Brit-Pop

Today’s Track: Lime Garden – ‘Pop Star’

March 12, 2024 — Leave a comment

When life gives you limes, make guacamole. I would if I liked avocado. New post time!

Pictured: Chloe Howard (Lead Vocals/Percussion), Leila Deeley (Lead Guitar), Tippi Morgan (Bass Guitar) & Annabel Whittle (Drums) in a recent photoshoot to promote the ‘One More Thing’ album (2024) (Photo via PR)

Good Morning 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! It has been a few weeks since I last found the time to write on the blog so, first of all, thank you once again for waiting for me to return so patiently. Secondly, it allowed the space for plenty of emerging artists to grow and nurture in my favour since the last time that we interacted. One of my favourite bands that I discovered in that meantime was Lime Garden. Not only are they an all-female alternative pop 4-piece from Brighton, but they also specialise in their own brand of “Wonk Pop” which the ladies describe as an exotic combination of Disco, Pop and Surf Rock blended together. I would add that their sound takes me back to the 00’s where bands like Hard-Fi and Caesars scored chart hits with jams that were mainstream indie boom music in essence but they also had a slight urban twist to them where Dance and Psychedelic elements came into the fold rather subtly. Of course, “Wonk Pop” may imply that it’s cheap like Wonky Veg in the supermarket, but I like to think it’s as fresh as the cucumbers that you can buy straight from the greengrocers. Awful analogies aside, check out ‘Pop Star’ before reading my thoughts on the charming track below.

Reading & Leeds, Green Man and Standon Calling are just three of the festivals which Lime Garden have played since forming in 2017 leading to support slots with Yard Act and Sunflower Bean on tour. ‘One More Thing’ is the debut album out recently on So Young Records, which is a really confident first full-length effort. Lyrics reflecting on the modern strong woman stereotypes and the lengths that a creative is willing to go to get noticed are just a few of the core themes that speak to me and I feel that both their musical influences and their honest lyricism come to pass strongly in ‘Pop Star’. The opening synth riff is an interesting sonic choice that sets the scene for the sporadic lifestyle that vocalist Chloe Howard sings about with its upbeat yet slightly imperfect nature in how the pattern is a tad unsettled. The drums rattle on at a percussive, improv Jazz-like pace as Howard lays bare the highs and lows of navigating the music industry as a struggling artist with low name value. “I don’t want to work my job, cause life is short and this is long” during the chorus and “I’m finding it hard to breathe and I’m finding it hard to believe/Is this what its like for you or is this just what its like for me” in the verses details the realities of feeling stuck in a job which the powers that be have laid out for you and the curse of comparison to others on social media, respectively. Although the blind pursuit of an exciting dream that feels destined for depression is a personal reflection on these everyday issues for musicians, I also feel there’s something wider that Howard and pals are getting at here. There’s a thematic sense of rebellion to the record in which they feel defiant against the overexposure of generic music by established names being given all of the airplay and support in the modern media. The last lyric that I mentioned, especially, makes this clear to me in a subtle fashion. Overall, I really like how intelligence and dexterity are quite specific attributes to Lime Garden as a band here that can’t be heard on just any record and they offer a deep conversation on ‘Pop Star’ that, as well as the tune being quite a lively and eccentric one to groove to, there’s an attitude to it that feels totally Punk buried beneath the more obvious influences. I absolutely love the sense of specifity to them and if you haven’t heard of Lime Garden before but you are a fan of bands like Warpaint, The Strokes and The Last Dinner Party, I think that you will find their solid LP as fresh as a lime straight from the most tender source too.

Pictured: Cover Artwork for ‘One More Thing’ (LP) (Released on February 16th, 2024) (via So Young Records)

That’s all for now! Thank you for your time today and keep your eyes peeled on the blog because, later in the week, I will be posting about a groovy new track by a funk, Jazz and Afrobeat-inflicted band who have recorded music with Hot Chip frontman Alexis Taylor and they have performed at KEXP’s World Clash Day back in April 2019.

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Way Back Wednesdays: Beryl Marsden (feat. Gospel Garden) – ‘Hello, Stranger’

May 4, 2022 — Leave a comment
Pictured: Cover Art for ‘Changes: The Story Of Beryl Marsden’ (Released on January 31, 2012) (via RPM Records)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to go ‘Retro’ with another old-school edition of ‘Way Back Wednesdays’ on One Track At A Time, because it’s always my day-to-day pleasure to write up about a different piece of music every day! The latest favourite of Cherry Red Records to grace the feature, Beryl Marsden’s story began in the Merseyside boom of the 60’s where she found fame on the Liverpool club circuit after singing with local groups like Howie Casey and The Crew, after she won a talent competition at the age of 14. One child in a family of ten, she would start performing at the Star Club in Hamburg, re-locate to London and subsequently sign with Decca Records as a solo artist with Tony Stratton-Smith as a manager. In her career since then, Marsden supported The Beatles on their final UK tour in 1965 and participate in projects like Shotgun Express (Which Rod Stewart, Mick Fleetwood and guitarist Peter Green were also all members of), The She Trinity, Simbad, Gambler and The Beryl Marsden band. Her material was mostly centered around a then-contemporary Pop and soulful R&B style, although her solo records unfortunately gained little commercial success. Nevertheless, she has built up a reputation as an undeservedly neglected talent praised by sites like AllMusic and The Liverpool Echo. She has also been remembered in recent times with a theatrical musical – ‘One Dream: The Beryl Marsden Story’ – that was performed at the Cavern Club for two nights, which Beryl Marsden would close with a live performance. She was also portrayed by actress Gemma Sutton in 2013’s ‘Cilla’, a three-part TV drama series about Cilla Black. Her lack of success commercially was mostly contributed to how her singles were never released in a traditional album format, and this notion did not change until January 2012 when her first compilation – ‘Changes: The Story Of Beryl Marsden’ – was finally made available. Check out ‘Hello Stranger’ from it below.

