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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Dana Gavanski – ‘Indigo Highway’

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to settle my own nerves like a calming pill for a playful addition to my catalogue with 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! Inspired by the live performance aspects of David Bowie, Art-Rock singer-songwriter Dana Gavanski – a Canadian-Serbian musician based in London – almost followed in her father’s footsteps for a career in the film industry, but she developed her skills in music for a year and decided to release her first record back in 2017. Following that time, she has received acclaim for her work from sources like Exclaim, Monkeybiz and BBC Radio 6 Music, with the latter naming 2020’s ‘Yesterday Is Gone’ as their album of the week. She has recorded two live sessions for Marc Riley’s show, she has supported Damien Jurado on a tour across Europe and she has worked with Tuung’s Mike Lindsay as her producer. More recently, she recorded a cover version of King Crimson’s ‘I Talk To The Wind’ as a charity single. In the near future, she will be releasing her second full-length studio album – ‘When It Comes’ – as she gears up to add another release to her impressive resume for an artist who’s only been active since 2017. Set to release through Full Time Hobby on April 29th, she describes the release with “In many ways, this record feels like it is my first. When I could use my voice, I had to focus so there is an urgency and greater emotional trajectory than before. It’s very connected to vocal presence, which extended into an existential questioning of my connection to music. It felt like a battle at times, which I frequently lost”, in her own words. The new LP was recorded between Montreal and Belgrade, finally being mixed at London’s Total Refreshment centre by Mike Lindsay. Check out Dana’s single ‘Indigo Highway’ below.

Gavanski pitches ‘Indigo Highway’ as an unguarded Moog-built track that captures the loss of childhood relationships with sincerity and absurdity in her press release, as she explains, “From the beginning of my interest in songwriting, I’d tried many times to write about this relationship and never could. It felt too fragile, too fraught with experience and distant in many ways. However faraway the time feels, no matter what came next, ‘Indigo Highway’ endeavors to return to what made the relationship special. This song is like a prayer, or a way back, temporarily, to innocence and silliness and sunshine on a field”, in her words. The fun starts off with an idiosyncratic arpeggio groove and a distinctly retro kick drum beat that paves the way for Gavanski’s abstract vocals to find their mark, as lyrics like “I think I’ve found my way back home, Wandering out” and “When you come over and visit me, We’ll sit by the willow tree” offer pastoral and peaceful reflections on plunging yourself back through time to return to your innocence before the times that followed in adolescence. A Piano drops in rather whimsically, at a later point, to a jaunting set of verses where Gavanski passionately projects her voice with lyrics like “I’ll find your face, it’s changing in different ways/And I’m looking around to see” to contemplate the platonic friendships that she has been finding and declining, or naturally progressed away from, during her lifetime. Propelled by an obscure Synth hook and pierced Keyboard melodies that are locked together frenetically by a consistently no-frills drum kit, Gavanski conjures up a presence that feels highly original in the way that she mixes her playful musicality with youthful personality. Her warm crooning feels both familiar and otherworldly when paired to the otherwise percussive arrangement that feels reasonably melodic, but textured by the eccentric instrumentation and the transcendant qualities of her child-like lyricism. There’s shades of Nico and Cate Le Bon in here, as well as more Folk-costumed nods to Aldous Harding or Weyes Blood’s material, and so it should appeal nicely to a decent range of Alt-Folk and Country-Rock fans with it’s bright, yet widescreen brand of quirky atmospherics and whimsical daydreaming although it feels slightly faster in tempo than most of the music by the aforementioned influences. A joyful and cinematic piece that we could all connect to.

That brings us swiftly round to the end of the Indigo Highway for today! Thank you for coming along for the ride, and I honestly can’t believe how short this week feels because it’s almost time for a fresh new entry of ‘Way Back Wednesdays’ that will be arriving on the site tomorrow. This time, we’re looking back at a very influential Swedish Prog-Pop duo with a cult following who have been celebrating their 20th anniversary with a number of re-issues since 2021. They are also known for wearing Venetian masks in their public appearances, and managing their Rabid Records label.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Sunflower Bean – ‘Who Put You Up To This?’

