Chill-Rap

Today’s Track: Emawk – “Highroad”

May 4, 2021 — Leave a comment

Hit the Road, Jack, and never come back, no more, no more, no more. New post time!

  • Pictured: Cover Artwork for “HIGHROAD” (Single) (Released on January 27th, 2021) (via Self-Released)

Good Morning to you! My name is Jacob Braybrooke, and, you know the drill by now – I need to get typing up for your daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Born in Boston, raised in Kenya, and based in New York City, singer-songwriter and self-producer Kwame Nkrumah – who uses the moniker of Emawk – is a young graduate of the Berklee College Of Music who has spent the last handful of years writing and recording his music entirely on his own, despite an odd collaboration with actor Hart Denton from the hit US TV series ‘Riverdale’. Nevertheless, Emawk’s Hip-Hop music is gathering a healthy following on the internet, with his recent output gaining support from third-party promoters like Beats1 and Majestic Casual. Accompanied by a B-side, ‘Beads’, his first new track of 2021 was ‘HIGHROAD’, which kicked off an ambitious new audio-visual project that sees Emawk documenting a testimony of his personal life through steady new single releases during the year, which recently picked up with slick R&B, woozy offering ‘ACOUSCOUS’. Let’s hit the ‘HIGHROAD’ for a sample of his work below.

‘HIGHROAD’ marked the new point for Emawk to take a more candid approach to his craft, as he told Equate Magazine in a recent interview, “While I’m proud of the lyrics and the time I took to write them, it was one of the few times where writing was mostly about the vibe”, adding on ‘HIGHROAD’ and ‘Beads’ by penning, “I made the instrumental for Beads and just vibed with it. Hopefully, that comes across and hopefully whoever listens can vibe with it as well”, after joking about how cheesy the role of ‘Vibe’ played into the two tracks. As for ‘HIGHROAD’ specifically, Emawk prides himself in a cut where his self-expression feels at his most unsullied, and his natural instincts gave him the platform to transition from 2020 to 2021 with a refreshing attitude and a new start. A soulful and Gospel-backed mood reflects this, as slick and polished bass grooves interweave with a sun-soaked vocal outpouring of reflections on growing maturity. The first verse leans heavily into self-respect, with lyrics like “You talk a good game, tried to cross up my brain” and “I let you think that you won, I flip the script like I want/Then stepped over the spot where you tripped” and the second verse is a personal reflection on changes that could be made for the better, as lyrics like “I’ve got a lot of old fears that I’ve got to unlearn and I’m unlearning” as he picks himself up to encourage becoming more open to others. The final bridge of “Shout out to anyone who ever caught me on a bad day, And decided that’s all that I could ever be” hits hard, and he gets the last laugh on “I ain’t got the time to throw stones” as the self-confrontational messages draw to an end. Raw and heated are the words I’d use to describe the tone of the track. As for the instrumentation, we weave through sweet and steady flowing rhythms of Dub instrumentals, low-key synth tones that feel warm, and a honeyed production that sees the radiant, lo-fi acoustic guitar pluckings add a finishing touch during the home stretch. While there’s nothing here that truly blows me away, as I think it could have done without the briefly distracting auto-tune near the end, it’s fresh and it sounds good, with varied instrumentation and an intimate feel which lets Emawk off the leash to show personality among the polish.

  • Pictured: Emawk in the music video for “18” (2019) (Photo Credit: TMRWMagazine.com)

Well, it’s time for me to hit the ‘HIGHROAD’ and get on with my work deadlines for the rest of the day now. A break from the new music spotlight is on the docket for tomorrow, just like usual, however, as we delve into a retro hit from one of my own Dad’s favourite 90’s groups, and beyond, in roughly 24 hours time. The Liverpool indie rock trio are still gaining decent radio airplay, however, particularly for a national football anthem that saw them work with comedian David Baddiel and Absolute Radio presenter Frank Skinner for a sporting sensation that made it to the top of the charts in 1996 and 1998, and then again, in 2018. 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: Genesis Owusu – “Whip Cracker”

March 27, 2021 — 1 Comment

Title not to be confused with the Phil Collins-starring vehicle, Genesis. New post time!

