Way Back Wednesdays: The Sugarcubes – “Birthday”

February 3, 2021 — Leave a comment

I went to Iceland before. I left with a Frozen Pizza and an Indian meal. New Post time!

Pictured: Bjork Guðmundsdóttir (Lead Vocals), Einar Örn Benediktsson (Trumpet), Sigtryggur Baldursson (Drums), Þór Eldon (Guitar) & Margrét Örnólfsdóttir (Keyboard) (1992) (via Pinterest.com)

Wishing you a Good Afternoon – I’m Jacob Braybrooke and it’s time, yet again, for me to get typing up for your daily track on the blog, because it is always my day-to-day pleasure to write about a different piece of music every day! I recently made my own audio documentary podcast for my MA degree coursework which explored the socio-economic impacts of Bjork as a contemporary cultural icon, and when I asked my mother and my father if they could recall her early work as the lead singer of The Sugarcubes, both of their faces looked a little too blank. On this note, I thought that “Birthday” would make a great choice for our weekly vintage music appreciation feature – here on the blog. This old Icelandic Post-Punk band were arguably where it all started for Bjork, and “Birthday” is widely considered to be her first international hit. Released as the first single from their debut studio album, “Life’s Too Good”, back in 1998 – “Birthday” is a fitting embodiment of the subversive and slightly playful character of Bjork and The Sugarcubes, and after gaining support from BBC Radio 1 icon John Peel, along with the influence and support from trusted publications like NME and Melody Maker at the time, “Birthday” reached #2 on the UK’s Indie Singles chart, and the band would find success in the US after performing the track on an episode of Saturday Night Live, in October 1998. Check out the (English) video below.

“Life’s Too Good” turned out to be a surprise success for the group of 1980’s Icelandic Punk culture producers, with the band taking elements from the Post-Punk sound that characterized both the Icelandic modernity and long-standing naturalist views of their country of the time, and they blended these old capitalist ideas with a quirky twist on the conventional Pop song structure in their compositional approach. The lyrics find Bjork singing about the character of a child who has strikingly unusual habits for a five-year-old girl. The repetition of the line “Today is her birthday” makes these themes clear, although the vocals are more based around very tight wordplay, as opposed to a clear and straightforward context. Lyrics such as “She has one friend, he lives next door/They’re listening to the weather” and “Collects fly wings in a Jar, Scrubs horse flies, and pinches them on a line” are guided through the off-key melodies created by the fairly industrial New-Wave shrills. The list of weird interests and the jumbled poetry on the imagination of the character rattle along to upbeat keyboard riffs, warm syncopated percussion and the clunking Trumpet melodies, while it never becomes very clear what the small girl is doing. Instead of following the build-up with an evident response, we instead get a very experimental method of singing from Bjork, which some listeners may conceive as yelling – as a refusal to conform to any specific style or format. The cries are guttural and expressive, and while the band follow a typical Pop song structure, there’s a noticeable touch on Dance music elements that gave this single it’s depth to stand out. The drums keep things moving along at a swift pace, and the swooping guitar melodies evoke a Cocteau Twins-like feeling of Shoegaze for me to create a more ethereal and brighter atmosphere. The sound would have been a very forward-thinking one at the time, and it was also very notable for that star-making performance from Bjork, who has a career of such longevity. There’s absolutely no wonder to what she would go on to do.

Pictured: Cover Art for “Life’s Too Good” (Released on April 25th, 1998) (via One Little Indian Records)

Well – there’s some nostalgia that I never could have properly had. Way Back Wednesdays will be back at the same point next week. Before then, I’ll be continuing to champion fresh new tunes on the blog. That’s true for tomorrow – with an in-depth look at a hot-off-the-press artist who has yet to even release a full length LP. We turn to the Contemporary R&B genre for our introduction to a female artist who took the bold decision to drop out of her training at the BRIT’s School, and she’s since supported Rita Ora and Ray BLK on tour. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Staves – “Good Woman”

January 14, 2021 — Leave a comment

It’s a return from hiatus – and so The Staves are higher than ever. Time for a new post.

Pictured: The Staves (Emily, Jessica and Camilla Staveley-Taylor) (2019) (Photo by Sequoia Ziff/Press)

Good Morning to you – My name is Jacob Braybrooke, and it’s time for me to get typing up about your daily track on the blog, as per usual, because it’s always my day-to-day pleasure to get writing up about a different piece of music every day. The beginning of the new year is always relatively light on high-profile releases, but low and behold, exciting new music is on the way to us shortly. Case in point – The Staves, who are scheduled to release their first new LP in six years, in just a handful of weeks time. The Hertfordshire-based English Indie Folk trio of sisters Emily, Jessica and Camilla Staveley-Taylor started out by performing together at open mic nights hosted by their local pub in Watford, and their upcoming album release marks another period of transformation for them. Titled “Good Woman”, the album was inspired by many significant events which have occured in the personal lives of the sisters. This includes the end of romantic relationships, the death of their mother, and the birth of Emily’s first child. It was largely produced by themselves, although John Congleton lent some assistance in the studio. Let’s watch them perform the titular single below.