Good Morning to you! This is Jacob Braybrooke, and it’s time to bring some warmth into the early going of your day with 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! ‘Who Put You Up To This?’ is one of the latest new singles by Sunflower Bean, a Brooklyn-based indie rock trio who will be kicking off their imminent UK tour with a live gig at Cambridge’s The Junction next week on March 30th. Since turning heads with their relentless touring schedule in mid-2010’s New York, as well as their live sets at CMJ Music Marathon in 2014 and South By Southwest in 2015, the Julia Cumming-led Psych-Rock trio have never shied too greatly far away from the mainstream eye by opening for high-profile names like Wolf Alice and Pixies. You may have also seen them supporting fellow Glam Rock-inspired veterans like Cherry Glazerr and Sleigh Bells too. Citing Tame Impala, Nirvana and The Cure as just a handful of their key influences over the years, Sunflower Bean have released their material on labels like Fat Possum Records and Mom + Pop Records since becoming active in 2013. The band’s upcoming third studio album – ‘Headful Of Sugar’ – will be released on May 20th via Lucky Number and it was produced and mixed by Jacob Portrait, Unknown Mortal Orchestra’s bassist. To share about their new album’s themes, guitarist Nick Kivlen says, “We wanted to write about the lived experience of late capitalism, how it feels every day, the mundanity of not knowing where every construct is supposed to ultimately lead you. The message is in the title: this is about fast pleasures, the sugar of life, the joy that comes with letting go of everything you thought mattered”, in a general press release. Check out the lead single – ‘Who Put You Up To This?’ – below.

‘Headful Of Sugar’ is the follow-up to 2018’s ‘Twentytwo In Blue’ and they enlisted the talents of Brooklyn-based director Josefine Cardoni to create the music video for comeback single ‘Who Put You Up To This?’, of which Sunflower Bean comments, “Are you satisfied? Who put you up to do things that you do? Was it your own choice? Questioning your life is the first step to taking the agency to change it. Sometimes you have to let go of who you have been so that you can become who you want to be”, in a contemplative press release. ‘Who Put You Up To This’ is more relaxed than other recent singles like ‘Roll The Dice’ and ‘Moment In The Sun’ from the get-go, where it starts off with a whimsical lead guitar hook and a sultry backing vocal that feels laidback and dream-like, before the melodies slowly build to a more melodic sound with atmospheric keyboard riffs and a softer, light bass guitar riff that ticks along to the more dissonant and driving guitar lines. The vocals complement a tone of mixed emotions, where refrains like “If only I could feel so free/To call you now would be a breeze” where a sentiment of sadness hangs in the balance, yet more straightforward lyrics like “I’m burning up all the obligations, and I’m gonna take a permanent vacation” introduce more powerful and furious moments where Cumming conveys a message that is equally about starting a new chapter of your life while simultaneously shedding the skin of your former baggage. The pressure is released by aggrieved hooks like “I’m good enough for the main course, even if I’m the one that’s paying for it” that reflect on our choices of habits that lead to self-analyzing your deepest desires, while relieving sequences like “So tell me when you feel the need/We’re letting go for real” allows Cumming to untie herself from the unhealthy experiences that led to her actions taken in reflection of her experiences in an unhealthy relationship. There’s a tuneful guitar solo thrown into the mix for added texture, and the vaguely stop-and-start pacing is accentuated by a sentimental Horn riff that gives the track its mixture of somber moods and vibrant psychedelic melodies. Overall, ‘Who Put You Up To This?’ is an excellently crafted new single that reminded me of Kate Bush in its narrative-leaning structure and psychedelic concoction of Art Pop and Glam Rock influences. It feels like a break-up track with a difference, wherein the forceful sense of relieving yourself is flipping between the worst moments and the purely divine ones down a stream-of-consciousness route. There’s plenty to like here.