  • Pictured: Cover Art for “Smiling With No Teeth” (LP) (Released on March 5th, 2021) (via OURNESS)

Good Afternoon to you! My name is Jacob Braybrooke and – you know the drill by now – it’s time for me to get typing up for your 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! The soundtrack to your Saturday comes from the rising star Aussie hip-hop producer Genesis Owusu, who had his origins set in his birth-place of Koforidua in Ghana, but he was relocated to the Australian capital city of Canberra when he was only two years old. I first came to discover Genesis (real name: Kofi Owusu-Ansah) around seven months ago, when his single ‘Don’t Need You’ was featured on The Current’s Song Of The Day podcast. I liked it back then, and I play-listed the track for airplay on my student radio station. All of that time later – his debut studio album, titled ‘Smiling With No Teeth’ was released on March 5th via his own label, OURNESS, and it really has come out of nowhere to become probably the strongest release of the new year so far. Filled with rich, carefully manufactured concepts around mental state and systematic racism, along with deep and satisfying grooves, and the surprise factor, he really has become one of the most exciting new talents for me, and one that I’d highly suggest that you get your finger on the pulse with. Genesis is also the brother of the two-time ARIA Awards-nominated rapper Citizen Kay. I think that my favourite track from the record is probably ‘Whip Cracker’. ‘Easy’, ‘Gold Chains’ and ‘The Other Black Dog’ are highlights too, but this track makes for a natural change of pace between the midway point of the record. On the track, he hits out at the stereotypes of his race and upper-class bigotry, which had been building throughout the previous tracks. Back in June, he released a black-and-white music video for the track, which he says was filmed in almost a single take, and directed by Bart Celestino. Let’s check it out below.

I did not previously know that ‘Whip Cracker’ had already been shared during the heights of the Black Lives Matter cultural movement over the previous summer, but it certainly makes a great deal of sense, with the bold subject matter of the track feeling ripe for those anxiety-inducing moments. Shared on an Instagram post at the time, Genesis wrote: “I’m not gonna sit here and try to convince anyone why me and my family’s lives matter. I’m not gonna be congratulating white people for not being racist, and I’m not gonna beg and plead for the justice of my people anymore. I’m taking that shit.” in his adrenaline-fueled post. He also shared links to Ways To Act, a resource that listed organisations which work with indigenous Australians. Back to the task at hand – ‘Whip Cracker’ is pretty much just that. Bolstered by references to Malcolm X and slavery issues, he delivers lines like “Spit up on my grave, Hope my thoughts behave, we so depraved” and “Hope your soul is safe, We gon’ hold your fate” with a great viscerality and an urgent flow. Rather than feeling like a series of buzz words of his naming and shaming, however, this more vaguely feels like a celebration of outspoken rights attitudes, although Genesis never shies away from the acknowledgement that more work needs to be done. For instance, the main bulk of the track sees an electronically-based synth opening slowly develop into a lovely Post-Punk backing for Genesis to hit his aggressive bars from. The guitar licks and the angular bass riffs just mould themselves into a slightly psychedelic Aussie Synth-Pop conclusion that makes the genre feel wonderfully tricky to really define. It also feels like there is a full backing band sound behind this – instead of just a lyricist and a producer that most modern hip-hop productions are often modelled after. The themes are edgy and rich, but the instrumentation is deeply satisfying too – with a fresh feel, as the metaphors featured in the prior tracks on the new LP are ditched in favour of a short-fuse, outspoken personality. It pays off hugely for Genesis, with the important messages of the track and the exciting production tactics making it feel like a viable, strong argument for the Best Single Of The Year, and I’m sure the record will be making an appearance on my Top Ten lists. I mean, it only takes you some listening to the album to find out that he is clearly not just your average rap artist. It’s fantastic.