‘Hello Stranger’ is likely one of Beryl Marsden’s more well-known original recordings because it was used in the 1997 film ‘Another 9 1/2 Weeks’ (Which was also released as ‘Love In Paris’ in certain markets) which starred Mickey Rourke and Angie Everhart, which features the clips that you just saw in the video above. It was also credited to “Gospel Garden (feat. Beryl Marsden)” in some territories too, but it was nonetheless one of her more radio pop chart-friendly works. Gospel Garden’s blueprints are also clear, as the track gets off to a start with some ethereal Synths and ambient washings of Bass that conjure up an atmosphere that, to fit the title, feels strange yet familiar. Marsden’s lyrics are more emotionally driven, as she waxes nostalgic with sustained refrains like “Have you had a good time?/It makes me smile when you look at me that way” that leads melodically into the bridge, where she questions the interest of a former lover with lyrics like “Can I come home with you tonight?/Is that what you’re asking?” and “You say you’re gonna treat me right/A stranger’s touch is what I need tonight” as the bassline builds up to some playful keys that lead nicely into the heightened pace of the chorus, where catchy hooks such as “It’s a strange kind of magic/When we touch” and “Strangers you and I will always be” play out above the soulful combination of keys and drums, which feels different to the slow-burning energy and gradual progression of the main verses that establish a slightly more gritty and subdued quality. The track is still quite lushly produced, and it demonstrates how richly her voice has aged throughout the decades too as her darkened vocals are conveying a decent variety of emotive qualities during the verses before the more formulaic Dance-Pop song structure creeps in around the halfway mark, but these elements still work cohesively together because of her uncertain presence. Her voice was enough to give you a light tingle down the spine, and that’s executed clearly here.

Pictured: Beryl Marsden in a rare promotional photoshoot (Date n/a) (Photo via REX/Associated Newspapers)

That’s all for now! Thank you for checking out my latest post on the blog, and I will be back tomorrow to review a recent, eclectic single by a self-described “Globetrotting Psychedelic Soul Savant” who is one of the co-founders of the Chalo project. I can’t wait to bring his exciting new single ‘Brooklyn Ballers’ to your notice and it follows variable collaborations with artists such as Dam Swindle, Mike Bloom & Kaidi Tatham.

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New Album Release Fridays: Bloc Party – ‘If We Get Caught’

April 29, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Alpha Games’ (LP) (Available from April 29th, 2022) (via BMG/Infectious Records)

Good Morning to you! My name is Jacob Braybrooke, and its time for me to get writing up for 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! With new albums by Royksopp, Toro Y Moi, Melody’s Echo Chamber, Kelly Lee Owens, Honeyglaze, Dana Gavanski and more all arriving today, you really can take your pick for ‘Album Of The Week’ because there seems to be something for everybody among the release slate today. I have been coloured intrigued by Bloc Party, therefore, as the established PLUG Award-winning and 30 million album-selling London rock band are entering a crucial new chapter of their careers with ‘Alpha Games’ – their sixth studio album – which is out now, as of today, via BMG/Infectious Records. The main draw for the record is how it is their first to feature their new line-up, as Gordon Moakes and Matt Tong have been replaced by Louise Bartle and Justin Harris. The urban rock band have been actively promoting the record as a twist on the band’s old dynamic, giving the sense they are steering away from their tried-and-tested formula in favour of something new, as Kele Okereke said “We’re not the same band now. The chemistry is different” and “We have a history and a legacy, but I’m more excited about the energy we have right now“, in a recent interview with NME’s Mark Beaumont. It also brings producers like Dan Carey, of Speedy Wunderground fame, on board as well. It has been backed by interesting singles like ‘Traps’ and ‘The Girls Are Fighting’, which have sounded edgy in new ways despite feeling like Bloc Party. Check out the latest single – ‘If We Get Caught’ – below.

“There are only two songs that I feel like have any tenderness on the record, and ‘If We Get Caught’ is one of them“, Kele Okereke says about the LP’s penultimate track in a press release, adding, “It’s really about recognizing that the game is coming to an end and about trying to steal a moment of tenderness with your partner before the curtain comes crashing down. I think it’s about trying to find moments where you can really connect with someone amid all of the chaos that’s going on in the world“, in his evaluation. While the other singles have boasted a sharper set of fangs, being defined by their sleazy punk theatrics and their intense guitar riffs, ‘If We Get Caught’ feels more like an indie anthem by-the-numbers with a decidedly more downbeat, yet still melodic, pace. A subtle, vintage Art-Rock touch and the staccato vocals of the chorus, where the acidic and playful vibes of singles like ‘Traps’ and ‘Sex Magic’ are replaced by a sound that seems more emotionally driven. Okereke chimes in with lyrics like “Where you go/I will go” and “Stick to the story, better with an alibi/Create diversion, take control with sleight of hand” that, while retaining a relatively straightforward Dance-Rock feel, are supported neatly by a slight rap delivery that Okereke uses in the verses, before he is supported by some cooing backing vocals by Bartle and airy bass guitar riffs in the chorus. Lyrics like “If we get caught/I want you to know/I will always, ride for you” capture the quality of trying to eek out a final moment of intimacy before an inevitable final goodbye, wringing out the joy of a doomed relationship, nicely in the chorus. A light channeling of the indie rock ghosts of the 80’s and 90’s mostly characterizes the visuals and emotions here, with Okereke and the rest of the band creating a sense of unity and strength by giving the impression that there is little sense of anger whatsoever. I feel that Okereke has created a fresh outlet for himself in his solo material, with side project releases like ‘2042’ feeling more fascinating and inspired than some of his main Bloc Party music in some cases, and I can see some of that influence spreading out into new avenues here. While ultimately not quite as interesting or experimental, it feels different to the music that I’ve heard by Bloc Party or may expect to hear from them because it feels more intimate, and so I feel like the goal of mixing up their recycled tropes has been achieved here, even if the sound is a little more generic in some ways. An enjoyable single that would sound great on the UK’s mainstream radio, ‘If We Get Caught’ makes it clear that Bloc Party are not attempting to emulate their past efforts too slavishly, as this one strikes a more full-tilted and introspective chord with me – and this is an effective way to play the game.

Pictured: Kele Okereke (Lead Vocals/Rhythm Guitar/Electric Piano/Samples/Synths), Russell Lisack (Lead Guitar/Samples/Programming), Gordon Moakes (Bass Guitar/Backing Vocals/Keyboard/Synths/Glockenspiel) and Matt Tong (Drums/Percussion/Occasional Backing Vocals) (2014) (Image via whenthegramarphonerings.com)

If you’re already a fan of this NME Album Of The Year-winning band, the party doesn’t need to end here as you can check out each of my other Bloc Party-related posts here:

‘Traps’ (2022) – https://onetrackatatime.home.blog/2022/01/08/todays-track-bloc-party-traps/

‘Helicopter’ (2021) – https://onetrackatatime.home.blog/2021/11/07/scuzz-sundays-bloc-party-helicopter/

Pictured: Cover Artwork for ‘Silent Alarm’ (LP/Album) (Released on February 2, 2005) (via Wichita Recordings)

That’s all for now! Thank you for checking out my latest post on the blog, and we will be looking ahead to the new month tomorrow with my review for a recent single by an established Australian indie rock band who will be releasing a new album within May. Formed in Melbourne in 2013 by three vocalists-guitarists, they have gained attention by the AIR Awards, Australian Music Prize, Music Victoria Awards and others.

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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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Scuzz Sundays: Hard Fi – ‘Hard To Beat’

April 17, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Stars Of CCTV’ (LP) (Released on July 4th, 2005) (via Necessary Records)

Good Morning to you! This is Jacob Braybrooke, and I’m wishing you a good Easter Sunday with my latest installment of ‘Scuzz Sundays’ on the blog, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! To be 100% transparent, I barely thought about ‘Easter’ this year and since ‘Easter Music’ isn’t really a thing, and it is not inclusive for all cultures and relgions anyway, I thought that I’d simply cover a band who have been in the news lately this week. The band in question is Hard-Fi, who released three albums between the years of 2004 and 2011 which all did decent business, spawning well-remembered hit singles like ‘Cash Machine’ and ‘Living For The Weekend’ in the process, before going on hiatus in 2014. The band received one Mercury Prize and two BRIT Awards nominations for their work, as well as a #1 album in 2007 and a 2x platinum certification for the sales of their debut album. They also dipped their toes into podcasting with their series ‘Hard-Fi: Rockin’ The City’ that was widely available in 2007 and even got nominated for ‘Best Podcast’ at the Digital Music Awards that year. I think that ‘Hard To Beat’ must be their best-known single as it did the rounds on the soundtracks of ‘FIFA 06’ and ‘MLB 06: The Show’ shortly following release and it reached #9 on the UK Singles Chart as well as #34 on the Billboard Hot Modern Rock Tracks Chart in the US too. If you’ve been following Hard Fi-related news lately – and you would be forgiven if you haven’t honestly due to them not being around for such a long time – they have been teasing a rare fifteenth anniversary show for ‘Stars Of CCTV’ with posters spotted on the London Underground that features a date pointing to a gig in mid-October. Just don’t shout ‘Hard-Fi’ if you see it next to your fellow passengers because they would probably take you for some kind of a mental lunatic. Let’s revisit ‘Hard To Beat’ below.