“Good Woman” is due for release on 5th February, via Atlantic Records. The Staves shared, in a press release, some extra details about the new album, penning: “When we think about making this album, we think about moments and snapshots of all the different contexts we were in as it was made. Living in each other’s pockets and then living with oceans between us. On voice notes and field recordings and ideas in emails sent across continents”, later concluding, “And coming home”. If that wasn’t a juicy teaser, then I don’t know what is. We’ll just have to make do with the title track, “Good Woman”, for now – a track that feels mellow yet elegant, as the purity of the vocal harmonies of the three sisters gently unfold over the course of the duration. Calmly singing about the themes of femininity and motherhood, the refrain of “Well, I cover my mouth/and I straighten my back” drifts above a steady bass guitar rhythm and a discordant drum beat. The third verse is a highlight, with “Surrender is sweet, Forgiveness divine” echoing through looping backing vocals, and the acoustic guitar riffs gradually increase their tempo and weight. The sisters build up to a finale, where “I’m A Good Woman” keeps getting repeated, as subtle Synth work gets added into the mix, to evoke a triumphant mood to juxtapose the softer side of the opening verses. The instrumentation is minimal and plain, with a large emphasis being set on the vocals instead. The lyrics are well-written and neat, with the guitar work and the jangling drum beats building to a clean, polished sound. On the minus side, I think it’s fair to say that it’s all rather cheesy, and so I think that your mileage may vary on the style. However, I do love my Emmental – and I feel that the track has been produced very well. I probably wouldn’t rush out to buy it, but I think it’s excellent for what it is.

Pictured: Cover Art for “Good Woman” (LP) (Released on 5th February, 2021) (via Atlantic Records)

Thank you very much for the support – and checking up with me on the blog today. I will be back tomorrow, as we take an in-depth look at one of the brand new albums set to release over the weekend, because it’s “New Album Release Friday” tomorrow. It’s style is pretty contrasting to The Staves, as we take a detour into one of the most anticipated emerging bands of the UK’s Post-Punk scene. The South London-based band are set to release their second album, a follow-up to their debut LP, which shared it’s title with a popular BBC One TV programme that broadcasts religious factual content and live performances of hymns. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Weather Station – “Robber”

December 30, 2020 — Leave a comment

Rain, a bit of snow, a bit of Sun, a lot of nothing… There’s my forecast! New post time!

Pictured: Tamara Lindeman in a promotional publicity shoot for “Ignorance” (2020) (Photo via PR)

Good Morning to you! My name is Jacob Braybrooke, and it’s now time for me to, once again, get typing up your daily post on the blog, because it’s routinely my day-to-day pleasure to get writing about a different piece of music each day! Fronted by Tamara Lindeman, The Weather Station are a Canadian 4-piece Alternative Folk band who have been active since 2006, and so they are now a decent five albums into their career. One of early 2021’s most anticipated albums is “Ignorance” – the latest full-length LP record effort to come from the Indie quartet – which is currently set for it’s release on February 5th, in the new year, via Fat Possum Records. It serves as another platform for Lindeman to show off her songwriting prowess – a challenging skill that gave her a nomination for the SOCAN Songwriting Prize in 2013 for her track “Mute In The Flowers”, a ballad which she has co-wrote and co-produced with Steve Lambke, of Constantines and Baby Eagle fame. The leading single for their upcoming LP is “Robber”, a track which has arrived with a new music video that provides many little surprises, visually, on the way to the ambitious narrative. Let’s take a look at it below.

“I think, in my life, I’ve been pretty naive, always tried to see the good in everyone (Still do), always tried to make do with what is and not think of what can’t be (Still do)”, is what Lindeman stated when explaining to us the themes of “Robber” via the track’s press notes, before she added, “I think it’s hard to believe in the Robber, hard to even see the Robber, It’s easier to try and make love to, or to glamourise the Robber. It hurts too much otherwise” when explaining the term of “Robber” as a metaphorical symbol of merit-based achievement in a modern society, within the track. It’s true that “Robber” feels like a grand production in itself, with a dramatic and theatrical feel of discomfort and unease. Polished off by a sombre vocal tone, a fragmented sequence of Cymbals, and a slowly unfolding series of Bass guitar chords, the track conveys an emotive quality of the calm within the chaos. Lindeman keeps reciting: “I never believed in the robber” through the dynamic sound, while lines like “No, the Robber don’t hate you, he had permission” and “I never saw nobody climb over my fence/No black bag, No glove hand” hit harder because they convey the invisisible appearance of the enemy, and it implies a more internalized battle. Vocals like: “You were two halves of the same piece, Divided in two” drift radiantly over the top of Jazz-based instrumentation, as a reverberating Saxophone riff keeps retreating and emerging into the scene. A quirky set of Organ lines, a floating Piano section and a twinkling, abstract trap-kit adds a variation of sounds, while also serving as the respiratory system of the character created by the vocals. While it’s not the most comforting or inviting thing to lure you in, it’s been structured very neatly, while it gets stuck in your head easily because of the lyrical themes of “Property Is Theft” keep bubbling underneath of the percussion. A soulful and open-minded reflection on the overarching inflictions of capitalism, which manages to open new discussions.

Pictured: Cover Artwork for “Ignorance” (Available from 5th February, 2021) (via Fat Possum Records)

Thank you for joining me back on the blog today! As per usual, I’ll be back tomorrow for New Year’s Eve, with an in-depth look at a very special Festive track from the late-1980’s – from a pioneering D.I.Y. Punk group who have been celebrated as the very first of their kind – becoming a huge source of inspiration for the Japanese punk rock female group, Shonen Knife. Inspired by Sir Paul McCartney of The Beatles – They would check into hotels during their heyday as “Paul Ramon”. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Boxing Day Special: ‘Weird Al’ Yankovic – “Christmas At Ground Zero”

December 26, 2020 — Leave a comment

Believe it or not – I will be in Tiers by the time that this is all over with. It’s Boxing Day!

Pictured: Cover Art for “Greatest Hits Volume II” (Released on October 25, 1994) (via Scotti Brothers)

Stuffed yourself with all of the trimmings yet? Good Morning, I’m Jacob Braybrooke and it’s time for me to get writing up about your daily track on the blog, because it is always my day-to-day pleasure to write to you about a different piece of music every day! That means… Boxing day, since there is no rest for the weary-eyed. “Christmas At Ground Zero” is a rather bizzare and obscure Christmas-themed track from 1986. It was written and performed by the Comedy Rock singer “Weird Al” Yankovic – who was one of the original viral favourites. A track that is essentially about Nuclear Omnicide, the title of “Ground Zero” refers to the area where the Twin Towers stood, prior to the terrifying events of 9/11, once in New York City. Before this, however, it was a reference to the spot where a Nuclear Missle was targeted to hit, and since it was recorded in 1986, that’s what Yankovic is playing around with here. He wrote it in a parody style of a Phil Spector-produced Christmas track – so just think about The Ronnetes, Darlene Love and The Crystals – and you’re there. It’s pretty mind-bending to think about just how successful that Yankovic has been for a Comedy artist writing music about niche subject areas. He’s been going since 1976 and since that time, he’s managed to sell over 12 million albums, performed more than 1,000 live shows, and he’s also won 5 Grammy Awards, along with a further 11 award nominations. In more recent years – Yankovic has written two children’s books. Let’s stream the track below.

With his trusty Accordion at hand – Yankovic has managed to perform many viral hits in Comedy parodies for the likes of Michael Jackson, Lady Gaga, Coolio, Madonna, The Backstreet Boys, The Rolling Stones, Nirvana and loads more, mostly within his signature Polka style. “Christmas At Ground Zero” is no different for hitting the consistent running gags and eliciting some belly laughs in the process. Juxtaposing uplifting Sleigh bells to shots of disastrous nuclear explosions from the music video, Yankovic sets up the scene with: “It’s Christmas at Ground Zero/There’s music in the air” over the top of typically melodic Saxophone samples, before he adds: “The sleigh bells are ringing/The carolers are singing/While the air-raid sirens blare” as the tone shifts. Festive Trumpet melodies contrast with Macabre scenarios as Yankovic happily sings daft lyrics like: “We can dodge debris while we trim the tree, Underneath the Mushroom cloud” and “Just seconds left to go, I’ll duck and cover with my Yuletide lover” above the saccharine, 50’s sounds of Jazz instrumentation that conveys a jolly yet psychotic beat, while a subtle pair of Air Raid sirens sound blare quietly in the background. It’s the bridge at the end that spells it out for us, as Yankovic sends us off with: “What a crazy fluke, we’re gonna get nuked” as the depressing reminder that it’s the Ground Zero settlement that we’re dealing with springs to mind once again. It feels very child-like and silly, yet it struck a chord with audiences. I think that’s because Yankovic manages to subvert the standard Christmas track in terms of the musicality and lyrics with the darker, but still comedic and quirky, undercurrents. It’s a fun alternative to your bog-standard Band Aid or your obvious Cliff Richard fare, albeit probably not one that is suitable for the whole family. How very festive indeed.

Pictured: Cover Artwork for “Polka Party!” (Released on October 21, 1996) (via Scotti Brothers)

That’s it for Boxing Day! On another note – join me again tomorrow for a festive edition of our Scuzz Sundays feature – where we take a look back at one of the Pop-Punk or Emo-Rock ghosts of Christmas past to see if they can still deliver the goods to us in the present times… and this next one was a collaboration for the ages! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Scuzz Sundays: Panic! At The Disco – “But It’s Better If You Do…”

December 21, 2020 — Leave a comment

A Panic! At The Disco would be better than 5 Seconds Of Summer. It’s Scuzz Sunday…

Pictured: Cover Art for “A Fever You Can’t Sweat Out” (Released on Sept 27, 2005) (via Fueled By Ramen)

It’s finally back to business, as usual, on the last day of the week! My name is Jacob Braybrooke, and this is the post of the week that we like to call “Scuzz Sundays” – the weekly feature where we revisit an ancient gemstone buried in the mine (or rubbish skip…) of the Emo-Rock and the Pop-Punk genre movements from between the late-1990’s, up to until the mid-2000’s. Of course, named in tribute to the defunct “Scuzz” TV music video channel. We previously took a look at the cult classic era of “Pretty Odd”, a time of the US Emo-Punk group Panic! At The Disco’s career that was wildly fascinating, and has sadly been rejected by the band now. Today, we’re going to dive even earlier than that, with one of the singles from their debut album, “A Fever You Can’t Sweat Out”, which was released in 2005, and it remains to be the first full-length album that I can remember buying for myself. “I Write Sins, Not Tragedies” was the obvious hit single from the record, but I always preferred “But It’s Better If You Do…”, a lesser-known single that reached the #23 position on the UK Singles Chart in 2006. It was recorded in a stylistic two halves, with the first part of the album exploring some catchy Pop-Punk and New-Wave sounds, while the second half of the album – divided by a Piano interlude – was a much darker play-out of Moulin Rouge, with traditional instrumentation that explored a Baroque sound. This track is an exhibition of these themes – with this single almost playing out like a short-form story or narrative, as a naive teenager sneaks into an adult Strip Club – and becomes horrified by the results of his curiosity. Let’s revisit the Shane Drake-directed music video for the track below.

“A Fever You Can’t Sweat Out” received mixed reviews from critics at the time – and yet it struck a chord with audiences. In fact, Panic! are easily more famous and mainstream-friendly now than they’ve ever been before as Brendan Urie essentially carries on with the project as a solo act – sadly to my dismay, and I sadly wouldn’t consider myself to be a fan anymore. The title of “But It’s Better If You Do..” was spoken by Natalie Portman in Closer, a film released in 2004, with “Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off…” completing the first half of the quote, which is coincidentally the title of the preceding track on the album, and it results in a seamless experience of the two tracks, followed by “I Write Sins Not Tragedies” on the album, as the beat slowly changes throughout the endings of each of the three tracks on the recording. As I mentioned, “But It’s Better If You Do…” sees an underage teenager enter a masquerade-style strip club, and not enjoying it. Urie speedily establishes the scene with: “Now, I’m of consenting age, to be forgetting you in a cabaret/Somewhere downtown, where a Burlesque queen, may even ask my name” above the quickly paced, jangling Organ chords. Urie manages to sell the (Pun-Intended) Panic of the character in the scene, crooning refrains like: “As she sheds her skin on age/I’m seated and sweating to a dance song on the club’s P.A.”, and “I may have faked it/And I wouldn’t be caught dead in this place”, adding a few harmonies to that last lyric. The tone is grim and ill-fated, and the story of the teenage boy trying to impress a girl through jealousy, aided by a scene at the Strip Club, unfolds when Urie sings: “I’m exactly where you’d like me, you know” and “Praying for love in a lap dance, and paying in naivety” in the chorus, which has a retro 80’s electro-pop twang to it. Urie’s vocals are obviously pretty bratty and unseasoned, but I think the band managed to do a great job with the variety of instrumentation on show. There’s some interesting moods of Dark Cabaret and Classical music here, which isn’t grossly auto-tuned and relies on a theatrical narrative instead. Overall, it feels cinematic and vivid – and I love how Panic! were so keen to experiment with bold ideas at this very early stage of their career. The style manages to stand out for them, although, come to think of it – I probably shouldn’t have been buying this at 7/8 years old. That feeling of daring to be different is a major part of the appeal, however. For my money, it remains to be one of Panic’s most underrated cuts, and it represents an era of Pop-Punk and Panic themselves which, whether they worked or failed, tried different ideas. Sadly, it’s a step above the commercial dross that we’re exposed to nowadays – where Urie is recording brutally irritating Frozen covers, of all items, so my unpopular opinion on them remains. Yeah, it’s really not the same band.

Pictured: Brendan Urie (Lead Vocals/Writer/Multi-Instrumentalist), Ryan Ross (Lead Guitar/Backing Vocals), Jon Walker (Bass Guitar/Backing Vocals) and Spencer Smith (Drums) (in 2008) (Photo via PR)

As aforementioned, I also took an in-depth look at the “Pretty Odd” era that followed for the band – a wholly inventive, highly divisive and truly fascinating one. I would suggest that you check out my review for “That Green Gentleman (Things Have Changed)” here to find out more: https://onetrackatatime.home.blog/2020/05/31/scuzz-sundays-panic-at-the-disco-that-green-gentleman-things-have-changed/

Pictured: Vinyl of Pretty Odd” (2008) (via Fueled By Ramen) (Photo by The Underworld Mansfield)

Thank you for checking out my new blog post – I hope that you had a happy New Year’s period! I’ll be back tomorrow for an in-depth look at a track which was originally released back in 2018 – and it comes from one of the most powerful new voices in Blues and Desert Rock – a Canadian recording artist who was previously a member of the Electronica group – Stop Die Resusicate. That hits a blank with me as well, but you should come and join me anyways – it’s rather good! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Blimes & Gab – “Baptism”

December 18, 2020 — Leave a comment

Set flame to your lighter. Roll your papers. Let’s get down to business. New post time!

Pictured: Cover Artwork for “Talk About It” (Released on June 26th, 2020) (via B.A.G. Enterprises Inc.)

Good Afternoon! My name is Jacob Braybrooke, and it’s time for me to get typing up, yet again, all about today’s track on the blog, since it’s always my day-to-day pleasure to do so. Back to my laptop now, since my new charger has worked a treat so far, although writing my last two posts using my smartphone wasn’t really that bad, as it seemed slightly quicker. Nevertheless, we’re going to be taking a break from all the Christmas music for today so that we can keep things fresh! In fact, I’ve even got some underground West Coast Hip-Hop to show to you today. “Baptism” comes from the Seattle-based MC/Lyricist duo of Blimes Brixton and Gifted Gab – who go by Blimes & Gab. Their debut LP, “Talk About It” was released earlier, in the summer, through the B.A.G. Enterprises indie hip-hop label. This gained a ton of support from radio station KEXP in particular, as well as a positive critical reception, with most reviewers paying attention to their music video for the single, “Come Correct” which became a viral hit in 2018, by gaining over 10 million views on YouTube. They’ve also gained coverage from Billboard and HipHopDX. Let’s take a listen to “Baptism” below.

“Talk About It” gained support from fellow rappers Rah Digga and Joyner Lucas, with the duo describing their own project as “In order to talk about it, you got to be about it” in a recent interview with the GRAMMY’s, adding: “I think the vision behind {our album} is just, they’re always going to have something to say, always going to have something to talk about, so we might as well give them something to talk about” to express their female status in the face of adversity. “Baptism” makes amazing use of a Gospel backing vocal, contorting and molding around the shape of a Hymn verse sample, as Brixton and Gab deliver some smooth, flowing bars on top of an ushered, symphonic rhythm. Lyrics like “Y’all be taking double L’s like you hang around the J/You’re not down to blaze with two girlies from around the way” come thick and fast, at a melodic pace, with a briefly floating Piano section lurking between the layers, before coming into it’s own more fully near the conclusion at the end of the track. Bars like “90’s energy, like Keanu Reeves in denim jeans” hint at the influences that 90’s culture has on their sound, while lines such as “Can’t leave rap alone, we gotta hell ground to break” feel more rooted in political action and a call for non-stereotyped change in the music industry. The wordplay is clever, as Blimes and Gab deliver the lyrics which feel introductory to them as artists, telling us that they’re all about real songwriting, real rappers and real hip-hop, which is appropriate given the fact that “Baptism” is actually the opening track of their full-length album. Overall, it sounds pretty smooth – and I’m pleased to hear a lack of auto-tune which, for me, tends to plague releases from the likes of more mainstream names like Drake and Post Malone infused into their modern releases. On a contrary note, Blimes and Gab feel more old-school, with a sound that’s comparable to Public Enemy in the 90’s, and representing a melodic aggression alike Run The Jewels. Lyrics are a little generic, but the commentary on gender politics, and the chemistry of the two, keeps things sharp.

Pictured: MC Gifted Gab & Blimes Brixton in a promotional shoot (in 2020) (Photo via LADYGUNN.com)

Thank you for checking out my latest blog post! As usual, I’ll be back tomorrow – With a brilliant Festive track that I’ve been looking forward to writing to you about all week now. It comes from a Rastafarian-to-Christian supergroup who center their musical output around the personality of Mark Mohr, the front-man of the band, who is an ordained minister of religious faith. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Robin Kester – “Sweat and Fright”

December 9, 2020 — Leave a comment

That title is reflective of my two reactions for an exam deadline date. New post time!

Pictured: Robin Kester in a publicity shot to promote “Sweat and Fright” (2020) (Photo via Podcart.co)

Good Afternoon to you – I am Jacob Braybrooke, and it is time for me to deliver yet another daily post on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! This single – “Sweat and Fright” – is a track that I set up for a review earlier, but I sadly never quite got around to covering it yet. I look forward to jogging my memory about it, since it sadly fell down the wayside of my mind a little bit ever since. Nevertheless, it comes from Robin Kester, who is an Experimental Electronic Folk singer, songwriter and producer, who is from Utrecht in The Netherlands. “Sweat and Fright” was the final single from her “This Is Not A Democracy” EP, which she released in September on the AT EASE indie label. Having previously recorded some work in a vacant psychiatric institution with retro guitars and vintage synthesizers to draw on 70’s pop and Shoegaze-influenced compositions, Kester decided to explore a dark variation of dream-filled tones for the EP, which she calls her “ode to Nightmares”. Let’s try not to fall asleep to “Sweat and Fright” below.

Kester’s “This Is Not A Democracy” EP was co-recorded and co-produced with Marien Dorlejn in his studio and it plays on the abstract themes of nightmares and shifting mental states – along with a glimmer of hope in it’s explorations of escapism and free voice. It’s an intriguing new direction for the up-and-coming Netherlander, who has previously toured with the likes of Villagers, Aleila Diane and Laura Gibson. Evoking a hint of Weyes Blood-like folk idioms, Kester cries out: “Woke up/Sweat and Fright/Dreams more violent with each night” as a textured synth line slowly flickers in-and-out of the centre. It becomes surprisingly Blues-inspired, with a line of steady bass guitar riffs and an up-tempo Drum signature gently pushing a melodic undercurrent to the forefront of the hypnotic, slow-building atmosphere. As if the track were a dream, these elements feel surreal, but structured enough to convey some semblance of a narrative and theme on needing self-empowerment in a waking life, as Kester calls out: “All my days, start with the same idea” and “Poisoned with an appetite/Carry on so carelessly/Singing haunted melodies” as if she is a dreamer within the lyrical framework. Her vocals are slightly distorted and never feel quite so clear, but the laidback instrumental beats and the accompanied sonic loops feel dramatic and theatrical to a point, enough to display the dream-laden thematically of the track. It feels psychedelic to a certain extent, but internalized due to the miniature synth beats that imply closed space and intimacy. Overall, it’s great to hear these moods coming across so vividly. Though it may be an over-used word in music press – it feels very ethereal. An interesting narrative and detailed production contribute to it.

Pictured: Cover Art for “This Is Not A Democracy” (Released on September 11th, 2020) (via AT EASE)

Thank you very much for reading my new post – I’m sure you might agree that this was a great winter track to listen to. We’ll be getting back in the Christmas spirit tomorrow, for an in-depth look at a slightly more widely appealing indie pop/rock track that references the old 80’s Nostalgia of the season, coming from a British band who were formed in Sunderland. Their band name derives from the title of The Flaming Lips’ “Hit To Death In The Future Head” album, that was released back in 1992. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Scuzz Sundays: Tenacious D – “Tribute”

November 1, 2020 — Leave a comment

All right, let’s take a look at the facts – Shallow Hal still wants a gal. It’s Scuzz Sunday!

Pictured: Cover Art for "Tenacious D" (Self-Titled LP) (Released: September 25, 2001) (via Epic Records) — Pictured: Cover Art for “Tenacious D” (Self-Titled LP) (Released: September 25, 2001) (via Epic Records)

You know what time it is! Good Morning, I’m Jacob Braybrooke and I’m here to type up your new weekly installment in our Scuzz Sundays series, where we dig out an ancient relic from under the marble ground of the Emo Rock and Pop-Punk classics of the decades past, to find out whether they can still hold up to quality and value in today’s era of rock. Actor, Comedian, Singer, Songwriter, YouTube Presenter and all-around likeable guy Jack Black is the cream of the crop when it comes to Hollywood talent. Along with the often praised rock singer-songwriter Kyle Gass, Black set up the Tenacious D side-project so that he could write and perform music with his best friend while he was not too busy keeping us entertained with funny movies like “School Of Rock”, “Shallow Hal” and “Nacho Libre” over the years. I consider myself to be a fan of Black’s work, and the band even got their own R-rated comedy flick, “Tenacious D in The Pick Of Destiny”, in 2006, although it was a Box Office misfire. Back on-topic, I can remember seeing the video for “Tribute” on Scuzz TV, in the early hours of the morning, very clearly as a child. This single came before the movie, and it was released in support of their debut studio album in 2001. It has garnered a huge cult following, and it’s one of the Tenacious D tracks that, at least, have always kept the band in the public eye, to their own merits. “Tribute” failed to make much of a commercial impact in the US, at first – but it has been certified Platinum in Australia, and it has been certified Gold in both the UK and New Zealand. “Tribute” was also the first track that Black and Gass performed together, as Tenacious D, live. The album managed to sell 426,000 copies in the UK, by 2005. Let’s pay “Tribute” to them below.

I’ve got to be honest… The demonic granny with the beaming red eyes at the end of the music video always used to manage to freak me out when I was a child. Liam Lynch directed the videos for both “Tribute” and “Wonderboy”, and they have both attained a strong cult status. “Tribute” is nearly entirely played in A-Minor, and the track’s chord progression is strikingly similar to “Wonderboy”. Written in the form of a comedy rock opera ballad, Black and Gass tell the story of slaying a Demon with the Best song in the world, with Black singing: “Long time ago, me and my brother Kyle here, We was hitchkikin’ down a long and lonesome road” before responding “Okay” to a Demon instructing them to “Play The Best Song In The World” to save their souls. Needless to say, “the Beast was stunned” after they played the Best Song In The World, which Black recites over the top of a heavy Acoustic riff and a clashing Drum beat. The bridge is hook-led and takes influence from Garage-Pop, as Black adds: “Look into my eyes and it’s easy to see/One and one make two, two and one make three/It was destiny” and Gass whips out a more electric-driven guitar solo for the breakdown, as Black concludes: “The song we sang on that fateful night, it didn’t actually sound anything like this song” over the top of a fading drum pattern and the incessant, rich acoustic bass guitar chords. The dynamic between Black and Gass is rather cohesive, and the vocals are delivered with a great deal of enthusiasm. This is a highly comedy-driven track, and so your mileage will likely vary on the humor. For me, it drags on a little, but it lands for the most part. While the claim that it could be “the greatest song in the world” is one that’s subjective – I feel it makes for a fun time.

Pictured: Jack Black & Kyle Gass of Tenacious D (in 2018) (Photo by Ricardo DeAratanha/LA Times)

Thank you very much for reading my new post! After a weekend of special posts, we’re all back to normal tomorrow as we take an in-depth look at some brand new music from a singer-songwriter and poet from London who we have covered on the blog before, and she was included in the BBC’s Sound Of 2020 poll. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Matt Berninger – “One More Second”

October 27, 2020 — Leave a comment

I could write my own tune about herbs, but I wouldn’t find the Thyme. New post is up!

Pictured: Cover Artwork for "Serpentine Prison" (Released: October 16, 2020) (via Concord Records) — Pictured: Cover Artwork for “Serpentine Prison” (Released: October 16, 2020) (via Concord Records)

Good Morning to you! My name is Jacob Braybrooke, and I’m here to write up about your daily track on the blog, seeing as it is always my day-to-day pleasure to write up about a different piece of music every day! Known for his low-pitched, growling, somewhat “Classic” Baritone voice, The National’s frontman Matt Berninger is quickly on his way to becoming an icon of Indie Rock music, if not already. When seeing him live, he truly is a great sight to behold – and he’s been dabbling into solo work lately. “One More Second” is the latest single from “Serpentine Prison”, which marks his debut full-length solo album release. The record was originally announced nearly a year ago, and it finally dropped on October 16th following a few Covid-related delays. It’s had a few detractors, but it’s gained mostly positive reviews from critics and fans alike, landing a solid 77/100 on review aggregate site, Metacritic. It was produced by Berninger alongside Booker T. Jones (the famed producer and former frontman of Booker T & The MG’s), for Book Records, an imprint label of Concord Records which Berninger and Jones have formed. Let’s give a moment to “One More Second” below.

“Serpentine Prison” was recorded at Earthstar Creation Center in Venice, California – and Berninger has dedicated the new album to his grandmother Elaine and his old college professor Gordon Salchow. “One More Second” is a ballad that doesn’t stray too far from his established sound motifs, as part of The National, with lyrics that resemble poetry and light acoustic riffs that build to a bittersweet hook, but the focus is much more personal this time around. Berninger asks: “The last time we were together/Lately it feels like forever” and “Why can’t you just tell me what you’re doing here?/Don’t be cruel, if you’re leaving me, just do it right here”, over a lifting set of piano notes and intimate Organ work that disappears awkwardly in the intermittent spades. The chorus is built to slowly, and it sees Berninger deliver: “Smokes in our eyes or in the distance/Either way, we’re gonna miss it/When it’s gone” as a slightly off-kilter Organ line leads swiftly to an unmelodic stab of Toy-ish keyboard riffs that gradually begin to rebel against the acoustic Folk instrumentation. The lyrics deal with the breaking of a long relationship with another, even possibly hinting towards some themes of corrupted marriage and divorce, and a sense of jangly, disorganized structure seems to promote this value. I think the biggest strength of the track is Berninger and his vocal performance. He sounds like he is genuinely in a lot of pain – in a good way. This makes up for a hook that aches with ideas of heartbreak and disconnection, and it makes the bleak and darkly anecdotal vocals seem worth the downtempo listening. Although it’s not necessarily a bad thing – I feel the track falters a little in sounding a bit too much like The National rather than doing something that feels more subversive or distinct, but you could argue that Berninger’s core formula doesn’t necessarily need to change much to sound effective. For this reason, it’s solid.

Pictured: Matt Berninger on-stage with The National (2018) (Photo by MediaPunch/REX/Shutterstock)

Thank you very much for reading my new post! Tomorrow, we’re back at it again. I’m going to take an in-depth look at the new duo project from Richie Thomas (a.k.a. Dif Juz) and Simon Raymonde, who is the former bassist of Cocteau Twins and the founder of the respected UK indie label Bella Union. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Flaming Lips – “Will You Return/Will You Come Down?”

October 17, 2020 — Leave a comment

Reigniting that influential fire, or sadly dwindling into flames? It’s time for a new post!

Pictured: Wayne Coyne (Lead Vocals/Writer), Michael Ivins (Bass Guitar/Backing Vocals), Steven Drozd (Lead Guitar/Kick Drums), Derek Brown (Rhythm Guitar/Percussion), Jake Ingalls (Keyboard/Synths), Matt Duckworth-Kirksey (Drums) and Nick Ley (Samples/Backing Vocals) (in 2020) (via DIYMag.com)

Good Morning to you! I am Jacob Braybrooke and, just like always, I’m here to write up about your daily track on the blog, because it’s always my day-to-day pleasure to write about a different piece of music every day! Music today comes from an Alternative Rock group who performed a gig earlier in Oklahoma City this week, which was fully socially-distanced, by the way of the band encasing themselves in literally… a “Bubble”. Wayne Coyne and Co. have been around for a handful of decades now, but I’ve actually never got around to listening to any of their albums in full, personally. Criminal for a Music Journalism student? Perhaps. However, it turns out that The Flaming Lips have been very busy over the last few weeks, with the release of their sixteenth (!) studio album record “American Head”, which was released via Bella Union in the UK and Warner Bros. Records in the US. It has left a mark with it’s great score of 81/100 on review aggregate site Metacritic, and it has been generally being praised by critics as their strongest album release in a while. In their lifetime so far, the seven-piece music/art collective have been placed on Q Magazine’s list of the “50 Bands To See Before You Die” in 2002, along with winning three Grammy Awards, they also won NME’s award for Best Album Of The Year for “The Soft Bulletin” in 1999, and they also received a BRIT Award nomination for “Best International Act” in 2007. Let’s have a listen to the group’s latest single, down below!

The new album “American Head”, marks a key shift in identity for the band, who had decided to revert back to their roots in Americana and Desert Rock to explore their geographical roots on the record, and it marks the first time in which the highly established group have really thought of themselves an “American” band, as opposed to one that just comes from “Earth”, according to Wayne Coyne’s press release for the new album. “Will You Return/When You Come Down” doesn’t really include any harsh experimentation or an abrasive style of production, but it’s more reminiscent of a simple idea and, sometimes, that is all you really need. The vocals are warm and comforting, although the lyrics allude to a meteorite crashing down on Earth (“Shooting Star/Crashing in your car/What went wrong/Now all your friends are gone”) and a princess waking up from a long slumber (“Flower gun/Now you’re on the run”) while the chorus feels emotionally-driven and powerfully fragile, as Coyne questions the track’s titular line repeatedly over the top of a gentle swell of Operatic, mournful Cello strings and harmonious Xylophone notes. Coyne’s vocal performance is undoubtedly bittersweet, and the elements of Country-Rock are peppered with subtle, twinkling keyboard riffs which add to the Neil Young-esque Piano instrumentation and the lightly psychedelic guitar tones, accompanied by a heavier delivery of reverb for the chorus. At it’s best, the track seems to evoke the 60’s lo-fi acoustic sound of The Beatles, accompanied by the gauzy, starry-eyed narrative inflictions of David Bowie, and the light dream visuals call back to the 80’s Shoegaze scope of My Bloody Valentine. Overall, I love the track! It sounds alternative enough to feel exciting, but it’s just nice and simple. One of the top essential tunes right now!

Pictured: Cover Artwork for “American Head” (Released on September 11th, 2020) (via Bella Union)

Back in early July, we took a look at “My Religion Is You” from the band. You can peruse the link to the post here: https://onetrackatatime.home.blog/2020/07/04/todays-track-the-flaming-lips-my-religion-is-you/

Pictured: The Flaming Lips on “The Tonight Show Starring Jimmy Fallon” (2017) (via NBC Television)

Thank you very much for reading my new post! Don’t forget to check back with me again tomorrow, because it will be time for our brand new weekly installment in our year-spanning Scuzz Sundays feature! The track comes from a small American band who you just might have heard of before… led by a man who was formerly the drummer of Nirvana! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

One Track At A Time

Ballad