  • Pictured: Genesis Owusu in a general promo press shoot (2020) (Photo Credit: Bec Parson/OURNESS)

As previously mentioned, I did cover ‘Don’t Need You’ on the blog back a long while ago, and I wasn’t as familiar with Genesis as I am now, but if you’d like to see how far that we’ve both come since that point, you can still peruse my little musing on that track here: https://onetrackatatime.home.blog/2020/11/06/todays-track-genesis-owusu-dont-need-you/

  • Pictured: Cover Artwork for “Don’t Need You” (Single) (Released on May 15, 2020) (via Ourness Pty Ltd.)

That’s all I’ve got time for – and probably enough rave reviewing for your eyes to read. They won’t get much of a short rest, however, because duty calls tomorrow for another new weekly entry in our Scuzz Sundays series – where we revisit an Emo-era Pop-Punk classic from the late 90’s up to the mid-00’s. Join me then – for an in-depth look back at a single coming from a Rap-Rock group famously native to South Gate, Carolina who became the first Latin-American Hip-Hop group to earn a star on the Hollywood Walk Of Fame in 2019. 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/

New Album Release Friday: Serpentwithfeet – “Fellowship”

March 26, 2021 — Leave a comment

A true friend is one who remembers your birthday – and not your age. New post time.

  • Pictured: Cover Art for “DEACON” (LP) (Released on March 26, 2021) (via Secretly Canadian)

Good Morning! I’m Jacob Braybrooke – and it’s time for me to get typing up for your daily track on the blog, as per usual, because it is always my day-to-day pleasure to write up about a different piece of music every day! It looks like plenty of artists are looking to capitalise on the new Spring-time weather, because there are loads of new releases out there today. Emerging Galway 4-piece NewDad have released their debut EP – and new full-length offerings from the likes of BRIT Awards darling Ben Howard, rising Israeli genre-blurrer Noga Erez, intimate Canadian indie folk singer Tate McRae, Northern Irish Electronic composer Hannah Peel, US Experimental cult favourites Xiu Xiu, intriguing ‘Cinematic Soul’ collective El Michels Affair, and more. However, I’ve been quickly getting excited about ‘DEACON’, the new record from the Balitmore-raised Experimental Soul artist Josiah Wise – aka Serpentwithfeet. I am a big fan of ‘Fellowship’ – the lead single, which I’ve been playing on my own radio show, because it makes me feel fuzzy and wholesome inside. The new LP follows 2018’s debut LP ‘Soil’, but he’s also known for the ‘Blisters’ EP from 2016, and the ‘Apparition’ EP that he put out last year. This album has been getting some very kind reviews, and so I’m really looking forward to starting to stick my teeth into it when I have a moment to. It was also co-produced by Sampha and Lil Silva, who sing the backing vocals on ‘Fellowship’, and so you’ve got three particularly talented creatives working on this. A loving ode to the bonds in that friendship provides – Check out the lead single below.

Much of the inspiration for Serpentwithfeet’s new album came from his R&B roots in black Churches, and speaking on the creative direction for the new LP collection, he wrote: “I wanted to create something that felt calm and restrained.”, he continued, “This was my way of tapping into the energy many deacons possess”, in a press release for the material. He is, of course, referring to the role of ‘Deacon’ within the ministry of Christian office for the album’s title. Starting off with a subtle Afrobeat backing beat made up of ethereal percussion and warm synth tones, Wise croons lines like “Our breezy Sunday afternoons, Christmas films in July with you” and “Our fascination with Prosecco, The silly face you make when I say Hello” to lyrically play on the dialect that we have with our companions, and the quirks that make our bonds feel strong and personal to ourselves. The songwriting gets a little more reflective later on, with nice lines like “This is the blessing of my 30’s, I’m spending less time worrying and more time recounting the love” that talk carefully about maturity and progressing through the cycles of our lives. The chorus is very lush too, with Wise singing “I’m thankful for the love I share with my friends” in unison with Sampha and Lil Silva – as lushly composed Sitar work and tinny, cute steel pan beats aid the scene. Overall, I can really get behind the message of the track – which is about realizing that you may still be in the ‘good times’ rather than having a need to reminisce about them. Paired with some warm Gospel influences and energetic psychedelia, it makes for a pretty absorbing experience, where the meanings are straightforward and the chords do not truly progress a great deal, but remain fresh from the start to the finish because it feels powerful and intimate. Overall, this is the literal definition of “lovely”.