That brings me to the bottom of the page for another day! Thank you for checking out what I had lined up for your amusement today, as your support always means a lot to me, and we’ll be going down the lane of Techno, IDM and Electronica – three of my top-tier genres – for ‘New Album Release Fridays’ in 24 hours’ time. The record comes to your way by a London-based experimental electronic music producer who has received positive write-up’s from publications like Clash and he has released music on London-based label FIELDS and German label Traum Schallplatten. He has released remixes for Nils Frahm, Hot Chip, Guy Andrews, Sasha, Jim Wallis and countless more.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Scuzz Sundays: Avenged Sevenfold – ‘Afterlife’

Good Morning to you! You’re tuned into the text of Jacob Braybrooke, as we pay a visit (Rather literally, in the case of this track’s title) to one of the ghosts of Pop-Punk past for another weekly iteration of ‘Scuzz Sundays’ on One Track At A Time, the blog where I simply write up about a different piece of music every day! Known for their eclectic Nu-Metal sound and the theatrical imagery of their promotional artwork, one heavy rock band who were hard to miss during the 2000’s and 2010’s was Avenged Sevenfold, a band who were formed in Huntington Beach, California in 1999. Still recording new material regularly today, the band have released seven studio albums of which they have sold over 8 million units worldwide, and they have even created four original tracks for the soundtracks of the ‘Call Of Duty: Black Ops’ series – for any video game lovers out there. They were also ranked as #47 on Loudwire’s list of their Top 50 Metal Bands Of All-Time in 2018. Released in 2007, ‘Afterlife’ was taken from Avenged Sevenfold’s self-titled album – that was actually their fourth studio LP – and it was their last album to feature the solid drummer ‘The Rev’ before he sadly passed away two years later during the production of 2010’s ‘Nightmare’. Give it a spin below.

The album debuted at #4 on the US Billboard 200 Album Chart and it was later included in Kerrang’s list of their “666 Albums You Must Hear Before You Die” as well as winning the Kerrang! award for Best Album in 2008. Meanwhile, the single – ‘Afterlife’ – was released with a music video that was directed by Wayne Isham, who had previously shot videos for Bon Jovi and Judas Priest. You can hear it on the ‘NHL 09’ video game soundtrack and it was voted as the best song of the new album on the band’s homepage upon its release, and so there’s absolutely no pressure for ‘Afterlife’ to hold up to quality and value in the present day, of course. It becomes clear that the lyrics are all about a man who dies at an early time and goes to heaven, but realizes that he has unfinished business to finish on Earth before his soul passes away, and we are essentially getting a soundtrack for that journey. The uptempo guitar riffs open the track immediately, with the lead guitar paving the way for the narrative to shine through ahead of a fantastic guitar solo in the final act of the structure. The lead vocals have a gear-switching flair with some sequences diving between a feeling of innocence and vengeance, and some harsher sequences that contrast the warmer lyrics with a punchy and energetic feeling. The lead-in to the chorus raises the tempo again after a mildly subdued stretch of instrumentation, where the tone of the vocals were a little more somber and pained, with some brief backing vocals and a bridge towards the main guitar solo that lays out the pacing neatly. The solo is 80’s schlock, but it’s done with a technical competence and it works well because of the track’s fast-paced nature. The more theatrical conclusion to the final act introduces some short Violin sections to the track, as the Strings signal the arrival of our protagonist to the gates of heaven and his subsequent departure to the living world as there’s still much for him to do there. It’s great that we follow a narrative of-sorts with the track, and I have to say that I rather enjoyed it. The vocals are a little cheesy at points where we cycle past the questionable accents and it veers slightly towards a 00’s radio rock commercial appeal, but I felt the guitar solo was very enjoyable and it was nice to hear Avenged Sevenfold moving away from their imitations of influences like Iron Maiden and going for a more individual direction with the story in the process. A little on-the-nose, but this was perfectly enjoyable and it has a couple of progressive ideas.

That’s all that I’ve got lined up for you with today’s edition of ‘Scuzz Sundays’, and I thank you very much for continuing to support the blog every day because it really means a lot to me. Normal service will be resuming again tomorrow as we kick off the new week with some brand new music from a Cheshire-based female indie rock trio who I have actually spoken to in the flesh when they supported The Orielles at The Sugar Mill in Stoke-On-Trent in early 2020. Their debut LP is set to get released in May.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

New Album Release Fridays: Beach House – ‘Once Twice Melody’

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to give you a sneak peek at one of the weekend’s most exciting new album releases, given that it’s always my day-to-day pleasure to write up about a different piece of music every day! In most typical weeks, my choice for ‘New Album Release Fridays’ on the blog is a highly anticipated affair that we’ve only got two or three singles from at most prior to the big moment of release, however, in the case of ‘Once Twice Melody’ – you can hear three quarters of it already. The latest LP project from the Baltimore, Maryland duo of Victoria LeGrand and Alex Scally, otherwise known as Beach House, a Chamber Pop duo who have been nominated for a GAFFA Award in Sweden, ‘Once Twice Melody’ is effectively a double album that contains 18 tracks that have all been presented in four chapters of four tracks that have seen staggered releases since November 2021, a risky move that notably finds music contributing to the streaming algorithm more closely than ever before. In aid of supporting the behemoth of a record, Beach House will be touring the UK and Europe in May and June 2022, as well as performing alongside fellow Psychedelic acts like Tame Impala and Lorde at this summer’s Primavera Sound Festival. ‘Part 1’ was released on November 10th, 2021 followed by ‘Part 2’ on December 8th, 2021, followed by ‘Part 3’ on January 19th, 2022 and, finally, the final chapter releases today alongside a full release of the project on Vinyl and Streaming. The duo have also recently provided the soundtrack to ‘Marin’s Dreams’, a short film. With their drawing and expansive sound that has been focused on conveying an abstract reflection of a message that idyllic moments are never quite as fruitful as fantasy, I have a lot of faith in LeGrand and Scally to pull out all of the stops with this mammoth of a release. For a sampler, let’s revisit the title track below.

Self-produced entirely by themselves, the ambitious LP project by Beach House was mixed by Alan Moulder, Dave Fridmann, Caesar Edmunds and Trevor Spencer, and it has been recorded over the past two years in a handful of studios spanning across Los Angeles, Baltimore and Cannon Falls. The lyrics for the title track speak of a girl that is placated by her own eccentric imagination, an unnamed character with an enigmatic narrative that we experience with refrains like “Nights fly by in her mind/All along the boulevard” and “She tries to understand/A never, never land” that find LeGrand focusing on the finer details of her mindset and they play out above a gorgeous sequence of looping synths and live drums on the title track. Guitar arpeggios continue to conjure up a sweeping and decorated soundscape that evoke sinking into the grass or the sand from an hourglass slipping through your fingers while LeGrand croons about the sensual slow pace of a hot, gauzy summer’s day. Lyrics like “Days go by/In her eyes/Belle De Jour in front of me” and “The purple on the vine/The velvet deep tree line” find the prismatic mood of the vocals basking in the far-away lands that have been constructed by our shy character’s wandering mind. It feels lush and vibrant as a complete package, with LeGrand and Scally telling a mysterious yet intriguing tale of the illusion of a crystal clear universe of fiction that are polished carefully with intimate Strings and a symphony of creative backing vocals, and yet the idealizations of our leading lady are never truly filled in. The sound simply takes you back to the very core of Shoegaze and Dream Pop music, which is all about filling a simple few melodies with meticulous details and an atmosphere that is simply designed for you to get lost in – and the kicking drums/synths combo of the vivid instrumentation escalate their own levels of intensity as the sprawling sounds move up to a higher scope. Therefore, I have a lot of faith that despite the sheer length of ‘Once Twice Melody’ as a full release, LeGrand and Scally will give the project plenty of depth and variety as to not grow tiresome and justify the length in creating music that doesn’t lose it’s intimacy over a run time. I concur that Beach House are brilliant!

I’m off to visit my sister in Kent today, and so I haven’t got any longer to chat about all things music with you for today, but thank you very much for checking out the blog and your support is highly appreciated! If you deeply love your Dream-Pop and your Shoegaze styles of music, you’re also going to enjoy tomorrow’s post, which is why I decided to cover these two tracks so tightly together. It comes from the main solo project of the French multi-instrumentalist and producer Melody Prochet who got a 9/10 score from Drowned In Sound’s Dom Gourlay for her debut studio album in 2013.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Obongjayar – ‘Message In A Hammer’

Good Morning to you! This is Jacob Braybrooke, and it’s time to hear a defiant word of resistance from today’s important new voice in music with yet another daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Long-time readers may remember how Obongjayar reached the last spot of my ‘Top 5 Best EP’s Of 2020’ list with ‘Which Way Is Forward?’ eons ago, and that’s because this artist is doing a lot of very creative things within the Afrobeat genre by blending elements of Electronic, Spoken Word, Psych-Pop and Post-Rock music together to create frightening and visceral soundscapes that lyrically explore non religion-specific spiritual overtones about searching for your soul. Obongjayar is the release moniker of London-based Afrobeat artist Steven Umoh, who was born in Calabar, Nigeria and he moved over to the UK with his mother to escape their abusive relationship with his father. He is influenced by the US Hip-Hop artists of the 2000’s who he spent his childhood listening to including Eminem, Ciara, Usher, Nelly and Snoop Dogg. His work has gained praise from Pitchfork, The Guardian, New Wave Magazine and Deep Cuts – and he has recently collaborated with Pa Salieu and Little Simz. He also contributed to the ‘Everything Is Recorded’ project that was started by Richard Russell, who is the executive of XL Recordings. Umoh will be releasing his debut studio album – ‘Some Nights I Dream Of Doors’ – via September Recordings on May 13th. In an attached press release, Umoh says, “This album dives into the idea of opportunity and tries to explore what that means, what lies beyond those doors, and asks if we’re ready for it”. Check out his haunting single ‘Message In A Hammer’ below.

The new album features 12 tracks including the other pre-release single – ‘Try’ – and a new collaboration with the Mercury Prize-nominated Prog-Jazz musician Nubya Garcia. ‘Message In A Hammer’ is built on a pummeling beat that Umoh devised with co-producer Barney Lister, and Umoh makes his stern warning sound clear, saying, “Message In A Hammer is about fight, and fighting against the powers that take and steal and rob from us, and calling them by their name – thieves and murderers”, in a press release. The ‘hammer’ in the track’s title is not metaphorical in the video, and he matches this striking imagery with a piece of music that finds him chanting methodically with his vocals that sound very determined and brutal with honesty. Refusing to be placed into a box, he protests against colonialism and state corruption with unbridled lyrics like “Born in trouble water/Every stroke is war” and “They drowned the ones before us/But we’ll make it to shore” that hint towards the actions bought about by SARS, a Nigerian authority who has come under scrutiny for the violence that it has inflicted on young Nigerians with its special police force. Synths hover and waver in the backbeat, while the drums thump along at a relentless pace and sell the disdain that Umoh has instinctively felt about the history that he refuses not to get overburdened by, and he instead turns the tide – in both a literal and a lyrical sense – with the leading hook of “You can beat me, shoot me, kill me, throw me in jail/You can strip me, use me, abuse me” that makes his very commanding presence felt and leads his unsullied chorus. His tone is furious and hellbent, but his vocals come across as passionate instead of preachy, for the most part. I think what really works about Obongjayar’s music is how his voice stretches through a plethora of political and intimate themes, while set against a range of different influences and subsequent backdrops, without coming across as too self-righteous and it feels harsh, but well-balanced, instead. This is another solid example that he displays on ‘Message In A Hammer’, a message against the dispatch of systematic oppression that acknowledges the past while conveying a forward-thinking ethos and delivery. The naval percussion, the sinister Synths and the brisk pace tie a neat ribbon around it all.

That’s all for now! Thank you for checking out some different music with me today, and thank you for lending a pair of eyes to my site for just a few minutes today. I’m visiting my sister in Kent tomorrow – so you can rest assured that I’ve gotten ahead of my game and written all about tomorrow’s pick for ‘New Album Release Fridays’ in advance. We’re discussing the ambitious double album project from a Chamber Pop duo from Baltimore, Maryland who have been nominated for a Swedish GAFFA award.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

New Album Release Fridays: Trentemøller – ‘All Too Soon’

Good Morning to you! This is Jacob Braybrooke, and it’s time to get through the last few hours of your tiresome working week with the aid of yet another daily track of the blog of the ‘New Album Release Fridays’ variety, given how it has always been my day-to-day pleasure to write up about a different piece of new music every day! One of today’s most eventful album releases comes from Trentemoller, a Danish film score creator, producer and multi-instrumentalist from Copenhagen, Denmark who has released lush compositions of a cinematic style for over 20 years now by drawing on elements such as Minimalism, Glitch, Dark Wave, Downtempo, Instrumental Hip-Hop, Synthwave, Post-Rock and more with productions that feel eerie and progressive for his grounded discography. Trentemoller started making music in the 90’s as a part of different Indie Rock projects and he has since founded his own label – In My Room Records. He also headlined the Orange Stage at Roskilde Festival in 2009 with a set designed by his close friend and touring drummer Henrik Vibskov, a night that saw him playing in front of 60,000 people with innovative visuals to captivate them. Today, he is releasing his sixth full-length studio album – ‘Memoria’ – via his own label. This is the follow-up LP to 2019’s ‘Obverse’, a record that was nominated for IMPALA’s European Independent Album Of The Year award of that same year and it also saw him collaborate with Warpaint’s Jenny Lee Linberg and Slowdive’s Rachel Goswell. For one of his latest singles – ‘All Too Soon’ – he has reached out to his own girlfriend Lisbet Fritze for a glistening series of radiant backing vocals. Let’s give it a spin below.

Taking us through the narrative behind ‘All Too Soon’ on his own Bandcamp page, Trentemoller says, “All Too Soon examines ostensibly diametric relationships of light and dark, life and death, day and night, love and hate, while actually presenting them as dualistic, and symbiotic, influencing each other as they interrelate. What might appear to be a dispiriting take on our mortality could just as easily be interpreted as its acceptance being liberating”, in his own description. Beginning with a light acoustic guitar strum that becomes more intense and darkens the atmosphere before Fritze’s mysterious vocals kick in, who croons pained lyrics like “Have you ever fallen in/Into an inner void?” and “Do you feel like I do? Abandoned from it all” with an enigmatic presence, with a Trip Hop-influenced soundscape that morphs into a more glitched and distorted picture frame of a piece as the four minute duration of the track takes its time. Trentemoller complements the scattering Shoegaze opus of the chorus – with regretful lyrics like “We can’t live forever/If we could, we would” being sprawled all below percussive feedback stabs by Fritze – with sumptuous melodies of melancholic Drums and antagonized trails of reverb. Together, it makes up for an ethereal combination of psychedelic Dream Rock and textured Progressive Pop with a few vague lyrics like “Is a growing darkness/All you see?” creating a platform of intrigue. Through the means of collaborating with his girlfriend, Trentemoller toys with the idea of connections, with lyrics like “Is it day or night/Is it love or hate/Is it anything between?” that contrast each other and his instrumental work employs some warm percussion that counteracts the more cold, dry tones of the guitar and drums. Overall, ‘All Too Soon’ is a detailed and well-informed exploration of items that are bound together, yet they are opposite and he soundtracks these relations with his pivoting instrumentation and his emotive yet guarded lyricism that doesn’t reveal much in terms of laying out a direct meaning, with an underlayer of Pop that ensures that light is appropriately clashing with darkness throughout his soundscape.

That leaves me with nothing left to say other than to thank you for time and wish you well on your way to the weekend. ‘Scuzz Sundays’ will return in two days time for the usual throwback to the ‘trashy teen’ era of our lives, but I’ve also got some new music to share with you tomorrow that comes from an Indie Rock duo from the Isle Of Wight who have been all played over BBC Radio 1 and BBC Radio 6 Music since their debut single – ‘Chaise Lounge’ – went viral last year. They are shortlisted for BBC’s ‘Sound Of 2022’ poll and they began touring in the US in December as they keep finding success.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Lo Moon – ‘Dream Never Dies’

Good Morning to you! This is Jacob Braybrooke, as you will be already aware if you’ve read the blog before, and the time has come for me to write up about some wistful sounds with yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of new music every day! Comprised of Matthew Lowell, Crisanta Baker, Sterling Laws and guitarist Samuel Stewart – who is the also the son of Eurythmics’ David A. Stewart and Bananarama’s Siobhan Fahey – Lo Moon are a nice California-based outfit known for their wide-eyed explorations of uplifting Dream Pop and melodic Indie Rock who have previously been signed to major label Columbia Records after forming in 2016, where they released their self-titled debut album to positive reviews in 2018. Although they seem like a fairly low-profile name, Lo Moon will be supporting The War On Drugs on tour soon. They have also opened for a wide variety of more familiar bands – including Phoenix, Glass Animals, CHVRCHES, Air and London Grammar – along the way. You may have also seen them cap off these rigorous touring schedules with their solo sets at festivals including All Points East in London, Lollapalooza in Chicago and Governor’s Ball in New York City as well. Two years after their debut LP was released, their sophomore album has recently been given a title and a release date. You can hear ‘A Modern Life’ from February 25th – this time via the Strngr Recordings label, and so any die-hard fans of Lo Moon’s little universe will be very excited in just a month’s time. The first single – ‘Dream Never Dies’ – was co-produced by Yves Rothman (Yves Tumor, Miya Folick) and the accompanying music video aims to take you, as the listener, through the broad architecture of ambitions and expectations, as directed by Michael Hili (The Killers, John Carroll Kirby, Lemon Twigs). So, lets check out ‘Dream Never Dies’ below.

Prior to the second new single ‘Raincoats’, ‘Dream Never Dies’ marked an important statement for Lo Moon as it was their first new material in three years. Vocalist Matt Lowell says about this track, “As I get older, I’ve become more and more nostalgic about my youth. I had way less anxiety, I didn’t fear losing the people closest to me, or have to face the bigger questions of life”, adding, “Hope and optimism were just a little bit easier back then. I work hard not to let the complexities of life suck the hope out of me. This song, if nothing else, is a reminder to try my best and not let that happen”, to his press release. Kicking off with a floating array of rich Piano accents, the beat settles into a groove with deep percussion as Lowell recites motivational lyrics like “Locking eyes, late at night butterflies, hold me the rest of my life” and “Let this go, what’s the use?/The more you know, the more we lose” as he mimics swift poetry with a soaring style of vocals that punctuate the verses, and later, the chorus. Later on, the soundscape develops further with cinematic Synths backing up his warm vocals and a sprawling guitar solo that continues to widen the scope of their sound. The chorus, meanwhile, feels nostalgic and radiant as open lyrics like “What happened to all the east days of summer/Back when we were younger” and “Radio still blasting, heaven’s everlasting” ascend momentarily above some reverb-drenched instrumentals and some amplified Strings, before Matt Lowell uses some nascent refrains like “If I could bring you back/All I have to do is close my eyes” to complement the beautifully moving, and often cinematic, Chamber-esque melodies. There’s certainly a Talk Talk-like motif to Lowell’s towering vocals here, where the 00’s Brit-Rock elements and the ache of summer nostalgia collide to create an exciting, if a little basic, lyrical theme that we can all relate to. A wholly personal affair that sounds stunning, ‘Dream Never Dies’ is a powerful and poetic piece that will keep you awake.

That brings us to the end of another daily post on the blog! Thank you for helping my dream not to die by checking it out, and I’ll be back tomorrow for a new iteration of ‘Way Back Wednesdays’ as we revisit a beloved Scottish Experimental Rock band who achieved a cult following with their pioneering brand of ‘Folktronica’ in the late-90’s until disbanding in 1994. The band’s music, and a name-drop of them, was used in a famous scene starring John Cusack as a record shop manager in 2000’s ‘High Fidelity’.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

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’.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE