to the band and another song done in a similar style was ‘Wide Awake’, which has also been previously featured on the site. If you’ve had a blast ‘Walking At A Downtown Pace’ with them just now, why not give it a shot here?: https://onetrackatatime.home.blog/2019/09/18/todays-track-parquet-courts-wide-awake/

That brings us to the end of the page for another day! Thank you for joining me on the blog today, and if you’ve already caught up with yesterday’s post or paid your full attention to today’s, let’s see if you can guess what I’ll be covering tomorrow *winks*.

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