  • Pictured: Josiah Wise (aka Serpentwithfeet) in a photoshoot for “Soil” (2018) (via PitchPerfectPR.com)

We’ve reached the end of another daily musical diary entry! Scuzz Sundays returns in two days time, like it always does, but, in the meantime, we’ve got another 24 hours worth of text to bust through tomorrow first. In that case, I would like to introduce you to another one of my recent favourites – with a track coming from an Australian-based, but originally Ghanian, fresh new Hip-Hop producer who has just released his debut album on his own independent OURNESS label to positive word of mouth earlier in the month. He is also the brother of the two-time ARIA-nominated Canberra rapper Citizen Kay. 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: CHAI (feat. Ric Wilson) – “Maybe Chocolate Chips”

March 16, 2021 — Leave a comment

Seven days without any chocolate consumption makes one weak. It’s new post time!

  • Pictured: Cover Artwork for “WINK” (LP) (Available from May 21st, 2021) (via Sub-Pop Records)

A good Morning to you! My name is Jacob Braybrooke, and it’s now time for me to get typing up for your daily track on the blog, as per usual, because it’s routinely my day-to-day pleasure to write up about a different piece of new music every day! An all-female Alternative Pop 4-piece group from Nayoga, Japan – CHAI have never shied away from a playful pun or edgy reference or two, in their lyrics and track titles, to different types of food. ‘Donuts Mind If I Do’ is a particular favourite of mine. That trend continues with ‘Maybe Chocolate Chips’, which is the latest single taken from their upcoming third studio album, ‘Wink’, which is currently set for release on May 21st. That feels like ages away, but the Alt-Rock creatives have been building a steady stream of anticipation for the new full-length release with their fun, wonky blend of shape-shifting R&B influences and sugar-sweet (if you mind the pun) DIY Post-Rock aesthetics. Signed to the Sub-Pop Records label, the girls have drawn their influences from CHVRCHES and Justice. A recent collaboration with Gorillaz and a support tour run for Superorganism has also developed their cult following. The new track features Ric Wilson, who met CHAI at the Pitchfork Music Festival in 2019. Check it out below.

Bassist and lyricist Yuuki spoke of the meaning of the track, penning: “Things that we want to hold on to, things that we wished went away. A lot of things happen as we age and with that for me, is new moles! But I love them! My moles are like the chocolate chips on a cookie, the more you have, the happier you become! and before you know it, you’re an original.” in their latest press release. Of course, the subject matter may sounds interesting and rather bizzare upon your initial instinct, but the lyrics of the track soon actually take the form of a unique ode to self-love, and a little social commentary on the quirks that make us all individuals, and how we can perceive our own physical appearance. Led by a synth-inflected backing that feels ambient and polished, with mellow synth grooves that softly wash over the layered vocals, which are more high-pitched and slightly downtempo. The vocals are quirky, but they feel lightly catchy, with a whirring beat that evokes a laidback, gentle tone. The rap section from Ric Wilson beautifally flows above the crooning backing vocals of the main artists, with lines like “Come and stroll in the park with me” and “They can’t define you with beauty myths” giving off a more introspective and understated mood. The chorus is a little more involved, but still kept relatively restrained and with a sugar-coated Soul style, as hooks comparing skin moles to the delicacies of a cookie with gooey chocolate chips gradually move more towards the forefront, while the instrumentation is kept pretty minimalist. All in all, this channels a sleek and synth-led R&B sound, but the hip-hop sections and the quirky lyricism give it a subversive, fun character. The result, for me, is a track which grows on you very effectively with repeated listens. The track showcases the band’s USP for the lyrically creative, with a sound that I find quite ‘undefinable’ overall, but it’s gorgeous. I love this one. Brilliant.