A series of social media posts relating to ‘Stars Of CCTV’ have been posted gradually by Hard-Fi elsewhere and they have not performed live together since 2014. In April 2020, Richard Archer – the frontman of the Staines-Upon-Thames formed indie rock outfit – told NME that Hard-Fi were considering a return to the stage to mark their unforgotten first album’s 15-year milestone, saying, “That album has defined people’s lives and when they were growing up. We’ll definitely do it at some point, but with new music too so we’re not just trading on past glories”, in an interview. ‘Hard To Beat’ takes obvious cues from Daft Punk’s ironically overplayed 2002 hit track ‘One More Time’ with filtered disco guitar sounds mixing with a more urban twist created by the lightly distorted Synths and Grunge-driven Bass melodies. Lyrics like “You in a short skirt/Shining eyes of deep brown/You had a dirty hook, you caught me on your hook” feel rhythmic and have a catchy twang to them, but the light darkness of the sexually aroused emotions consummates the rather evident marriage between the LCD Soundystem-influenced House genre explorations and the more “ladd-ish” feel of the ruthlessly driving mid-00’s lead guitar riffs. A hint of paranoia comes through, with lyrics like “I said come on, let’s dance/We’ve got to take our chance/You whispered in my ear/You wanna get out of here?” that talk about living in an environment like London, even though the band are much closer to Cornwall. Some obvious shots of Franz Ferdinand and The Clash are in here too, with the danceable Synths drawing out the vocals at the end and gruff Drum melodies riffing against the slightly more expansive electronic effects that create the Disco vibe most vibrantly. There is a light political commentary on surveillance and urban decay within their songwriting in the grander scheme of things beyond ‘Hard To Beat’ as a standalone single, but Archer doesn’t quite have the sharp-pointed vocal dexterity of Maximo Park’s Paul Smith or the socially observational abilities of Arctic Monkeys’ Alex Turner – two comparable indie rock bands that also found fame in a similar timeframe – but there’s an admirable attempt to ground the material in a sense of place that isn’t just tied to London in here, nevertheless. The Disco vibe is damn infectious too, but the lyricism works better when they’re smoothly trying to pick up love interests instead of reciting pains of urban dilapidation. That said, the track is a fun and melodic single that wears it’s influences on it’s sleeves and it simply feels very catchy. It felt a little disposable for the time but, admittedly, it still gets a fair amount of airplay today. It has stood the test of time because it is so memorable and pretty dynamic, if nothing very special. It goes to show that sometimes a simple throwback is, well, hard to beat.

Pictured: Richard Archer (Lead Vocals/Lead Guitar), Kai Stephens (Bass Guitar/Backing Vocals), Steve Kemp (Drums/Backing Vocals) and Ross Phillips (Rhythm Guitar/Synths/Backing Vocals) (2006) (Photo via Getty Images)

Thank you for checking out my latest post because your support is absolutely valued every time, and I will be here kicking off the brand new week’s worth of music posts tomorrow with a review for a recent release by an Atlanta-based Hip-Hop duo who are also founding members of the Spillave Village collective. Their well-received second studio album, ‘Ghetto Gods’, was released in February via Dreamville Records.

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Today’s Track: Honeyglaze – ‘Female Lead’

April 7, 2022 — Leave a comment
Pictured: Anouska Sokolow (Lead Vocals/Lead Guitar/Rhythm Guitar), Tim Curtis (Bass Guitar/Backing Vocals) and Yuri Shibuichi (Drums/Percussion/Occasional Backing Vocals) (2022) (Photo Credit: Holly Whitaker/DIYMag.com)

Good Morning to you! This is Jacob Braybrooke, and it’s time for me to cut to action on the set of another daily track on the blog, with a movie theme today, that helps me to fulfill my goal of writing up about a different piece of music every day! Born out of lead songwriter Anouska Sokolow’s “un-desire to be a solo act”, according to Red Light Management, Honeyglaze are an emerging indie rock trio based in Southern London who met officially at their first rehearsal together just three days prior to what would become a near-residency at The Windmill in Brixton, where bands like Black Midi and Squid have also found their footing. They have also performed at festivals including Green Man Festival, Fred Perry’s All Our Tomorrow’s Festival, Live At Leeds and Cardiff’s SWN Festival across the last couple of years too. Their debut studio LP is self-titled, and it will be coming out on 29th April 2022 via Speedy Wunderground, a Dance-influenced Post-Punk label that is, of course, partially run by well-respected producer Dan Carey. Pierre Hall, the A&R representative of the label, says “We’re so excited to announce Honeyglaze as our next proper signing to the label. We were blown away as soon as we heard their music, and then, furthermore, when we met them in person. It’s felt like such a natural partnership and they’ve created something really special. We can’t wait for the world to hear. Be prepared to fall in love”, about Honeyglaze’s music. The latest catchy single to be taken from their upcoming 11-track project is ‘Female Lead’, which gets accompanied by a music video that was directed by James Ogram and Sokolow herself, and it stars Jojo Macari, an actor who has also starred in Netflix’s ‘Sex Education’ TV series. Check out the pre-release offering below.

Honeyglaze will be performing headline gigs at venues in London, Portsmouth, Margate, Manchester and Hull throughout May in the UK, and it follows their support slots for Katy J Pearson and Wet Leg. Talking about the video for the track, Sokolow says, “Given that the song itself is so narrative heavy, we knew we wanted to make something with it’s own seperate story”, adding, “It started off with some ideas about duality and stolen identity. I had recently watched ‘Casablanca’ and that’s where we got the idea of this movie character coming to life and we ended up writing a full scene for a made-up, 50’s romance.”, in a press release. Tackling these themes of self-understanding and personal worth in the track itself, the trio back up Sokolow’s explorations of changing your appearance and feeling overwhelmed in your ambitions through the lens of flashy hair dye. Lyrics like “I put it in my black hair, and waited for an hour/But when I washed it out, oh, god, I’ve let my mother down” and “I look nothing like Madonna/More like an 80’s horror film/I’ll have to wear a hat, Until my golden hair turns black” are geared towards the witty side, but they provoke serious thoughts about how we view ourselves and compare ourselves to famous faces. The narrative builds up with soft vocals, steady drums, melancholic guitar riffs and delicate splashings of Bass that are kept simple and concise within the song’s short 2-minute runtime. The key lyrics are delivered to a vintage-leaning tune that was influenced by The Shangri-La’s, according to the trio themselves, and the buzz of the British narrative-based Pop songs that were all of the rage in the cinematic 60’s. They replicate the vibe well, while adding a ‘timeless’ feel to the track. The vocals sound pure and intimate, with a fragile mix of a spoken and haiku-like format to present what is being written between the lines with a rather direct sense of well-versed clarity. Although it is kept short and to the point, ‘Female Lead’ has enough depth and substance overall to spread its message of romanticized ideals and self-judgment through the temporal era of retro cinema. Who knows, going by this track record, maybe Honeyglze will put in a more Oscar-worthy performance in the future?

Pictured: Vinyl copy of’Honeyglaze’ (Self-Titled LP) (Available from April 29, 2022) (via Speedy Wunderground)

Thank you for checking out my latest post, and I look forward to bringing a new entry of ‘New Album Release Fridays’ to your eye line tomorrow, as we turn our attention to a multi-time Mercury Prize nominee who came out as non-binary in 2020. A breath of fresh air on the Spoken Word genre, they share one particular thing in common with Honeyglaze. They also had a residency at The Windmill in Brixton. Aside from music, they are a Sunday Times best-selling and Costa Book Of The Year-nominated author.

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Way Back Wednesdays: The Future Sound Of London – ‘My Kingdom’

March 30, 2022 — Leave a comment
Pictured: Garry Cobain (Samples/Production) & Brian Dougans (Samples/Production) (Date n/a) (Photo via Clash)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to go ‘retro’ for ‘Way Back Wednesdays’ 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 are not sold on the strength of the premise of a diverse tapestry of dystopian, dark-leaning IDM and Electronica with a loose theme of urban dilapidation and urban decay, with a hint of paranoia and a Cyberpunk aesthetic alone, the UK Top 15-charting single of ‘My Kingdom’ may just convince you otherwise. This single was released in 1996 by The Future Sound Of London – an English electronic music duo formed in 1988 by Brian Dougans and Gary Cobain who met in Manchester, ironically – in the build-up to their third studio album ‘Dead Cities’ they released in the same year. The record is an expansion of the ideas they explored on 1994’s ‘Lifeforms’ EP, a more nature-oriented and pastoral record, albeit with a darker variation of sounds. ‘Dead Cities’ also included the duo’s highest-charting single ‘We Have Explosive’, which was licensed as the theme track for the ‘Wipeout’ video game on the original Playstation, and it reached #12 in the UK Singles Chart. ‘Dead Cities’ is personally one of my favourite electronic records of the 90’s because it serves as a road trip of post-apocalyptic Ambient textures, but what really makes ‘Dead Cities’ click together so neatly is the stylistic tweaks which the duo make throughout it. The ballad-style tone and floating Piano chords of tracks like ‘Max’ are very different to the ring tone-style synths of tracks like ‘Antique Toy’ or the insistent drilling of the title track that are more harsh and dissonant in mood, or really feel like they are attacking the listener. Throughout it’s 12 tracks (and a hidden segment that starts around one minute after the final track plays like an MCU-style Post-Credits scene) and a hefty duration of 70 minutes, The FSOL create a varied tapestry of electronic sounds spanning through Psychedelia, Trip Hop, Techno, Dark Ambient, IDM and Dub that are tethered to a connected, if non-singular, vision – and I also feel the record has a softer side to it that can be overlooked in favour of the more crowd-pleasing Claustrophobia of EDM cuts like the more well-known single. ‘My Kingdom’ was the preceding single to ‘We Have Explosive’ and it was given a fairly low-budget looking music video that was animated by Buggy C. Riphead – who designed the graphics of the LP’s physical copies. The CGI is dated by modern standards – but their imagination is still there. Check it out below.

‘Dead Cities’ is an underrated classic which was released on the major label Virgin Records in the UK along with Astralwerks in the US, and many music critics have attributed the album’s mastery to being the reclusive duo’s most accessible work commercially, although it still unmistakably sounds like them. In fact, ‘My Kingdom’ got to #13 in the UK Singles Chart, joining an elite club of bizzare top 40 radio hits like The Chemical Brothers’ ‘Setting Sun’ and The Orb’s ‘Toxygene’ from around it’s then-contemporary times too. The opening of ‘My Kingdom’ carries it’s weight with an Urban Trip-Hop feel as ethereal samples that give the drums an African percussion feel guides us through a gradual lift-off, before the sampled voices of an elusive choir and wistful Asian-style Horn samples that evoke a stop-and-start pace slowly join the fray of the scattered soundscape, with breakbeats and light downtempo ambience separating the structure of the elements to blend them into a more cohesive whole together. The choir section is a highlight, as the duo’s modulation makes their voices feel distant and hollow, conveying the mournful themes of a ‘Dead City’ with expert precision. I also love how the mixture of aggression and percussion on ‘My Kingdom’ has a dark edge to it and takes center stage as the drawing, expansive structure of the piece comes into view. The duo dip their toes into Blade Runner and Ennio Morricone samples specifically here, and they combine the downtempo elements of those original recordings with gloomy, foggy Ambient Electronica sounds neatly here, almost creating an abstract characteristic of a dense forest that could remind you of their prior ‘Lifeforms’ work quite noticeably. ‘My Kingdom’ has the power to give you goosebumps because of it’s darkness and vibrant atmosphere, with a certain doom-and-gloom or woe-is-me tone that is turned into something surprisingly beautiful and hypnotic as the samples stretch along it’s duration progressively and conjure up the power to create it’s own experience that feels a little seperate to ‘Dead Cities’, but is enhanced by the context of the sounds, tones, atmosphere and textures of the album it is from. It is a very well-crafted record which each lover of music should experience.

Pictured: Inserted Artwork for ‘Dead Cities’ (CD) (Released in 1996 via Astralwerks/Virgin EMI) (Photo via Eil.com)

That brings us to the bottom of the page for another roughly 24 hours period, and thank you for taking a short moment out of your day to support the site and the independent creatives that I, in turn, support here as well. It is back to new music recommendations tomorrow, as we turn our attention towards a new single by a now-duo of Indie Pop and Disco proportions from Brooklyn, New York who previously included Coco’s Dan Molad amongst their line-up. Their albums have also received acclaim from The New York Times, Rolling Stone, NPR, Paste and The Village Voice too. Their new LP – ‘Second Nature’ – will release on April 8th via Mom + Pop Records.

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Scuzz Sundays: Maximo Park – ‘Our Velocity’

March 20, 2022 — Leave a comment
Pictured: Paul Smith (Lead Vocals/Keyboard/Producer/Rhythm Guitar), Duncan Lloyd (Lead Guitar/Bass Guitar/Occasional Backing Vocals) and Tom English (Drums/Percussion) (2020) (Photo via readdork.com)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to revisit one of the more ‘Scuzzy’ indie anthems of the mid-00’s as we remember the ghosts of Pop-Punk’s past for ‘Scuzz Sundays’ on the blog, which ties in to my goal of writing up about a different piece of music every day! Released in 2007, ‘Our Velocity’ is a ferocious Pop/Rock single coming from Newcastle Upon Tyne’s Maximo Park, led by their excellent and really energetic frontman Paul Smith. They seem to have been pigeon-holed a little into the ‘Indie Landfill’ of the 00’s where there were heaps upon heaps of other bands following some similar ideas musically, but Maximo Park have stood the test of time as they are still recording today. In fact, they gained a rather kind amount of praise for ‘Nature Always Wins’ – their latest full-length album record – an architecturally designed set list of tracks that became something of an unlikely comeback to the UK’s rock mainstream for the band, as a surprising campaign was led to help it score the UK’s number one album spot. It ended up reaching #2 – I like to think that some of the love was aided by my support on the site – with just a few hundred sales separating it from Architects ‘For Those That Wish To Exist’ at the #1 spot – at the time of it’s first week of release in February, 2021. At the time that ‘Our Velocity’ was being issued alongside its crafty music video, the band were following up on their Mercury Prize-nominated debut LP with ‘Our Earthly Pleasures’ in 2007. Suprisingly, their first album was actually released on the legendary experimental label Warp Records – the home of IDM pioneers such as Aphex Twin, Plaid, Boards Of Canada and Squarepusher. ‘Our Velocity’ was produced by Gil Norton, and it reached Silver sales certification status in the UK. Let’s remind ourselves of the hit track below.

Teletext’s Planet Sound music page named ‘Our Velocity’ as the best single of 2007, and it was also used in Channel 4’s ‘Hollyoaks’ TV series, as well as video games like ‘Guitar Hero: On Tour – Modern Hits’ and ‘Project Gotham Racing 4’ shortly following its release. Written by guitarist Duncan Lloyd and lyricist Paul Smith, the track was written as a response to the international conflicts that the UK was involved in at the time, mostly being the middle eastern wars in Iraq and Afghanistan. ‘Our Velocity’ starts off with a blend of 8-Bit synth effects that wouldn’t sound too out of place in a ‘Super Mario’ video game title, before the squelching guitar riffs and the tight Drum section introduces us to the next part of the track, where Smith recites dramatic yet poetic lyrics like “I’m not a man, I’m a machine/Chisel me down until I am clean” and “There is a poison in the air/A mix of chemicals and fear” that hit quite hard when you know about the influences behind the songwriting, and they are accentuated brilliantly by the vibrant mix of rock ‘n’ roll and electronic production. The rest of Smith’s lyrics come across like a ramble that comes from a stream of consciousness, with aggressive quips like “I’ve got no one to call in the middle of the night anymore/I am just alone with these thoughts” flowing out in contrast to more politically charged lines like “You’re asking for commitment/When I’m somewhere in-between” that pack a more socio-economic punch. True, if outspoken, lyrics like “If everyone became so sensitive/I wouldn’t have to be so sensitive” set the scene up too. The guitar riffs wind through the breakneck stages of being faster and faster each time, while the bass is frenzied and the pace briefly pulls away for a few minutes as Smith delivers the pre-chorus refrain, before the dizzying drums and the fizzy guitar riffs of a gently camp abandon separates the structure up a little to resemble a more radio-friendly sound. ‘Our Velocity’ is packed with a precise amount of lyrics and references, with plenty of ideas in terms of the instrumentation too, although it may come across to me as just a tad bit over-ambitious at times due to the chaotic nature of the layout. Paul Smith was bang on the money as the front-man of the piece however, and the execution of the music video is faultless. A superb showing that packs a lot into a concise run time.

Pictured: Maximo Park in a promotional photoshoot for ‘Nature Always Wins’ (2020) (Photo Credit: Em Cole)

Underrated no longer, you can check out some of Maximo Park’s most recent stuff here:

‘Baby, Sleep’ (2020) – https://onetrackatatime.home.blog/2020/11/30/todays-track-maximo-park-baby-sleep/

‘All Of Me’ (2021) – https://onetrackatatime.home.blog/2021/02/27/todays-track-maximo-park-all-of-me/

Pictured: Cover Artwork for ‘Nature Always Wins’ (LP) (Released on February 26th, 2021) (via Prolifica Inc.)

That’s all for now! Thank you for taking a little share of your time from your day to check out what’s been going on today right here at One Track At A Time, and your support is very highly appreciated by me. I’ll be back tomorrow to start the new week’s worth of music posts with a review of a recent single by a wonderfully proficient Brooklyn-based singer-songwriter who has just released her debut solo album – ‘Under The New Light’ – via Last Gang Records. You may know her for her foremost roles in other bands and musical projects such as Dirty Projectors and Coco.

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Way Back Wednesdays: The Specials – ‘Gangsters’

March 9, 2022 — Leave a comment
Pictured: Cover Art for’The Best Of The Specials & Fun Boy Three’ (LP) (Released In 2006) (via Pegasus Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to go retro with another weekly blog entry of ‘Way Back Wednesdays’ on the site, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Today, we really are going ‘Way Back’ because we are talking about the British Ska revival band The Specials, who were part of the 2 Tone and Alternative Reggae movements all of the way back in the late-70’s and they have continued to represent these styles through to the present day. I was going to see a tribute band for The Specials in Stoke-On-Trent before the pandemic hit in 2020 – which I was very much looking forward to, in a way – but, unfortunately, we know how that turned out in the end. Known for combining uplifting Dub melodies with the ferocious spirit of Punk, The Specials were formed back in 1977 when they lived in Coventry – and that is way before my time. They used to wear mod-style 60’s period ‘rude boy’ outfits complete with pork pie hats, tonic & mohair suits, and loafers on-stage, likely performing their greatest hits like ‘Ghost Town’ and ‘Too Much Too Young’ that reached #1 in the UK’s singles chart. They continued their career throughout the 80’s and 90’s under a revised line-up with an alternate name of The Specials AKA, which represented their informed political stance and their wry social commentary on British society. Most impressively, The Specials are still recording new material today, and they most recently released ‘Encore’ in 2019 – an original album that re-introduced vocalist Terry Hall to their ranks, and it was a #1 entry on the UK Albums Chart. ‘Gangsters’ was another of their classics, which was recorded in Studio One of Horizon Studios in Coventry during 1979 to be released as their first track under The Specials AKA name, and it peaked at #6 in the UK Singles Chart following release. Let’s give it a spin below.

Terry Hall created the vocals for ‘Gangsters’ by mixing an “angry” recording and a “bored” recording that were cobbled together, while Horace Panter had to re-cut the Bass parts because they were originally so extreme that they “blew the needle out of the record’s grooves” and pianist Jerry Dammers overdubbed a treble-heavy Piano instrumental on to the track to compensate for the low-end of the Bass. Lyrically, ‘Gangsters’ was allegedly written about a real-life incident where The Specials had to pay for damage caused to a hotel by another band (rumored to be The Damned) as they were held responsible, and the track is also reportedly a re-working of Prince Buster’s 1964 ska track ‘Al Capone’ because ‘Gangsters’ samples the car sound effects which played at the beginning of Buster’s track. Moreover, The Specials changed the refrain in the opening line to “Bernie Rhodes knows, don’t argue” as an insult aimed at Bernie Rhodes, who was the band’s manager for a brief stint. Taking all of these different stories into account, The Specials telling a story of dis-establihment in a bizzare way as they reference incidents like a mis-step involving a guitar above a perky variety of gently Skanting Dubplate beats and odd Middle Eastern-sounding instrumentals, while the lead vocals retain an energetic – yet eeire – delivery. The guitar melodies sound different to Al Capone’s track, and so The Specials did an excellent job of re-writing that track in their own image, with the deadpan vocals conveying a feeling of self-awareness about them. Overall, ‘Gangsters’ was a vital step in introducing The Specials’ take on British Ska to wider audiences at large by paying tribute to some nice influences in clear, yet poignant ways. The vocals have a quality of vagueness which retains an aura of mystery throughout, and the danceable Rocksteady drums are likely to encourage weird great uncle’s to partake in some questionable “jerky dancing” at some family parties. Injected with humor, darkness and youth – The Specials had a big hit on their hands when they released ‘Gangsters’.

Pictured: A LEGO r-ecreation of the ‘A Message To You, Rudy’ music video (2018) (Photo Credit: Musical Brick)

That same year, The Specials also re-created ‘A Message To You, Rudy’ with the famous British-Jamaican saxophonist Dandy Livingstone. You can find out more about that here: https://onetrackatatime.home.blog/2020/02/06/todays-track-the-specials-a-message-to-you-rudy/

Pictured: Cover Artwork for ‘A Message To You, Rudy’ (Single) (Released in 1979) (via 2 Tone/Chrysallis)

That brings me to the end of another nostalgic breakdown of a beloved classic for another week on the blog, and I thank you for spending a moment of your day with me on the site today. I’ll be back to bringing some new music to your eardrums tomorrow, as we take a light gander on a downtempo soul track by an experimental Toronto-based performance artist and producer whose music encompasses Pop, Indie Rock, Jazz, Neo-Soul and Bossa Nova. She has learned to play several exotic instruments including the Harp, a Pairometer and the Tenori-on. She has shared the stage with the likes of Janelle Monae and Aloe Blacc, and she contributed her vocals to Bob Wiseman’s ‘Giulietta Masina At The Oscars Crying’ that was first issued in 2012.

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Way Back Wednesdays: The Charlatans – ‘You’re Not Very Well’

March 2, 2022 — Leave a comment
Pictured: Tim Burgess (Lead Vocals/Harmonica/Piano), Mark Collins (Pedal Steel Guitar), Martin Blunt (Bass Guitar) and Tony Rogers (Keyboard/Organ/Flute/Mellotron/Percussion) (2017) (Photo Credit: Andy Richardson)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to revisit one of the seminal sounds of the past for another weekly entry of ‘Way Back Wednesdays’ on the blog, which fits my goal of writing up about a different piece of music every day! If I’m being wholly transparent with you, I wasn’t quite born yet when the ‘Madchester’ or ‘Baggy’ mini-movements began here in the UK, and so it’s thanks to my Dad and the records that he used to play in the car that I really have as much significant knowledge about the time that I still do. Although not quite one of the most chart-bothering bands of the time, like The Stone Roses and Ocean Colour Scene perhaps were, The Charlatans are still an active rock group who boasts the mid-pandemic Twitter hero Tim Burgess as their ringmaster, who have released thirteen albums to date. A set-closer that was the opening track of their debut album, ‘Some Friendly’, released in 1990 – ‘You’re Not Very Well’ is just one of the recordings that helped their debut album to enter the UK Albums Chart at #1. Introduced to the industry by the visual programming wonders of ITV’s ‘The Chart Show’, a still-lamented show, The Charlatans have scored hits like ‘The Only One I Know’ and ‘Then’ that reached the Top 15 in the UK. Let’s see them perform it at Manchester’s The Ritz from 1990 below.

The story behind 1990’s ‘Some Friendly’ is a well-documented one, since the record suffered from all sorts of production issues during the time of development. The recording sessions near Wrexham, Wales were awkward because ‘Burgess and buds’ fell out with the owners of the studio. The label executives were very keen on pushing them, and they wanted the band to record the album’s tracks despite them not having wrote many of them, and Burgess didn’t have the opportunity to stockpile songs beforehand. In spite of this, it still received great reviews from journalists and the record has been certified as ‘Gold’ in UK sales, and so that’s an achievement, whether it’s down to coincidence or raw fate is another dilemma. Opening track ‘You’re Not Very Well’ got the 90’s LP off to a start with prominent Organ stabs and repeating Bass hooks, with willful lyrics like “I don’t like all these sharks in the city/They don’t do much for me anyway” and “There’s that car that I used to swerve/This town traffic is knocking me over” that talk about how you can outgrow your surroundings while reflecting on the nostalgic moments that you’ve enjoyed within a certain area, as Burgess goes back and forth on his feelings regarding the people that he has met and the time that he has spent while growing up, with lyrics like “One step forward into mine/Faking pictures and opening doorways” and “Intervene and you privatise/Health is health and I don’t know about it” that each express anything but warm, sunshine-filled sentiments. There’s splashings of the slide guitar here and there to follow the Brit-Pop trends of the time while following an undercurrent of Funk as an influence. It is not necessarily steady on it’s feet as an overall piece, but ‘You’re Not Very Well’ is very pointed and it has a 1960’s Beat Groove with plenty of ‘Baggy’-ness and ‘Madchester’ elements to it that ensures that Burgess and his band-mates are delivering their instrumentation and vocals with a decent amount of cadence. An eclectic 90’s track that feels decent, if not particularly classic, which laid out a diverse, rhythmic framework for The Charlatans for decades to come.

Pictured: Tim Burgess performing with The Charlatans at Picnic In The Park (2019) (Photo by Rune Hellestad-Corbis)

If you are looking for some more catchy melodies by The Charlatans, then you need to look no further than my blog. Here is my take on The Charlatans’ 90’s classic ‘The Only One I Know’: https://onetrackatatime.home.blog/2021/04/28/way-back-wednesdays-the-charlatans-the-only-one-i-know/. You can also check out some of Tim Burgess’ solo work by giving ‘Empathy For The Devil’ a spin here: https://onetrackatatime.home.blog/2020/05/29/todays-track-tim-burgess-empathy-for-the-devil/.

Pictured: Cover Artwork for ‘Some Friendly’ (LP) (Released on September 8th, 1990) (via Beggars Banquet Records)

That’s all of the time that I have got for now! Thank you for revisiting some ‘Baggy Brilliance’ with me today, and I’ll be back at it again tomorrow with new music from a ‘Post-Punk Poet’ who has often been featured on the blog before and she topped my ‘Best EP’s of 2020’ list that was published two years ago. She has toured with The Brian Jonestown Massacre across the UK and Ireland, and she has recently been working with Speedy Wunderground’s Dan Carey as her producer. She will finally be releasing her highly-anticipated debut LP record in June through Chess Club Records.

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