Today’s Track: Bolis Pupul – ‘Kowloon’

April 12, 2024 — Leave a comment

A fish not out of water, but thriving in their natural habitat for once. New post time!

Pictured: Cover Artwork for ‘Letter To Yu’ (LP) (Released on March 8th, 2024) (via DEEWEE)

Good Afternoon to you! I’m Jacob Braybrooke and it used to be my day-to-day pleasure to write up about a different piece of music every day before my adulthood got right in the way! Attempting to pinpoint the ancestry of today’s artist, Bolis Pupul, may provide enough for a full blog post on its own. Born in Belgium and raised in Ghent by a Belgian cartoonist father and a mother who was born in Hong Kong but lived in China, Pupul lived in a household that kept shlves full of vinyl records. After falling in love with Beck’s weird and wonderful 90’s LP’s such as ‘Mellow Gold’ and ‘Odelay’, he cut his teeth in a Synth-Pop project with his sister and brother-in-law that nurtured his love for eight-track Foxtex recorders and the Japanese Shibuya-key star Cornelius during the late 2000’s and early 2010’s. Fast forward to 2024 and Bolis is best known for releasing the critically-beloved ‘Topical Dancer’ LP which was a joint venture with Charlotte Adigery. As a solo artist, he is now signed to Soulwax’s label Deewee that is also the home of artists like James Righton, Marie Davidson and EMS Synthi 100 who are known for exploring futuristic 70’s Funk-driven Pop sounds. The long road to releasing his first solo full-length ‘Letter To Yu’ was full of pot holes and diversions though, like using a rail replacement bus service to travel from Littleport to Liverpool. The main cause of heartbreak was the loss of his mother, who died in a car accident during June 2008 at age 49. She was a huge inspiration for the LP, which is centered around a trip that Pupul took to Hong Kong in 2008. He visited the street where she was born and he wrote her a letter which became “the coat rack on which the entire record was hung“, as Pupul notes. Sample his sound with ‘Kowloon’ below.

The sounds of frogs, the voice of a doctor that Pupul visited and the sounds of a train platform are all recordings of Pupul’s adventure to Hong Kong that all crop up throughout the 11 tracks and the near 46-minute duration of the aromatic album that paints a picture of the Kowloon urban district that Pupul visited with an intimate touch. In fact, the seventh track on the final product is named after Mau Tau Wei Road in which the maternity clinic that his mother was actually born within. Having read all of this information on Pupul without my description of the sound, you would probably expect ‘Kowloon’ to sound like a spiritual jazz record with steady drones and a larger prioritisation on rhythm instead of melody. However, the element of suprise arrives at full throttle as the East-Asian take on the Kraftwerkian Alt-Pop of the 80’s quckly begins to reveal itself. Nostalgia and celebration are steeped in equal measure on ‘Kowloon’ which begins and ends with a stabbing, highly compressed key sound but he fills the space of sound with a gradually sauntering drum melody that swiftly evolves into a charming dance track akin to a late-90’s French House workout. The technicolour and futuristic aesthetic never dismisses the slow, hypnotic start to the track but embraces the repetition instead by incorporating East Asian touches to the European Motorik sound. There’s a characteristic that is incredibly inviting about finding release on the dancefloor given the very heavy events that set the album’s narrative in motion as well as the sense of ever-present joy that Pupul provokes so enthusiastically. His personality, soul and sense of fun is communicated through the playful composition of the track and the ambience of the vocals that almost sound intelligible, but retain the effect of being in a room with others and not being able to make out the words which happens often in life. It gives this track a sense of place, making us feel like a part of Kowloon as we listen to his martial stomp of a Synth-driven track. Overall, this is a wonderful ode to the widely believed notion that an album should provide a snapshot of the artists’ life. It feels intimate enough to retain some mystique for Pupul personally, but it feels inviting enough to give us a glimpse of his life story. A tour-de-force of euphoria, ancestry and – most importantly – cheer.

Pictured: Bolis Pupul recording a live set for Indie Rock Hit Parade w/Charlotte Adigery (2022) (Photo by WXPN)

That’s all for today! Thank you for joining me on my journey as I find my place in the music industry after a few years of hiatus due to personal issues and please join me again next week as I spotlight another example of the fantastic music which 2024 has provided since beginning 15 weeks ago. I look forward to writing to you again shortly.

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Today’s Track: Sondre Lerche (feat. CHAI) – ‘Summer In Reverse’

May 2, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Avatars Of Love’ (LP/Album) (Released on April 1st, 2022) (via Self-Released)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to wish for warmer weather as we get settled down for the Bank Holiday 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! A Norweigan singer, songwriter and guitarist now based in Los Angeles, Sondre Lerche grew up in a Bergen suburb where he became fascinated by 1980’s Pop, Bossa Nova and Neo-Psychedelia, captivated by bands like The Beach Boys and Prefab Sprout. He began formal guitar instruction at the age of 8, played regular acoustic gigs at the club where his sister worked as a teenager, wrote his first track at the age of 14, and got scouted by eventual mentor H.P. Gunderson. Since that time, Lerche has released eight full-length studio albums, signed up to a lucrative record deal with Virgin Norway, and he’s gained praise from various sources including Brooklyn Vegan and Stereogum, additionally earning the award for ‘Best New Act’ at the Norweigan Grammy’s within his first year of writing and producing music. Lerche’s been busier than ever lately, having released ‘Avatars Of Love’ – a double album featuring 14 tracks that run past 90 minutes in total – on April 1st, 2022. The project was created at home in Norway following what Lerche thought would be a temporary move from Los Angeles in March 2020, but it was completed in a brief yet intense period of a year. Rather than letting his material pile up, Lerche decided to just simply record each track as soon as it had been written, working with a variety of musicians and producers in-person in Bergen as well as reaching out to a variety of international collaborators over the internet. Among the guest list are AURORA, Mary Littlemore, Dirty Projectors’ Felicia Douglass, Anne Mülle and Rodrigo Alarcon. A melancholic but sweet new single from it, ‘Summer In Reverse’ features the Japanese Alternative Pop outfit CHAI, who admittedly seem to be cropping up on everything nowadays – having worked with Gorillaz, Superorganism, Mondo Grosso, JPEGMafia, MNDSGN & Ric Wilson in recent times. Let’s check out the official music video below.

“This song was written on January 1, 2021, so it’s a bit of a hangover song really. A hangover jam about trying to unhook and ready yourself for a new year through facing some brutal truths“, Sondre Lerche says about the soulful single, adding, “I wanted someone else to sing the pre-choruses, kind of like a soft Greek chorus and I had just heard and loved ‘Donuts Mind If I Do’ by CHAI, so I reached out. I’ve been immensely inspired by Japanese city Pop and ambient New Age, and I love how the two go hand in hand somehow. I was thrilled to have some company on the song, so it didn’t feel so pathetic and sad“, to amusingly describe his collaborative experiences with CHAI. The jumping ramp for the single starts with a glitched drum beat and a looped, light Samba-inflicted guitar melody. The playful combination introduces a slightly twisted, widescreen splashing of Synths after the opening verse, as Lerche’s radiant crooning blends together with the dream-like qualities of CHAI’s backing vocals to create a breezy groove that doesn’t cool down and lets up for the occasional sampled String crescendo, adding a virtuosic feel to the section that reminds me of Jens Lekman or The Avalanches from a production standpoint. I like how there’s a melancholy and a bitterness to the instrumentation, but it still retains a warm feeling due to the soulful and Prog Jazz-leaning influences. I really like a lot of the lyrics here too, with refrains like “We should get together every summer/and make each other miserable all fall” and “Or can you only love me in the summer?/Or, never at all?” managing to convey a wide spread of emotions while also seeming endlessly quotable at the same time. In conclusion, this is a fantastic single that really took me by surprise in how it feels both aesthetically pleasing and dynamically rich in texture, unleashing a tapestry of moods that feel like the definition of bittersweet. Clever, playful and elegant. A total package.

Pictured: Sondre Lerche in a recent photoshoot to promote ‘Avatars Of Love’ (2022) (Photo by Tonje Thilesen)

That leaves me with little else to say today, other than to thank you for supporting the site today. I’ll be back at it again tomorrow with an exciting in-depth review for ‘Fine Everything’, which is probably the most well-known single by an emerging indie rock band that I discovered on a recent episode of Steve Lamacq’s ‘Roundtable’ on BBC Radio 6 Music, where it gained positive reviews from the show’s panel. This trio have worked with Blood Red Shoes’ Steven Ansell as a producer. They have also supported the likes of Sasami, Penelope Isles & She Drew The Gun for live gigs across the UK too.

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Today’s Track: Automatic – ‘New Beginning’

April 28, 2022 — Leave a comment

Pictured: Izzy Glaudini (Vocals/Synths), Lola Dompé (Drums) and Halle Saxon (Bass Guitar) (2019) (Photo via PR)

Good Morning to you! This is Jacob Braybrooke, and the time is now to fill up your electric car as we take a trip of futuristic Motorik proportions to outer space as we get invested in 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! I don’t think that a fortnight ever goes by where we don’t cover an artist signed by Stones Throw Records – known for artists like MNDSGN, Maylee Todd, Kiefer, Sudan Archives and John Carroll Kirby – but the truth is that the California-based soul specialist label has been churning out loads of great material lately, and I am about to add Automatic to the aforementioned list of their all-star acts. A Synth-Punk trio comprised of Izzy Glaudini (Vocals/Synths), Halle Saxon (Bass/Vocals) & Lola Dompe (Drums/Vocals), Automatic became a mainstay on the L.A. dance club circuit after forming in 2017. Their biggest influence is The Go-Go’s – an 80’s New Wave band who are the only all-female band to have written and played every instrument on a #1 album in the US as of 2017 – who have also provided the three-piece’s namesake. Glaudini and Saxon have played in other Los Angeles-based bands like Mega Bog and The Black Windmill, while Dompe is the daughter of Bauhaus’ Kevin Haskins who – as a teenager – played in Blackblack alongside her sister, Diva Dompe. Automatic will be releasing their second studio album ‘Excess’ on June 24th and they will be touring alongside Tame Impala, Parquet Courts and Osees throughout 2022. Check out the lead single ‘New Beginning’ below.

The music video for ‘New Beginning’ was pitched by director Ambar Navarro as an homage to the Swedish sci-f film ‘Aniara’ – and the band have continued to tease the album’s explorations of the edge of the 70’s club underground and the industrial side of the 80’s by writing that it aims to capture “That fleeting moment when what was once cool quickly turned and became mainstream, all for the sake of consumerism“, adding, “The record is about what happens to our psyches when we’re conditioned to certain values, the consequences of those values and a desire to resist them“, in a press statement. Starting off with more of a Dream Pop-like sound set to the tune of fairly deadpan vocals that recalls many retro female vocal groups like The Ronettes, as Glaudini contemplates the idea of leaving behind a dilapidated Earth in solace of false hope created by the ultra-wealthy who are eyeing manned space travel with piercing lyrics like “In the service of desire/We will travel far away” and “Heard the final echo/It’s almost time to go” as the beats behind her gain traction with a stomping bassline and thudding drums. Once these melodies up the ante a little bit, later lyrics like “Falling through the distance/The stars will light the way” and “Endless service of desire/Every night and every day” are recited more energetically, as Glaudini weighs up some pro’s and con’s of attempting to escape the planet when it gets scorched – with a fair quality of inevitability in her rather unphased voice – as unchecked consumerism continues to reach its logical outcome. While a bit bleak, the lyrics are given more flair by the instrumentation which is undoubtedly more optimistic and colourful. The early insistent Bass groove and her intentionally ‘flat’ vocals slowly morph into heavy Synth stabs and lockstep Motorik drums that give ‘New Beginning’ its distinctly Industrial character, topped off by handclaps in tandem with the percussive combo of an atmospheric Keyboard section and fuzzed-out Snare effects. ‘New Beginning’ ultimately adds a splash of colour and imagination to an otherwise bleak topic, plus it replicates the Disco vibe and the 80’s influences with a modern twist due to the more current social commentary of their lyricism. Overall, this is another eclectic, exciting song being supported by a label who are killing it right now.

Pictured: Cover Artwork for ‘Excess’ (LP/Album) (Available from June 24th, 2022) (via Stones Throw Records)

That’s all for now! Thank you for checking out my latest post on the blog, and I will be back tomorrow for ‘New Album Release Fridays’ as we preview the new album by an established urban Indie Rock band from London who were formed through an NME advert in the early 00’s. They won NME’s Album Of The Year award in 2007 for ‘Silent Alarm’ and, in addition, they have roughly sold over three million records worldwide.

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Today’s Track: Everything Everything – ‘Teletype’

April 23, 2022 — Leave a comment

Pictured: Vinyl & CD bundle for ‘Raw Data Feel’ (Available from May 20th, 2022) (via AWAL Recordings)

Good Morning to you! This is Jacob Braybrooke, and it’s time to save some space on your hard drive for the retrieval of some new digital (and legally purchased) MP3 files as we get invested in yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! First getting their break out via BBC Music Introducing in the mid-2000’s, Everything Everything is a familiar and friendly name for many longtime UK Indie fans given their established profile and diverse discography over the past couple of decades, with the Manchester-based Alternative Pop – bordering on Art-Pop, Industrial Rock and Microhouse – band receiving five Ivor Novello Awards nominations and one Mercury Prize nomination to their name for their efforts. The band also follow in similar foot steps to projects like Django Django, Talk Talk, The The, Duran Duran and The Linda Linda’s in giving their name a multiple repeated title – and if you can think of any more good ones, please feel free to let me know on Twitter (As the link is below) or leave me a note in the comments section. Anyhow, ‘Raw Data Feel’ is the follow-up to 2020’s ‘Re-Animator’ and it will be released on May 20th via Infinity Industries/AWAL Recordings. To make the album, the band enlisted the help of an AI programme that was fed information – including terms and conditions of LinkedIn, the poems regarding Beowulf, 4Chan posts and the teachings of Confucius – to create experimental lyrics, track titles and album artwork for their full-length project. Check out the new single ‘Teletype’ below.

Everything Everything have also confirmed a handful of live UK tour dates taking place between May and September 2022 – including a recent appearance at London’s Roundhouse on April 13th – which includes support slots from L’Objectif, Phoebe Green, Do Nothing and Liz Lawrence. Whetting our appetite for the band’s upcoming sixth studio album, the quartet says of ‘Teletype’ as a single outing, “This song began in a very experimental way, with Alex and Jon sampling voice and guitar then putting it through a process that randomized each chord in a chaotic and glitchy rhythm. A very direct song, straight from the heart, with a fresh new openness that we felt was a good scene-setting for the record”, in a press release. While my work is almost done, I need to share my thoughts on the track to give you a unique take on it. It starts off with a warped Synth-led instrumental which leans loosely into Breakbeat, with a scattered sense of pace that gives refrains like “It’s easy to lie when nothing makes sense anymore” and “I’m a liar, but I’m lying next to you, and you don’t care” a more psychedelic quality. These observations on the confusing world that 2022 presents to us are pushed to the forefront when the bridge closes and the chorus sweeps in, as the 8-bit inspired rhythms and the modular Drums are replaced by a more brooding bassline and a more percussive Drum beat that chirps along to the upbeat tempo of hooks like “You don’t talk a lot but I like it, ‘Cause I can’t tell you everything that went on” and “You might be everything that I want” that mold the glitchy Techno-driven production and the galloping melodicism of Jon’s vocals into a more anthemic and catchy chorus, despite the inherent aggression of the electronic instrumentals or the harshness of the Bass never quite changing much in any dramatic sense. The track maintains it’s Breakbeat origins and Glitch-Pop influences throughout, and the vocals manage to feel distinctly unsullied because there’s a lack of overdub, filtering effects or backing vocals to drown out the emphasis on Jon’s voice. Just because this is an electronically driven track does not mean that auto-tune has to make it sound overly processed, and I like that the band took that direction on this track and it avoids the feeling of the track seeming cheap or tacky. Some of the lyrics, like “I feel alright, yeah, I feel good” and “Gonna take a bit/Maybe this will take a little time to heal”, are slightly lacking in the depth department for me because they feel so straightforward, but their rhythm is still catchy despite the songwriting suffering a little from the AI programme’s influence in my opinion, although the use of the said AI scheme is still a mildly interesting idea on paper. The instrumentation is more effective, however, as the guitar and glitched samples remind me of their ‘Get To Heaven’ era and they give the track its vibrant, experimental feel that catches on infectiously. Overall, this is a vivid single that swiftly avoids the problem of not feeling like one thing, nor the other.

Pictured: Jonathan Higgs (Lead Vocals/Keyboard), Jeremy Pritchard (Bass Guitar/Backing Vocals), Alex Robertshaw (Lead Guitar/Rhythm Guitar) and Michael Spearman (Drums/Percussion) (in 2020) (Photo Credit: PR/DIYMag.com)

Everything Everything have been around for 15 years and my blog has been active for a few years, and so it is only natural that stars have aligned before. Find out how here.

‘Arch Enemy’ (2020) – https://onetrackatatime.home.blog/2020/08/04/todays-track-everything-everything-arch-enemy/

Pictured: Cover Artwork for ‘Re-Animator’ (LP/Album) (Released on September 11th, 2020) (via AWAL Recordings)

That brings us to the end of another roughly 24 hour period on the blog, and I’ll be back tomorrow to add a new entry of the weekly ‘Scuzz Sundays’ feature. Thank you for giving me a few minutes today, and join me then as we reminisce over the 20th anniversary of a Gold-certified album in Sweden by a Stockholm-formed indie rock band who are known by many names including Caesars Palace and Twelve Caesars. They are probably best known for their 2002 hit ‘Jerk It Out’ that reached #8 in the UK.

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Today’s Track: James Righton – ‘Pause’

April 11, 2022 — Leave a comment

Pictured: Cover Artwork for ‘JIM, I’M STILL HERE’ (LP/Album) (Available from July 8th, 2022) (via DEEWEE)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to get you re-acquainted with some new music from a familiar face 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! If you remember the Mercury Prize-winning New Wave rock band Klaxons, known for tracks like ‘Golden Skans’ and a cover of Grace’s ‘It’s Not Over Yet’ in the late-00’s, that will be why you’re so sure that you’ve seen Stratford-Upon-Avon’s James Righton before and couldn’t quite put your finger on exactly where. Righton is married to actress Keira Knightley of all people and he also fronted the Shock Machine project that he began in 2016. He also worked on ABBA’s Voyage virtual concert tours in London last year and following from that project, a new solo album has been announced. Produced by Soulwax, ‘JIM, I’M STILL HERE’ is hitting record store shelves in July through DEEWEE. It follows the shiny Synth-Pop single ‘Release Party’ that he released on the same label last year for DEEWEE’s ‘Foundations’ compilation album release. It’s also the follow-up to 2020’s ‘The Performer’, an Alternative Pop record about the distinction between performer and person that he released during the height of the pandemic in March 2020. This was a record that I grew fond of, due to the Baroque instrumentation and the String sections that he played around with. It saw Righton grappling with his own identity, and the upcoming new album plays a somewhat similar role in exploring the family-based serenity that Righton experienced during the promotion of ‘The Performer’ through lockdown in the eyes of an alter-ego named Jim, and the songs were written in Jim’s perspective as an outrageous rock star. The new album features a guest appearance from ABBA’s Benny Andersson, and ‘Pause’ has been unveiled as the first single. It gets accompanied by a music video that was directed by Julian Klincewicz.

“The alter ego of Jim came to me whilst promoting my previous album The Performer during the first week of lockdown. Life shut down and became centered around family and domestic life. At the same time (and this did feel rather strange) I had to promote The Performer. I was asked more and more to live stream concerts through various social media platforms”, Righton says about the creation of his Jim character, adding, “So, I’d put the kids to sleep, head downstairs to my garage studio, put on my Gucci suit and became someone else. The juxtaposition of these lives felt extreme but also interesting to me. I created Jim. Jim would be the deluded rock star, living out his fantasies from the confines of his garage”, about the exaggerated semi-fictional version of himself in the form of Jim. Prince and Midnite Vultures-era Beck are clear influences the second that you press play on ‘Pause’, with 80’s Synth textures and quirky basslines creating a clear relationship between the sonic juxtapositions of Soulwax’s instrumentation work and Righton’s silky voice, where the eminently danceable Synths and the crunching Drums collide to form a warped take on 90’s Synth-Funk. The lyrics reek of narcissism and sensuality, but there’s a hint of actual romance in the more vulnerable tones of Righton’s voice despite the smooth Synth and keyboard work. A variety of lyrics including “Girl there’s never going to be no other/If I could only be your lover” setting up the stage for this contrast, while the cascading backing vocals and the preening artistry of sequences like “You can’t pause with me for the rest of my life” play with the duality between James’ true personality and the more fanciful aspirations of Jim as his alter ego. It’s an interesting proposition for the new album as the lyricism is not too different to those of 2020’s ‘The Performer’ on the surface level, but the sound is a lot more electronic and the Soulwax blueprints are definitely there. While the sound evolves the palette of The Performer’s sounds, the themes still feel just as intriguing and the explorations of self-identity remain intact. Overall, this was a refreshing and welcome return for Righton.

Pictured: James Righton in an official photoshoot to promote ‘The Performer’ (2020) (Photo Credit: DEEWEE)

If you don’t want to hit ‘Pause’ on James – fast-forward to some of his other cuts here.

‘Release Party’ (2021) – https://onetrackatatime.home.blog/2021/05/17/todays-track-james-righton-release-party/

‘Edie’ (2020) – https://onetrackatatime.home.blog/2020/04/02/todays-track-james-righton-edie/

Pictured: Cover Artwork for ‘The Performer’ (LP/Album) (Released on March 20th, 2022) (via DEEWEE)

That brings me to the bottom of the page! Thank you for checking out my latest post on the blog, and I will be back tomorrow to introduce you to a brand new artist who goes by the name of Junior, a 24-year-old rapper and songwriter based in Bedford – here in the UK. His fantastic new single – ‘Long Way Home’ – was recently spotlighted on a recent episode of BBC Radio 6’s ‘The New Music Fix’ curated by Tom Ravenscroft.

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New Album Release Fridays: Kae Tempest (feat. Kevin Abstract) – ‘More Pressure’

April 8, 2022 — Leave a comment

Pictured: Cover Artwork for ‘The Line Is A Curve’ (LP) (Available from April 8th, 2022) (via Fiction Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time to tune our ears to the more club-oriented gears of one of the modern day’s most progressive poets for ‘New Album Release Fridays’ 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! An album about letting go and falling instead of anxiety into surrender, ‘The Line Is A Curve’ has been shaping up to be absolutely ace. This is the newest album from Kae Tempest, a poet from Westminster who has become a prominent name on BBC Radio 6 Music’s playlist throughout the 2010’s. Tempest came out as non-binary in 2020, shedding their former name of “Kate Tempest” and embracing the pronouns of they/them. Since becoming active in 2012, Tempest has been nominated for the Mercury Prize twice and they were nominated for ‘Best Female Solo Artist’ at the BRIT Awards in 2018. Outside of their music, Tempest is also a Sunday Times best-selling author and they won the ‘Breakthrough Author’ award at the Books Are My Bag Readers Awards in 2017. ‘The Line Is A Curve’ looks to repeat the success of these projects, and the BRIT School alumni mastered the record at Abbey Road Studios. It was produced by Dan Carey, which will become fairly obvious to you in a moment, executive produced by Rick Rubin and mixed by Christian Wright. The LP features guest contributions from artists like Lianne La Havas, Fontaines DC’s Grian Chatten, Confucius MC and more. The cover photograph was shot by Wolfgang Tillmans, who worked on Frank Ocean’s ‘Blonde’. Speaking about the collaborative process of the album in an interview for NME, Tempest says, “For me, this album is about increasing resilience and raising your threshold for tolerance and acceptance and it’s a very beautiful album, because so many people involved in making it are people that I’ve known and loved for a very long time”, and it is out today via Fiction Records. ‘More Pressure’ isn’t the latest pre-release single from the new record, but I chose to write about it because I feel it is a track that really showcases how Tempest can stretch that voice beyond traditional Spoken Word genre boundaries. It features a verse by Kevin Abstract – who you might also know from their music in Brockhampton. Give it a spin.

“Throughout the duration of my creative life, I have been hungry for the spotlight and desperately uncomfortable in it. For the last couple of records, I wanted to disappear completely from the album covers, the videos, the front-facing aspects of this industry”, Tempest tells Brooklyn Vegan, later elaborating, “But this time around, I understand it differently. I want people to feel welcomed into this record, by me, the person who made it, and I have to let go of some of my airier concerns. I feel more grounded in what I’m trying to do, who I am as an artist and as a person and what I have to offer”, about their decision to include an image of themselves on the LP’s cover artwork for the first time. This sense of progression and comfort is replicated by ‘More Pressure’, which is anchored by abstract lyrics like “More pressure, more release, your eyes, your cheeks, your features crease” that communicate ideas of taking the weight of the world away from your shoulders and believing in your own body for reassurance. Lyrics like “One step forwards, two steps backwards/One soul’s epiphany, another soul’s madness” hits you with a more virtuosic nature, as Tempest talks about reach and distance through reflection, resulting in a sense of unsullied intimacy that is delivered in Tempest’s emotive space between music and speech. Abstract, as the featured credit, adds more intimacy to the final verse and trends towards a Hip-Hop direction, as the Synth beats become more liberating behind here. Speaking of the instrumentation, it feels interesting in not being a far cry from Sinead O’Brien’s ‘Kid Stuff’, a cracking tune by the Irish Post-Punk poet, in the similar sense of how the Dance-Rock influences come together through the insulating Synth rhythms. Instead of reaching out as most club-driven music does, however, Tempest looks inward to gain cues for the lyrics and reflect on the weight and stress in a relatively personal way. It certainly feels like some of Kae’s most accessible work, but the almost Disco-tempo melodies and the spacious bass lines still make their vocals stand out amongst the typically mainstream variety of modern music. Ultimately, ‘More Pressure’ is a strong showing that pin-points how Tempest can stretch their voice in fascinating ways to meet their own needs with the more rhythmic structure of the track and the idiosyncratic Dance influences that are still of Tempest’s heavy and reflective mood in prior releases, but the flow is simply much groovier and so it really stands out whenever you hear it on the radio. It is a really euphoric release of tension.

Pictured: Kae Tempest performing ‘People’s Faces’ at Paste Studios, New York (2019) (Photo via Paste Magazine)

That brings us to the end of another daily post! Thank you for giving a moment out of your day to support the blog, and I will be back tomorrow to review some more new music from a recent favourite on the site. This Brighton-formed indie rock band were listed among the Top 40 New Artists of 2018 by The Guardian and their previous studio album – ‘Every Bad’ – was nominated for the Mercury Prize in 2020. It also appeared on year-end best lists by Under The Radar, Stereogum, Paste and Pitchfork.

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New Album Release Fridays: Warmduscher – ‘Twitchin’ In The Kitchen’

April 1, 2022 — Leave a comment

Pictured: Cover Artwork for ‘At The Hotspot’ (Digital LP) (Released on April 1st, 2022) (via Bella Union Records)

Good Morning to you! This is Jacob Braybrooke, and you are tuned into a fairly off-kilter edition of ‘New Album Release Fridays’ as we prepare for yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of new music every day! Although you may mistake them for a quirky German pop band at first glance, Warmduscher are actually a London-based Post-Punk band currently signed to Bella Union who are famed for their inside jokes and eccentric live performances, and they have been supported by BBC Radio 6 Music very regularly over the years since their formation in 2014. Warmduscher have collaborated with the likes of Iggy Pop and Kool Keith, and their previous studio album – 2019’s ‘Tainted Lunch’ – received a stunning 9/10 score from The Line Of Best Fit’s review as well as a place on BBC Radio 6 Music’s Albums Of The Year list at #6 in 2019. They have also released a remix EP – 2020’s ‘European Cowboy’ – to coincide with Record Store Day in 2020 featuring contributions from Soulwax, Savage Gary and Decius, and it was strictly limited to just 1000 vinyl copies. Thankfully, their new album is more widely available and it takes the form of their fourth full-length LP, ‘At The Hotspot’, which arrives digitally today before being released on Vinyl on July 1st. Warmduscher have gained so much praise for their originality and humor that they were previously given a shout-out on the blog when I wrote about ‘Disco Peanuts’ in late 2019. The new LP incorporates more influences of Funk and Disco than before, and it was originally going to be produced by Speedy Wunderground’s Dan Carey, who has also produced countless records for artists like La Roux, Sinead O’Brien, Squid and Black Country, New Road in recent years. However, he fell ill with Covid-19 and the Clash-praised group turned to Hot Chip’s Alex Doyle and Joe Goddard instead. It includes the new single ‘Twitchin’ In The Kitchen’ that comes accompanied by a Brixton-shot and Niall Trask-directed music video, whose previous credits include well-received videos for Fat White Family and Working Men’s Club. Let’s give this pre-release cut a spin below.

Warmduscher played a gig at Cambridge’s The Junction venue on March 26th, which was moved to a larger room due to high demand. They will also be hitting the road for dates in Brighton, Bristol, London, Manchester and Sheffield later in the year, some of which have been sold out already, and a few later dates in European locations like Amsterdam are coming up shortly too. Their frontman, known as Clams Jr, notes, “We’re just really psyched to play this whole thing live now, and it’s a whole revamp – new label, new producers, new logo – new everything”, rather matter-of-factly, in Bella Union’s press release about their new record. ‘Twitchin In The Kitchen’ gives you a good idea of what to expect, establishing a raucous mixture of aggressive Funk and harsh, dissonant Synth melodies that builds up to a screamer of a chorus. The instrumentation sounds unapologetically Post-Punk, while the lyrics complement the spacey, disco vibe of the verses because they sound pretty daft and they find the band putting on a show with their wit and sense of distinctively quirky character, as Clams recites lines like “I can’t take it, here I’m sweating/I’m clucking like a chicken” and “Grab a bowl, scrape it clean/Two-four out the door, sniff it off the kitchen floor” that are pretty silly, but they are sung with a low-pitched croon typical of Clams’ cowboy character. The vocals feel energized and heightened for certain, while the looping arrangement feels industrial and psychedelic through it’s combination of Post-Punk and Progressive Funk beats, before building to a child-like sing-along that makes the final refrains sound like a schoolyard chant-a-long of the chorus. A perfect pick-me-up for kitchen disco lovers all around the UK, Warmduscher have created an infectious Alternative Funk anthem for those who love to do a bit of ‘Twitching In The Kitchen’ with no apologies given in their typical quirky fashion. It may drive you Disco Peanuts.

Pictured: Clams Baker Jr, Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and Little Whiskers (2019) (via PR)

If you’d like to hear more of what’s in store, you can also check out my previous Warmduscher post that was published in the build-up to ‘Tainted Lunch’ back in 2019.

‘Disco Peanuts’ (2019) – https://onetrackatatime.home.blog/2019/11/30/todays-track-warmduscher-disco-peanuts/

Pictured: Cover Artwork for ‘Tainted Lunch’ (LP) (Released on November 1st, 2019) (via The Leaf Label)

That’s all for now! Thank you for ‘Twitching In The Kitchen’ to this tune with me today, and I’ll be back to guide you through another track on the blog tomorrow, where we’ve got new music coming from an Irish Post-Punk band who, although being mentioned a few times due to their frequent collaborations with Dan Carey as their producer, haven’t been covered for a fully-fledged article on the blog until now. Their second album was nominated for Best Rock Album at the 2021 Grammy Awards, and their debut LP, ‘Dogrel’, was named the ‘Album Of The Year’ by BBC Radio 6 Music.

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Today’s Track: Röyksopp (feat. Alison Goldfrapp) – ‘Impossible’

March 22, 2022 — Leave a comment

Pictured: Röyksopp (Svein Berge & Torbjørn Brundtland) (DJ’s/Producers) (2022) (Photo via SynthpopFanatic.com)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to raise our spirits above from the depths of despair 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! Weaving between Progressive Synthpop, Acid Techno and Dark Ambient across the last two decades, the Norwegian electronic dance duo of Svein Berge and Torbjørn Brundtland have decided to tear up the rule book in retiring the traditional album release format with their upcoming sixth LP release – ‘Profound Mysteries’ – that hits store shelves on April 29th via Dog Triumph Records. To date, the duo – who were formed in Tromsø in 1998 – have been nominated for two Grammy Awards, won seven Spellemannprisen Awards, performed globally on tours, had four consecutive #1 albums in Norway, and collaborated with huge names like Robyn. Therefore, it’s somewhat strange that, aside from a vague familiarity with their name, they have largely slipped my radar in their time. However, I heard ‘Impossible’ on The Current’s Song Of The Day podcast and its deep, dark grooves were enough for me to keep listening on rather than just hitting the skip button like I sometimes do. ‘Impossible’ features the vocal abilities of Alison Goldfrapp, the lead singer of 00’s commercial euro-disco heavyweights Goldfrapp, and Röyksopp are pitching their imminent full-length new release as “an expanded creative universe and a prodigious conceptual project” in their press release. One of these projects is ‘The Conversation’, a recent short film uploaded to their YouTube channel last month that was directed by Danish filmmaker Martin De Thurah. To give you some more context about what they actually mean, the duo say, “As human beings, what we don’t know vastly overshadows what we do know. As teenagers, we would discuss our own fascination with the infinite and the impossible. The most profound mysteries of life”. Check out the lead single below.

It has been a long time since we’ve heard from the duo since their last LP release – 2014’s ‘The Inevitable End’ – launched almost eight years ago. Commenting on the collaboration for ‘Impossible’, guest vocalist Alison Goldfrapp says, “It’s been great working with the wonderful Svein and Torbjørn from Røyksopp. I’ve been a fan of their music for years and it was a fascinating joy creating ‘Impossible’ together. I truly hope everyone enjoys the track as there’s more to come”, in her press notes. Mimicking the visual of a glittery disco ball slowly fading to a liquid ink black in terms of sound, ‘Impossible’ starts off with a smooth set of Synths that recall a clear Disco influence before slowly growing into a barrage of assaulting textures as the bassline becomes more crunchy in style and the percussive Drum melodies contribute to the shimmering delivery. Goldfrapp’s lyrics feel hypnotic and alluring, with vague and enigmatic, in terms of mood, lyrics like “You’re the world ablaze/You’re the space between/Impossible/The perfect dream” and “I can touch the sky/Hear your lion heart/Feel the inside” that reveal little in the way of clear-cut details, but they carry a sensual yet not overtly sexual tone that floats above the more relentless pace of the instrumental parts to give the thumping concoction of downtempo electronica and progressive disco music an ethereal, polished feel. It builds to a neat closing stretch where the same lyrics are repeated amongst a more silk-like texture of electronic beats, where it feels like high-stakes tension has been relieved in favour of more operatic thrills. It sounds far from overly commercial, but it sounds melodic enough to feel like a natural selection for a single rather than purely an album track, and the vocals from Goldfrapp’s vocalist seem musically upbeat in the vein of their more well-known cuts in the mainstream while retaining an experimental, high-pitched finish. The production feels delicate overall, where a diversity of textures and genre ideas have been put together in a meticulous way that makes them feel coherent together when the sum of each part is added in unison. The spaced-out synths grow a little bit tiresome by the track’s end for me, but the pacing feels sublime and the chemistry between the two acts is excellent too, making the disillusioned grooves feel addictive while rewarding and challenging to keep listening to. Overall, although I feel that ‘Impossible’ is more of a “good track” than a “truly special” one due to it’s tendency to grow just a tad tedious by the end, it features an intriguing array of sounds that indicate subtle hints of different dance-related genres that are whipped together in a blender to conjure up a pretty well-textured smoothie. One for a long night ride home.

Pictured: Cover Artwork for ‘Profound Mysteries’ (LP) (Available from April 29th, 2022) (via Dog Triumph Records)

That brings us to the end of a fairly cryptic new post on the blog today, and I’ll be taking a break from my recent recommendations tomorrow as we go retro for ‘Way Back Wednesdays’. Thank you for supporting me today, and please feel free to join me again then for a look back at an early 00’s UK Hip-Hop classic by a British rapper and producer who has produced numerous singles and albums for the Big Dada label since 1994. His track in question was memorable for it’s intentionally similar melody to the ‘Doctor Who’ TV theme track and it reached the top spot of the UK Dance chart.

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New Album Release Fridays: Charli XCX (feat. Christine and The Queens & Caroline Polachek) – ‘New Shapes’

March 18, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Crash’ (LP) (Released on March 18th, 2022) (via Asylum/Atlantic Records/Warner UK)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to look at one of this weekend’s new album releases which is so highly anticipated that it cannot be ignored 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! It has been an interesting career trajectory for the Cambridge-born singer and songwriter Charlotte Emma Aitchinson to say the least, who began posting her videos to MySpace in 2008 (Ask your parents!), where she was scouted by a promoter who invited Charli to perform at urban warehouse gigs. She later signed to Asylum Records in 2010, where she had some pretty traditional and fairly mainstream Pop hits like ‘Boom Clap’, ‘SuperLove’ and ‘Break The Rules’ while also writing well-known singles for Pop heavyweights like Selena Gomez, Iggy Azalea, Icona Pop, Shawn Mendes and Camila Cabello. She later became a pioneer of the emerging ‘Hyper Pop’ and ‘Bedroom Pop’ genres while gaining a lot of new fans in the alternative music community with universally praised releases like her 2020 lockdown EP ‘How I’m Feeling Now’ which she produced collaboratively with her fans in a span of six weeks while in self-isolation, a record that played with unconventional Pop structures and experimental electronic production in previously uncharted ways, and it was shortlisted for the 2020 Mercury Prize alongside appearing on year-end lists by Paste, Uproxx, NPR, The Guardian and Consequence Of Sound. Today, she fully leaves the major label Pop music world with her fifth studio album ‘Crash’, which tackles a deal-with-the-devil idea visually. Lyrically, she says that it explores the power of the femme fatale with inspiration from dark spirits and curses which follows the spirit of David Cronenberg’s 1996 film of the same title. Musically, we’re getting a bold fusion of 80’s/90’s power-pop and 00’s synth-pop with a hint of futuristic Bedroom Pop stylings that Charli says was inspired by Janet Jackson. On the BBC Radio 2 playlisted pre-release single ‘New Shapes’, she enlists the help of French Art Pop trailblazer Christine And The Queens and continually rising American star Caroline Polachek. Let’s take it for a drive below.

Charli XCX will be taking her alternative assortment of retro-futurist Pop sounds on the road for a tour of Europe and North America throughout the summer months, and her new LP record features contributions by Rina Sawayama, Digital Farm Animals, Oneohtrix Point Never and several more creatives. ‘New Shapes’ follows a simple story of a stale relationship where both sides are being manipulative, with lyrics like “I don’t know why I got a tendency to run away/Don’t know why I’m always pushing for a sweet escape” that set the scene with bright Synths and 808 beats that will remind you of freestyle girl groups like The Cover Girls or Company B, before a more complex narrative unveils where the narrator is fighting the urge to desert the relationship while feeling exhausted by it, with a cycle of mistreatment manipulating the narrator to feel like a different person while still succumbing to the sexual desire which they share for one another. There are two sides to every coin on ‘New Shapes’ seemingly, where the upbeat keys and the energetic Synth arrangements make it quite easy to overlook the frustrations of the narrator and the complications of their relationship. A strong and consistently high tempo makes the rhythm feel punchy, but the lyrics replicate something a little more mournful in balance. Polachek and Christine are there to play the role of emulating some emotional support from a girl of group friends, who are attempting to cheer Charli XCX up with a scene that may replicate how a group of girls always seem to go to the bathroom together (I went clubbing in my university days, and so that’s a trait I’ve noticed). Their verses are met by a similar soundscape of mechanical drums and reverb-drenched Synths while adding some additional voices to the track for more variety. It doesn’t feel quite as experimental as some of Charli’s other efforts and feels like more of a traditional ‘radio record’ to promote the album, but the blueprints of her wildly successful pandemic EP are still here. I always thought there was something a little different in Charli XCX’s ‘SUCKER’ days of more mainstream Pop where she dealt with overtly sexual content in very expansive ways with a punk attitude, and tracks like ‘New Shapes’ continue to add more nuance to that format. Overall, I think that ‘New Shapes’ is one of the best singles to introduce the more bolder and updated version of Charli XCX to newcomers or previous fans due to it’s accessibility and danceability. It may not feel quite as bold as the tracks on her lockdown EP, but it begs the listener to dance along with it while conveying a sense of urgency and immediacy that clicks together nicely, and that’s coming from somebody who is a little snobbish about this style of Pop music at the best of times. Charli is an extraordinarily talented young lady, and so it’s good that she finally has a platform to show what she’s truly capable of making as a performer and a producer. ‘New Shapes’ may not be her most memorable offering, but there’s something for everyone in here and it conforms to a more accessible Pop sound while not ignoring the experimental EP, and so ‘Crash’ looks more like smooth sailing to me.

Pictured: Charlotte Aitchison at the red carpet of the BRIT Awards (2020) (Photo by Joe Maher/Getty Images)

That brings us to the bottom of the page for another day! Thank you for taking a moment out of today to visit the site, and I’ll be back tomorrow to review another fresh new Pop-oriented single – this time coming from an Australian DJ/Producer who is recognized as a ‘Future Bass’ pioneer of the 2010’s with several Grammy Award nominations and ARIA Awards attention to his name. He reportedly chose his name after his favourite Bon Iver track – although his name is shared by a type of ravine.

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Today’s Track: Maylee Todd – ‘Show Me’

March 10, 2022 — Leave a comment

Pictured: Toronto’s Maylee Todd in a recent photoshoot to promote ‘Maloo’ (2022) (Photo via TheStar.com)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to guide you through yet another exciting daily track on the blog from a very brave and ambitious singer-songwriter, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! ‘Brave’ and ‘Ambitious’ are just two words that describe the Toronto-based Art Pop musician Maylee Todd, who is new to this young writer’s eardrums, who has experimented with instruments as obscure as the Paraguayan Harp and the Tenori-on in her career since she began recording material in the 00’s. Todd has played across numerous festivals including the Crossover Jazz Fest and the Billboard Live Stage, she has performed alongside the likes of Janelle Monae, The Budos Band, Aloe Blacc and Thundercat on stage throughout the years, and she contributed her vocals to Bob Wiseman’s collaborative LP release ‘Giuletta Masina At The Oscars Crying’ in 2012. Todd was also the creator of Virtual Womb, a practical art exhibition where the audience walks through an enlarged CGI image of a Vagina and lies on the floor, awaiting the vibrant projections that float across on the ceiling, in 2017. Maylee Todd’s music seems just as visual and provoking, as a wide assortment of Indie Pop, Prog Jazz, Psych Funk, Bossa Nova and more have been incorporated into the sounds of her musical projects. Her latest full-length album – ‘Maloo’ – was released on March 4th via Stones Throw Records – an eclectic Funk, Jazz and Soul specialist label based in Los Angeles, California that has introduced several amazing artists like MNDSGN, John Carroll Kirby and Kiefer to my streaming libraries throughout the last few years of my work. Let’s give ‘Show Me’ a listen below.

To produce her latest artsy-craftsy LP project, Maylee Todd spent a lot of time researching VR throughout the pandemic, which led to some ideas on utopian, futuristic technology. The result is ‘Maloo’, a fictional character that she has designed in virtual reality that she created while working on the story and setting of a prototype VR video game, as she learned the skills of 3D modelling and body tracking to bring her vision to life. Dubbed as ‘The Age Of Energy’, a virtual space where the character is based, the concept album and the ‘Maloo’ avatar are influenced by intimate, personal origins. As Todd writes, “We participate in the digital landscape and our digital life has real-life implications”, in her press statement. Musically, she wrote and recorded ‘Show Me’ as the introductory single with the Yamaha Tenori-on – a discontinued electronic sequencer that was built by Toshio Iwai, a Japanese interactive media and installation artist. Her single begins with some glitched keyboard chords that convey visuals of futuristic cyberspace and post-modern technology immediately. The bass grooves grow deeper as her downtempo vocals become more hypnotic, and she allures you in to ‘Show Me’ with a noticeably Soulful skew that wouldn’t sound out of place on a Sly & The Family Stone or a Toro Y Moi record in it’s nostalgic, but free-form, nature. Lyrics like “Watch the birds, take their form/Icy hands, blood is warm” complement the peaceful and tranquil vibes, while the minimalist chorus of “Show me, your heart” is deep and intimate in it’s Lo-Fi textures. ‘Maloo’ may be conceptually driven and visually influenced at large, but the single is accessible enough to a fairly mainstream because it feels simple yet not simplistic. I also really admire the work that Todd has put into ‘giving the project her all’ by focusing on how the audio-visual aspects of the piece were written in tandem with her vocals. It reminds me of Bjork and St. Vincent, who are undoubtedly driven artists that have similar characteristics of boldness and communicating an idea through all aspects of the media at their disposal. In conclusion, it seems clear that Maylee Todd has a lot more to ‘Show Me’ – and I look forwards to seeing the rest of it.

Pictured: Vinyl Copy of ‘Maloo’ (LP/Album) (Released on March 4th, 2022) (via Stones Throw Records)

(That brings us to the end of the page for another day! Thank you very much for reading what I had to say about Maylee Todd for a few moments today, and I’ll be back tomorrow to guide you through a sneek peek at one of the weekend’s notable and new album releases. This week’s post involves the debut LP release from an emerging Alternative Rock 4-piece Post-Rock band who have been supported by the daytime playlist of BBC Radio 6 Music and they have been praised by NME. If you’re a fan of hard rock outfits such as Coach Party and Kid Kapichi – you’re going to enjoy it!

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