  • Pictured: KANA (Lead Vocals/Rhythm Guitar), Yuuki (Bass Guitar/Backing Vocals), MANA (Keyboard and Yuna (Acoustic Drum Kit) in a promo shoot for “WINK” (2021) (via Conversationsabouther.net)

Thank you for checking out my latest blog post! We’re taking a break from the new music reviews tomorrow for our weekly ‘Way Back Wednesdays’ as we revisit one of the most enjoyable rarities that became available before the 2000’s. Tomorrow’s artists have been featured on the blog before, and they are a well-liked (especially on the internet, and not so known in terms of the mainstream) Scottish electronic duo who were known for pulling off possibly the best ‘Easter Egg Hunt’ in music marketing history prior to the release of their fourth main album in 2013, which was their first new album in seven years, and still stands as their most recent release to this day. 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: Pa Salieu (feat. Mahalia) – “Energy”

February 8, 2021 — Leave a comment

Coventry Market – Although I’m not complaining, it could be draining. New post time!

  • Pictured: Pa Salieu and Mahalia in a recent PR shoot (in 2020) (Photo Credit: Warner Bros Records UK)

Good Morning to you! I am Jacob Braybrooke, and, as per usual, it’s time for me to get typing up for your 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! A 23-year-old British-Gambian rapper from Coventry, Pa Salieu was born in to a life where he was surrounded by other musicians and performers, with his Auntie being a Folk singer-songwriter from Gambia. After spending his early life growing up in Slough, Salieu landed the most played track on BBC Radio 1Xtra of 2020 in his debut single, “Frontline”, which he released in January of last year. Since then, he has released his first full-length record (Which he calls a Mixtape, rather than a traditional Album release) titled “Send Them To Coventry”, which earned him tremendous acclaim. It received a Metacritic review aggregate score of 90, as critics cited his experimentation with genres like Dancehall and Afrobeat, within a diverse Grime and Afro-Swing hip-hop template, which critics felt reflected the sonic fluidity of “Black Music” genres in the past and present. After collaborating on tracks with FKA Twigs and SL, Salieu enlisted the help of artists including Ni Santora, Stizee, Kwes Darko and Felix Joseph. The most notable of which is probably “Energy”, in which the Jamaican-British singer and actress Mahalia assists Salieu, on the closing number of the 15-track project. Let’s give this one a shot below.

The music video for “Energy” was directed by Femi Ladi, and in an interview with NME before the release of his mixtape last November, Pa Salieu spoke of his aspirations for the times ahead, explaining: “I’m not coming from a good life. But my music will have very big meaning… I see a better life for me and my family now. I can see that life can change now, I don’t feel so trapped. I can see the view over the horizon”, in reaction to the new-found acclaim signifying a fresh start for his personal and creative life. This sense of peace comes across in “Energy”, where Salieu raps lines like “Crown on my head, I was born shining” and “They put us in the dirt so we keep dying, I’ve died a hundred times and I keep fighting” over the top of a looping instrumental where the 80’s soft-rock synths are mellow, and these lyrical notes of elevation and self-worth are padded out with a rumbling Bass backing and a straightforward Bedroom Pop production. Light elements of Afrobeat flesh out the soundscape with limbering drum beats and sparsely placed guitar licks that evoke a little Funk-Rock. The tones of the instrumentation fit nicely with Salieu’s reminders to “Protect your energy”, in an ode to broadly well-meaning positivity and self-belief. The hook of “They just want your fall ’cause of jealousy” cements these messages of motivation, and the guest spot with Mahalia adds a soulful touch to proceedings. Although brief, it adds a female dynamic to the track that gives it more optimism. It’s usually more difficult for me to connect truly with artists who have been hyped up to the hills by the media like Pa Salieu seems to be, but overall, I think this is a solid performance. Although I think there’s a slight over-reliance on the auto-tune effects here for me, the sound palette has a great range and the lyrics are easy to relate with. It also feels like a good direction for Pa Salieu going forward, as the non-violent and melodic nature of the instrumental beats work nicely to convey the tone. I also like that when you take a look at his guest list, it’s wonderfully inclusive. An exciting artist.

  • Pictured: Cover Art for “Take Them To Coventry” (Released on November 13, 2020) (via Warner Records)

Well – That’s all I have for you to read today! My daily diary continues tomorrow as you would expect – where you can join me for an in-depth listen to a single from another very exciting emerging talent who I’ve heard about before, but I’ve only recently discovered for myself. She blew me away with her recent performance for KEXP’s Live At Home sessions, and this Colombian electronic music producer loves to describe her own sound as “Bright Music For Dark Times”, the direction of her debut solo LP, which she released last October from the well-known Domino Recordings label. 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/

Way Back Wednesdays: Digable Planets – “Rebirth Of Slick (Cool Like Dat)”

January 6, 2021 — Leave a comment

As Booker T would have said around that time – Can you dig it, Sucka? New Post time!

  • Pictured: Ishmael Butler, Ladybug Mecca and Craig Irving (2005) (Photo Credit: LasVegasWeekly.com)

Good Morning to you, I’m Jacob Braybrooke, and I’m here to – you guessed it! – get typing up your daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day. Never mind the “Rebirth Of Slick” – it’s the “Birth of a New Era” here on the blog today – because this is my first entry in a brand new weekly feature. “Way Back Wednesdays” (…See what I did there?) is a new weekly entry where, each Wednesday, we take an in-depth look back at an influential cut or a rarity, that was released pre-2000. I feel this is just a decent way to get more broader, classic music thrown into the mix, to go along with all of my new release-based output that runs on the blog throughout a typical week. Digable Planets was the brainchild of Ishmael Butler, Craig Irving and “Ladybug Mecca” Marianna during the 1980’s and 90’s, a trio of Hip-Hop chic who you could label under the umbrella of “Boom Bap” Hip-Hop artists like A Tribe Called Quest, Public Enemy and Nas, who were emerging in contemporary rap culture of the time. Interestingly, they never set out to be a “Jazz-Rap” group – they simply made use of Jazz-infused samples and using the resources that were available for them to use, being as creative as their composition practices would allow by experimenting with the tools at their disposal. “Rebirth Of Slick (Cool Like Dat)” was their first single, and it became the lead single of their debut LP, “Reachin’ (A New Refutation of Time and Space)”, released in 1993 via Pendulum. The track got to #15 in the US Billboard Hot 100 charts, and it was certified as Gold by the RIAA shortly after, with the sales figure of 500,000 units. Thanks to today’s tech – You can still check out the music video below.

Although the track was never intended to be a “Hit” – It still earned the group the Grammy Award for Best Rap Performance by a Duo or Group in 1994. Sadly, it seems that it was not really meant to last for Digable Planets. Their second album, “Blowout Comb” – released in 1994 – failed to match the success of their original LP effort, leaving the group to follow their own paths and begin their own seperate projects, although there have been a few notable reunions in the decades since. Nonetheless, “Rebirth Of Slick (Cool Like Dat)” would have been an impossible development in Experimental Hip-Hop and Sample-Delia at the time, even if Ishmael Butler likes to now record his own left-field Funk music under the alias of “Shabazz Palaces” in these trying times. It was anchored from a sample of the 1979 track “Stretching” by Art Blakey & The Jazz Messengers, whereby the trio interlace fragmented Trumpet breaks and smart, catchy Acid Synth rhythms. Butler raps about childhood and the political awareness of underground hip-hop records in the first verse, while Marianna raps about the feel of unity that it encourages in the second verse, and Irving jumps in with a verse on the expression of ethnicity through hip-hop culture at the end. The “Cool Like Dat” refrain changes to “Chill Like Dat” and “I’m Peace Like Dat” throughout the process, and the combined “We Jazz Like Dat/We Freak Like That” hook at the end sets a table for the trio’s lofty musical ambitions. The sound is confident and polished – with vintage Saxophone riffs and light-hearted dribbles of Acid Synths crafting a satisfying, mid-tempo Jazz-Aura aesthetic, which has been created uniquely through sampled materials. The “Boom Bap” production feels less aggressive on this release, in juxtaposition with their peers of the time. However, it creates an atmosphere of “Slickness” and “Cool” that makes it an enjoyable listen – due to a relaxing Lounge-Jazz vibe, and it still remains to be the chemistry of the three musicians that makes it work – and so it jostles happily through the spectrum of Hip-Hop self-aggrandization.

  • Pictured: Cover Art for “Reachin’ (A New Refutation Of Time and Space)” (1993) (via Pendulum Records)

Thank you for taking the time out of your day to read my exciting, new post! As always – you can join me for more of the same tomorrow, where we’ll be taking an in-depth look at a more recent release that you may have missed throughout the last year. We’re going into Electronic/IDM territory tomorrow, with a single from a San Francisco-based producer who is often compared to the likes of Boards Of Canada and Ulrich Schnauss in the ways that he merges natural sounds with synth beats. You may also know him as ISO50 for his graphic design and photography work. 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: Chong The Nomad (feat. Hollis) – “Take Two”

August 17, 2020 — Leave a comment

Now that I have found you – Could you Find Me Two? It’s time for your daily blog post!

  • Pictured: Chong The Nomad pictured in the trailer for “Uncharted: Seattle” (2019) (via VisitSeattle.tv/YouTube)

Good Morning! I’m Jacob Braybrooke and I’m typing up your daily post on the blog, because it is always my day-to-day pleasure to write to you about a different piece of music each day! Let’s kick off the new week with a deep dive! Chong The Nomad (aka Alda Agustiano) is an electronic Soul singer-songwriter and music producer based in Seattle, Washington, described as: “A Young Multi-Instrumentalist and Producer Shaping The Future Of Dance Music” by SassyBlack of TomTomMag.com, who started out in the industry by learning to score compositions for film, and she draws from a cinematic background and her literacy influences to create a slick “Bedroom Groove” indie sound that blends electronic synth work with a 1970’s Pop sensibility. She has supported Death Cab For Cutie and Grammy-winning artist ODESZA on tour, and performed spots at festivals including Sasquatch Music Festival and Upstream Festival + Summit. Did I forget to mention that she’s still only 24 years of age? For her latest single, “Take Two”, which she self-released on Bandcamp last month after producing the music video during self-quarantine, she has enlisted the help of fellow Washington-based producer Hollis to write the track on a trip to Los Angeles, California. She told KEXP: “Wrote it during my first big writing trip in LA and I was super sick, Still managed to create something I’m proud of”. Let’s have a listen below!

Neo-Soul, Psych-Pop and old-school R&B are fused effervescently into a soft, but gently involving, hook-led chorus as Agustiano mocks the “Social Media Influencer” culture in her self-produced music video for “Take Two”, a track which features a noticeably Hip-Hop inspired collaboration spot with Hollis. Agustiano confidently pairs Hollis’ hook: “How long till you see me tremble? Take Two can you make it memorable?”, as Hollis repeats: “Feel me lately, Make me lazy” over the top of a buoyant Synth Drum beat and a punchy, slightly distorting Trap bassline that fizzes underneath a flickering Treble line. The rest of the lyrics are sensual and flirtatious, and the production is very honeyed and laidback. Hollis raps: “You’re my secret garden baby/But you make me want to tell somebody” above mellow textures of bubbling Synth instrumentation and brief helpings of fluttering Cello chords. It leads to a clean breakdown as Hollis recites “Whisper in my ear like that/Glitter in your eyes like that, Fingers in my hair like that”, before pondering: “How far can you take me baby” as the instrumentals slow down gradually, with a light tension being created by the Synth drum grooves and minimal string instrumentation prior. For an artist as young as Agustiano, it’s clear that we haven’t heard the best from them yet, and “Take Two” has a very D.I.Y. feel to it, but the vocal spots from Hollis add much to the optimistic R&B sound, and hints of Glitch-Pop and Jangle-Funk burst through to add diversity to the Synth-heavy framework. A promising step for Agustiano’s early career.

  • Pictured: Cover Artwork for “Take Two” (Single) (Released on July 10th, 2020) (via Self-Released/Bandcamp.com)

Thank you for reading this post! I’ll be back tomorrow, as usual, with a very special blog post to mark the 48th birthday of a certain personal top hero of mine – Richard D. James…. Or, should I say…. Lornaderek of Aphex Twin! I’ll be looking at a track from one of his most popular and acclaimed ambient works to cement the occasion… So you’re not going to want to miss this one! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Princess Nokia- “Gemini”

August 8, 2020 — Leave a comment

I’ve just deleted all the German names on my phone, It’s Hans free! It’s new post time!

  • Pictured: Still image from the official music video for “Gemini” (2020) (Uploaded to YouTube by MASSHENDRIX)

It’s the weekend! I’m Jacob Braybrooke and I’m writing your daily post on the blog, because it is always routinely my day-to-day pleasure to write about a different piece of music every day! Having presented her own radio podcast show on Apple Music and acted in the lead role of a 2019 indie film, “Angelfish”, Destiny Frasqueri – better known by her stage alias of Princess Nokia – has been a very busy rapper-songwriter in recent months, and that’s not all! She has also self-produced and self-released two brand new albums, on February 26th, this year – “Everything Is Beautiful” and “Everything Sucks” – related albums that show a contrast between the sensitive and feminime angst of her as a gender-fluid artist. The albums were recorded across New York, Puerto Rico and Los Angeles between a period of two years. “Gemini” was lifted from the former LP collection, a record that she describes as “a brash, ruthless and insistent collection”. Let’s watch her perform “Gemini” on COLORS via YouTube below.

“I am Gemini/Super fly” and “Two heads/One eye” make up a soulful opening verse for “Gemini”, a Neo-Rap single which lyrically riffs off astrology and horoscopes. A mellow, smooth and laidback Trap-Hop backing track lets her name-drop a list of role models who coincidentally share the same star sign as her, as she recites: “I am Gemini / Like Pac, André, Lauren / and Kanye, Boy George, and Anne Frank,”, of which Ms. Lauryn Hill is also based in New York City like her, a West-Coast legend of the global Hip-Hop climate. An intriguing vocal direction sees Nokia further discussing her horoscope connections with famous rappers and legendary names, as she raps: “And all the famous rappers got a sign like me/And all the famous rappers got a heart like me” before she poetically concludes the chorus with an expression of self-individuality and the creative freedom that she allows to herself as an independent artist, bellowing: “But I know that I’m different and they’re not quite me”. Later on, she refers to her androgynous looks and she murmurs a “Riders On The Storm” refrain taken from the titular track by The Doors, alongside more comedic and quirky hooks like “I am Gryffindor, but I don’t move like Snape” that adds a bouncy mood to the soft, but directly addressed, songwriting tones. The sum of it’s parts create an intriguing atmosphere, despite the instrumental bed seeming a little generic. That’s not to say that it doesn’t suit the song well, however, as this backing track has a very wistful and honeyed texture that adds a melodic layer to the clear-cut lyricism which boldly explores gender identity and self-contained individuality. The sound itself may not be pushing as many boundaries, but Nokia fuses lo-fi Hip-Hop, Latin R&B and Psychedelic Neo-Soul at slick ease. This is powerful listening for a summer afternoon.

  • Pictured: Cover Artwork for “Everything Is Beautiful” (Released on February 26th, 2020) (via Self-Released)

Thanks a bunch for reading your daily post! Tomorrow marks the arrival of a new weekly edition of my Scuzz Sundays series – the time of the week when we revisit either a Pop-Punk or Emo-Rock from between the late-90’s to the mid-00’s to see if it can hold a candle to modern quality standards – This week’s track is an absolute classic of that category! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime