Today’s Track: Rolling Blackouts Coastal Fever – ‘The Way It Shatters’

Good Morning to you! This is Jacob Braybrooke, and it’s time for me to return to my writer’s table 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! The Melbourne-based 6-piece Rolling Blackouts Coastal Fever emerged nine years ago with their subtle blend of 00’s Jangle-Pop and cheerful 60’s Surf-Rock – with not one, not two, but three guitarists amongst their line-up. They have now earned an established profile with popular LP releases like 2018’s ‘Hope Downs’ and 2020’s ‘Sideways To New Italy’ since those years, along with a top 5 entry on the UK’s Physical Singles Chart. They have earned acclaim from sites like Triple J, Pitchfork, Noisey, AllMusic, Pop Matters, Uncut, Far Out Magazine and others. They have also gained awards attention from the AIR Awards, Australian Music Prize, Music Victoria Awards, J Awards and National Live Music Awards as well. The typical two-year cycle between album releases is up for them, so we’re naturally getting their third album – ‘Endless Rooms’ – next month. It arrives on May 6th via Sub Pop Records/Ivy League Records, and it has been described by the group as “almost an anti-concept album“, with the title reflecting, “our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities“, according to the band. It’s automatically clear that free time was spent by the band to craft their new record during lockdown, as the lead single finds the band experimenting with Synths for the first time to add a fresh dynamic to their folk-inspired sound. Check out ‘The Way It Shatters’ – with the music video, which taps into the new LP’s darker themes – below.

It’s about how ending up in your particular situation in life is the result of absolute randomness. If you happen to be born into wealthy Australia or happen to be born into a war zone in Syria. That’s just the way it shatters“, Rolling Blackouts Coastal Fever say about their album announcement and recent single, adding, “So it’s when this good luck is mistaken for a sense of pride in one’s self or their country they become confused and deluded about what’s important. It’s when those on the other side of the luck scale are completely othered and considered not worthy“, in their insightful description of it. Reflecting more of a night-time vibe than most of their previous efforts, ‘The Way It Shatters’ gets up to some speed with nimble and angular guitar melodies that fill the opening, as the soaring Synth stabs and the sharp, layered Drum melodies fill the rest of the space when they follow. Evident 00’s Jangle-Rock and 60’s Surf-Rock qualities are still there, due to how the band structure the track and how the vocals have an acoustic dynamic, but it feels more lively and energetic than before due to how the Synths play off the tension and mark a more expounded first step into electronic territory. There’s a slightly dissonant Keyboard line and an ascending bassline thrown in, and when all of these elements come together, they sound not very dissimilar to The Psychedelic Porn Crumpets or Deerhunter overall. While the hooks are quite mainstream-friendly and the progressions of the chords are pleasant, the lyrics reflect a slightly darker and a slightly more sinister spin to these proceedings. Lyrics like “It’s desolation by rote?/All around your home/If you were in the boat/Would you turn the other way?” deals with humanity and how we all find our own place within it. Later hooks like “Lost in a magazine town/It’s all falling up again and in my head, I tell myself/It’s all just a necessary evil” dig their fans into isolation habits and the fortune that favours some of us above others. It never feels over-produced, although clear signs that bigger producers have been set up with the band for tracks like these. There’s nothing here that I haven’t really heard before, however, it has a more gritty sound than 2020’s ‘Sideways To New Italy’ which I enjoyed and skews towards a decidedly 90’s Indie sound that gets a nostalgic quality across. Pleasing to fans of the band’s existing material, I also think ‘The Way It Shatters’ appeals nicely to fans of bands like Mumford & Son’s who operate in a similar genre, but have a slightly more known profile to them. A clean, solid track with catchy lyricism and progressive ideas.

Rolling Blackouts Coastal Fever seemed really popular in 2020 and, as someone who likes to comment on the fuss, its only natural that we met before in the entries below:

‘She’s There’ (2020) – https://onetrackatatime.home.blog/2020/06/08/todays-track-rolling-blackouts-coastal-fever-shes-there/

‘Cars In Space’ (2020) – https://onetrackatatime.home.blog/2020/03/24/todays-track-rolling-blackouts-coastal-fever-cars-in-space/

That’s all for now! Thank you for checking out my latest post on the blog because I appreciate that on a Saturday, much like the band, you must feel shattered. ‘Scuzz Sundays’ is back tomorrow, and we will be tying it into current affairs once again because the central band have just released their eleventh studio album. They are known for singles like ‘Last resort’ and ‘..To Be Loved’, and the following was used as the main theme song for WWE’s ‘Monday Night Raw’ TV show between 2006 and 2009.

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Today’s Track: Honeyglaze – ‘Female Lead’

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?

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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Today’s Track: The Red Hot Chilli Peppers – ‘Black Summer’

Good Morning to you! This is Jacob Braybrooke, and it’s time to turn up the heat with a brand new single by a scorching California-based rock band 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! Holding the reputation of being one of the most successful bands in contemporary Alternative Rock with sales records on the US Billboard charts for their singles, six Grammy award wins, over 100 million record sales worldwide and an induction into the Rock and Roll Hall Of Fame, alongside the band receiving a star on Hollywood’s Walk Of Fame earlier this year, it’s a pretty big deal that The Red Hot Chilli Peppers are making their first proper comeback in quite a long time, although I have to hold my hands up and admit that I am a little late to the party for this occasion. ‘Unlimited Love’ is the band’s 12th studio album and their upcoming follow-up to 2016’s ‘The Getaway’ and it is currently set to be releasing as soon as April 1st – that is next Friday – on Warner Records. The main draw for this new release is how it is their first album to feature the returning bassist John Frusciante, who originally left the band in 2009 and rejoined in 2019, replacing Josh Klingghoffer. In addition to this, it re-unites the band with longtime producer Rick Rubin for the first time since 2011. The band will also be going on a new world tour to support the album, beginning this June. Check out their comeback single ‘Black Summer’ below.

“Our only goal is to get lost in the music. We spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could”, The Red Hot Chilli Peppers explain about their impending LP, adding, “Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt”, in a press statement. ‘Black Summer’ finds lead vocalist Anthony Kiedis waiting for a period of depression to end, as the title may indicate to you, as he croons somber refrains like “A sailor spoke too soon, and China’s on the dark side of the moon” and “The archers on the run, and no one stands alone behind the sun” that are delivered over the top of some familiar fretwork from guitarist Flea. The track has a naturally uplifting chorus that it transitioned neatly between a tastefully meandering lead guitar solo in the middle of the track, and the fluctuating Drums help to convey the fuzzed-out and psychedelic sounds of classic Chilli Peppers’ music. Lyrics like “Riding on a headless horse to make the trip” dice with death as a brief theme, while the final bridge of “Waiting for another black summer to end” is destined to be sung by festival crowds later in the year. The main vocals have a fairly chilled and a reasonably paled back feel to them, while the ascending guitar solo ensures that we ride a propulsive wave until the duration meets its end. Most notably, it follows the formula of how you would expect a Red Hot Chilli Peppers track to sound while making the sound feel contemporary due to the explorations of mental health that captures the mood of a modern male audience. It is an anthemic single for those who struggle with the exhaustive daily commitments of modern life, but the sound takes obvious cues from nostalgia and the records of The Red Hot Chilli Pepper’s past. Ultimately, I felt this rolled along rather nicely and one of my initial fears was that the band may be a bit too old now to pull off their old lyrical shtick as effectively. On the contrary, the songwriting feels mature enough to bypass that issue and despite feeling a bit predictable, it is crowd pleasing stuff that just sounds like The Red Hot Chilli Peppers. It was better than I expected, and it feels as relieving as the pandemic-ridden closure of a black summer.

That’s all for now! Thank you for checking out my latest post and I hope to see you again tomorrow for ‘Scuzz Sundays’ where I have chosen a simple song about love that would kind-of fit the theme of Mother’s Day too. I was inspired to cover this early 00’s Glam-Rock classic due to the band’s frontman’s recent appearances on both ‘Ant and Dec’s Saturday Night Takeaway’ and ‘Rock Till You Drop’ on UK television screens.

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Today’s Track: Maia Friedman – ‘First To Love’

Good Morning to you! This is hard-working writer and aspiring radio producer Jacob Braybrooke, and the time has finally come for me to keep your ears entertained by 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! Maia Friedman was already a skilled vocalist, multi-instrumentalist and songwriter before she even embarked on a solo career, as you may already know Friedman from her roles in the Brooklyn-based indie rock bands Dirty Projectors and Coco. Growing up in the Sierra national forest region of the Central California area with her father (a film editor) and her mother (a Jungian Psychoanalyst), Friedman began learning how to play instruments at a very young age and she has since become a big part of her local music scenes for her various roles in musical projects including Toebow, Bobby and Uki Ika Ai – as she joked to Melody Maker in an interview, “Collaborating gives me the juice”, a few weeks ago. Her latest full-length album – ‘Under The New Light’ – finds Friedman undertaking the role of a spiritual comforter and a serene healer for the listener, where she tackles the deep contrast between topics such as intimacy and growth, and light and darkness, throughout the duration of the long-awaited solo record. She began working on the material four years ago as she balanced putting the track listing together with her duties of being a music teacher in New York. Dan Molad, her fellow band-mate from Coco, helped her to produce the album. Additional work also came by way of her collaborators Tom Deis and Peter Lalish. Check out the single – ‘First To Love’ – below.

‘First To Love’ is given even deeper meanings by the aid of the Joshua Kilcoyne-directed music video, and Maia Friedman says of the new cut, “It is a humbling privilege to love someone in all their humanness and imperfection, to not only support but celebrate them through their journey of growth and exploration, to be by their side as they evolve into new versions of themselves”, adding that her lyrics roughly translate to, “I will love even the deepest layers of who and what you are. A question I pose to myself is, what if this person were me?”, in her press statement. Her ethereal track starts off with glitched Synths that replicate the sound of a heart monitor of a hospital to my mind, a polished sequence which runs throughout the track, and they are softly set against the backdrop of a warmly acoustic guitar melody and a soft bassline. Lyrics like “Look as the clouds pass overhead/I will count them until the daylight ends” and “Wait as the roots find their way/They’ll grow deeper with each passing day” are softly spoken and they carry the verses with a low-lit and wide-eyed tone. The chorus features more swooping and direct refrains like “Peel away/Keeping me up through the night” and “Escape/Be whatever you like” that position Friedman in a unique sense of directly addressing you as her audience, with the details of her personal situations feeling a little enigmatic in favour of giving you a space of reflection and free-wheeling tranquility as a listener. I feel like these more Folk-inspired sections recalls the cinematic soundtrack style of her work in Coco, but it goes quite far beyond an ‘Expansion Pack’ mentality of that sound as the intriguing electronic textures and the whimsical Classical influences of the serene vocals feel different enough to her material with those other projects. Overall, ‘First To Love’ is a bit of a slow burn, but it builds up to a nice sense of energy and it has a strong emotive core that is filled with wistfully produced Strings and warm Dream-Pop instrumentation that placed an emphasis on the most smallest and profound aspects of what it means to be a human and the details of subjects like sensuality and touch with an in-depth contrast that finds her striking out sturdily, as a relatable songwriter.

If you’d like to hear some of the magic that Maia has created in Coco – look no further.

‘Last Of The Loving’ (2020) – https://onetrackatatime.home.blog/2020/10/22/todays-track-coco-last-of-the-loving/

‘Come Along’ (2021) – https://onetrackatatime.home.blog/2021/12/06/todays-track-coco-come-along/

That brings me to the end of the page for another day! I have little else to say, other than to thank you for checking out what I had to share with you for today, as your support is always highly appreciated by me. I’ll be back tomorrow to review one of the promotional singles from an imminent album being put out by a TrumsØ-formed Progressive House and Dark Ambient duo whose achievements include two Grammy Awards nominations, some worldwide tour performances, and a Robyn collaboration.

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Way Back Wednesdays: The Beta Band – ‘Squares’

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to take a break away from the new year of new music releases by revisiting a small sample of the seminal sounds of the past as we go ‘Way Back’ for Wednesday on yet another daily track on the blog, given that it is my day-to-day pleasure to write up about a different piece of music every day! A late-1990’s and early 00’s Alternative Rock group who have been remembered as “The self-destructive pop saboteurs who did it all wrong in all the right ways” by James McMahon, a writer for NME, in 2018 – The Beta Band are the rare case of a band that were, perhaps, a little misunderstood by the contemporary critics of their heyday, and they have only really been seen as highly influential in more modern times. Known for their experimental blend of Folktronica, Trip Hop, Plunderphonics, Psychedelic Rock and Progressive Pop, The Beta Band were praised by Oasis and Radiohead, eventually opening up for their live shows in 2001 and went on to build a healthy cult status with audiences alike. In 2001, in a very strange coincidence, both The Beta Band and Sheffield-based indie pop duo I, Monster decided to add a vocoder and some beats to The Gunter Hallam’s Choir’s ‘Daydream’ to form their own sample-based tracks of ‘Squares’ and ‘Daydream In Blue’, respectively, and the tracks melodies seem similar enough at first glance as to listeners being confused between the two but, upon a further inspection, ‘Squares’ has a more edgy, nightmarish feel in comparison to I, Monster’s more commercially successful adaptation of the 60’s piece. It was taken from The Beta Band’s sophomore album – ‘Hot Shots II’ – which was included in the 2010 edition of the book ‘1001 Albums You Must Hear Before You Die’ and it also reached #13 on the UK Albums Chart and it was co-produced by Colin Emmanuel. Let’s revisit the music video below.

The Beta Band’s music was memorably featured in a scene of the 2000 Romantic Comedy/Drama hybrid movie ‘High Fidelity’ that was based on the Nick Horny-authored novel of the same title. In an iconic clip from the film, a record store owner portrayed by John Cusack states “I will now sell five copies of The Three EP’s by The Beta Band” and he dances around to a full minute or so of ‘Dry The Rain’, a scene that exposed the cult Scottish group to a wide range of new listeners, especially in the US and internationally, and so there’s a fun slice of trivia for you. Back to the task at hand, we start with the immediately familiar lyrics of “I’ve seen the demons, but they didn’t make a sound” and “They tried to reach me, but I lay upon the ground” that get repeated later on, with Steve Mason sounding positively forlorn as he murmurs about seeing darkness trying to control him. You get the sense right away that things are off, with a very glitched Hip-Hop beat meandering and playing with the pitch of the melodies by itself, and a traditional beat only forms barely until the iconic String loop of the sampled track bursts through. The iconic lyrics of “Daydream, I fell asleep beneath the flowers” and “I saw miles and miles of squares, where’s the feeling there?” are met with Faust-like towered Drum backing beats and a neat Kosmiche guitar solo in the final half, forming an ankle-deep Electronica groove that is disorienting textually, almost as if Mason is simply wending through a humid fog but he is neither cynical or clueless. ‘Squares’ by The Beta Band and, also, ‘Daydream In Blue’ by I-Monster have two nearly identical hooks, but while ‘Daydream In Blue’ came and went a little more after it’s initial impact on pop culture, this revision of the sampled track by The Beta Band feels remembered more often, and I think that it has stuck simply because of a better use of sampling. ‘Daydream In Blue’ was memorable for adding a vocoder and a beat-driven style to the track, but that was largely it. However, ‘Squares’ just has more depth to it when you read between the lines. It features the usual hallmarks of The Beta Band in terms of it’s Radiohead-like experimental rock approach, but it also feels more minimalist in it’s light blending of R&B, Hauntology and Hip-Hop elements that are small, but stand out. The darkly psychedelic sounds feel like they’re playing off what you’ve heard before to give it a more nightmarish context that comes with the alienated fear of an awful acid trip. The risk pays off, and we get a half-remembered track that feels strong for this effect.

That’s all for today! Thank you for being the companion to my Doctor Who with our throwback post today, and I’ll be back tomorrow with some more music, of the fresh variety, that you’re hopefully going to enjoy. We’re looking at a recent single from the London-born DJ and Writer Chris Menist, who began the project of Awkward Corners when he was living in Islamabad. His releases have since spanned record labels like Boomkat, and early recordings were made with local artists from Thailand & Pakistan.

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New Year’s Day 2022 Special: Al Stewart – ‘Year Of The Cat’ (Live In Seattle, 1976)

This is Jacob Braybrooke and I’m wishing you a good version of your own of what has been the best day of the year so far for me with yet another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! A Scottish folk revivalist figure who found prominence in the 60’s and 70’s as a unique songwriter who would combine soft rock songs with stories of different characters or significant events from history, Al Stewart is a talent of delicate weaving who once recorded a very fitting single to ring the New Year in with his 1976 offering, ‘Year Of The Cat’. For a musician who played a live set at the inaugural Glastonbury festival in 1970, reportedly knew Yoko Ono before John Lennon caught wind of her activist work, and shared a flat in London with equally memorable artist Paul Simon when he was frequently collaborating with Bruce Woodley of The Seekers fame in his younger years – Al Stewart scored a #8 hit on the US Billboard Hot 100 chart in 1977 with ‘Year Of The Cat’. Famously described by AllMusic as “one of those mysterious woman songs” nearer to the time, Stewart recorded the track as the title single of his seventh studio LP release during a session at the iconic Abbey Road Studios in London, before recording sequences from his live tour, including one performance in Seattle, for a live album, ‘The First Year Of The Cat Tour Live In Seattle’, to spring off its success one year later, where the album had become a top five chart hit in the US. Becoming a popular record to be used to demonstrate Hi-Fi demonstration, ‘Year Of The Cat’ was certified Platinum to indicate sales of over one million copies in the US during 1977. Get the kettle on, take a moment to reflect, and hear a tale of a love affair in Casablanca as we enter 2022 as a ‘Year Of The Cat’ below.

When Al Stewart stormed the mainstream with ‘Year Of The Cat’, you may be forgiven for believing him to be an overnight sensation but, in reality, it took him six previous albums worth of material and logging a bundle of hours on the Folk festival circuit before achiveing his stardom. Described by Stewart during his live set at Seattle’s Paramount theater as “a South African love song”, it remains to be the only appearance in the UK Singles charts for Stewart, who reached #31 with ‘Year Of The Cat’, a track which he ironically wrote and recorded during the Vietnamese Year Of The Cat, as it was the Year Of The Rabbit previously in China. Kicking proccedings off with a straightforward Piano line, the guitars flutter along beautifully as Al continues to kick into a higher gear with his combination of soft Rock ‘N’ Roll melodies and Progressive Pop rhythms that eventually morph into a stirring symphony of romantic guitar arrangements and radiant Piano chords as Stewart’s moving vocals concerning a whirlwind relationship in an exotic locale hit their timeless mark. Lyrics like “On a morning from a Bogart movie, In a country where they turn back time” hit their stride as Stewart sets up a vibrant scene of a one-time fling transforming into something much more substantial. Lyrics in the verses like “She comes out of the sun in a silk dress running, Like a watercolour in a rain” ignite more poignant sparks that make the otherwise sensual lyrics feel genuinely meaningful in the story, which is nicely complemented by the elegant String sections and the somewhat downbeat vocals by Stewart that provide a grounded take on the flirtatious dialogue between the two partners. It almost feels like Stewart is singing a duet meant for two vocalists on his own for the most part and he strikes a great balance between poise and sincerity with the delivery. Moving on to the instrumentation, we find Stewart bursting through various styles and motifs throughout the song – including a long instrumental section that leans towards classical Jazz with a colourful Saxophone solo and taking turns between the explosive guitar solo and the abruptly placed Brass instrumentation, but his production feels coherent enough as all of these varied elements complement the warmth of the lyrical mood. Overall, through melding his anecdotal storytelling that seems quite influential for the likes of Jens Lekman later on, and playing with the contemporary Blues song structure of the time, Stewart created a suitable story for New Year’s season with a very stylish and sophisticated range of talents. With that – I wish you a fantastic new year, and I cannot wait to hear the music contained within it.

That brings us to the end of the coverage for the best day of the year so far on One Track At A Time and, as always, I thank you a great deal for your interest and support towards the site every day. After a brief hiatus, ‘Scuzz Sundays’ returns to its normally scheduled placement from tomorrow onwards, where we will be remembering a popular track from a very famous East Bay native punk rock band who found fame in the early 1990’s as we kick off the new year with familiarity. One of their tracks is the centerpiece of a Broadway musical, ‘American Idiot’, that was first performed in 2010.

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Countdown To Christmas 2021: Julien Baker – ‘A Dreamer’s Holiday’

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for you to decide upon all of your last-minute Christmas gift purchases straight after reading our latest installment of this year’s ‘Countdown To Christmas’ on One Track At A Time, not forgetting that it’s always my day-to-day pleasure to write up about a different piece of new music every day! ‘A Dreamer’s Holiday’ is a recent cover of the 1945 track of the same title that was originally performed by Perry Como, which the Tennessae-based 26-year-old indie rock singer songwriter Julien Baker released for a ‘Spotify Singles’ collection of Christmas covers by alternative artists in late 2020, exclusively issued for the conglomerate streaming platform – with Black Pumas, Jazmine Sullivan, Ruston Kelly and Dashboard Confessional also appearing on the extended play. Baker has recently re-uploaded the cover to her Bandcamp page, however, and so the 12 month exclusivity deal must have expired, meaning that it is now available to actually buy or download for the first time and it is technically a brand new release if you look at it one way. You may already know that Baker was a member of the Boygenius trio that has similarly launched the solo careers of Phoebe Bridgers and Lucy Dacus to the stratosphere in recent years, and Baker’s latest main release was ‘Little Oblivions’, an album that she released in February to solid acclaim and decent commercial success. On the record, she tackled the theme of underlying darkness inside the corners of her mind. Themes such as sobriety, heartache, relapse, failure and redemption were explored on the album, which was mixed by Craig Silvey (Florence & The Machine, The National, Arcade Fire) and engineered by Calvin Lauber, and she recorded it at home in Memphis. ‘A Dreamer’s Holiday’ has only been covered once before by Willie Nelson in 1983. Let’s hear Baker’s spin on the old formula below.

“I chose ‘A Dreamer’s Holiday’ because I found it incredibly unique as far as holiday songs are concerned. It’s a very understated song – both lyrically and musically; while it’s technically about a ‘holiday’, it doesn’t reference any specific holiday theme, it leaves the lyrics a bit more open-ended”, Julien Baker explained last year, adding, “It’s the same way with the music – the chord structure is complicated but surprisingly timeless to me even though the song itself is over 70 years old. It’s the kind of song whose arrangement can be re-imagined so many times, and I love the feeling of sonic potential a single like that gives me”, as she discusses how the task of tackling ‘A Dreamer’s Holiday’ could be considered a challenging one, but her own cover of the track passes off well due to her hard work and determination. The Tennessee native sets the mood with “Climb aboard a butterfly and take off on the breeze” for her daydream-like opening, using some vulnerable finger-style guitar playing before the gentle Horn section enters the picture, with Baker promising to “Make it a long vacation/Time, there’s plenty of” as her reverb-drenched vocal tones create some space for an inviting Piano solo to join the soundscape, with Baker encouraging us to “Help yourself to happiness/Close your eyes and concentrate” prior to the main musical hook of “You will feel terrific when you come down to earth/From a Dreamer’s Holiday” as the tight track draws to it’s natural conclusion. Although not mentioning ‘Christmas’ as a key concept, it feels suitable enough for the season. Baker’s vocals and laidback production provide a mellow quality to the original source material, while her minimalist take on the instrumentation and her tactile guitar melodies would still feel cohesive with the music found on her recent album ‘Little Oblivions’ as the track feels like a somewhat underground choice for a cover version. While the groundwork of the airy String-based scatterings and the subtle scratches of her crackling Vinyl production bears resemblance to her said latest album, sharing similarities with the style of her chronological music, it replaces the more morbid lyricism of that record with lyrics that are brighter. It never gets too excitable and Baker thankfully doesn’t feel the need to place some filler vocals or reach into the realms of a high pitch solo for this, and so I think the track is a good merger between the feelings of anticipation and longing that she wanted to portray. Really, it’s her vocal performance that gets the emphasis here, and she gives the track a relatively short duration so the themes don’t overstay their welcome. Overall, this was a lovely little cover that got the job done and Baker is a true musician having played all, or nearly all, of her instruments on this here track, with some newfound textures that were edited in her signature style. A sumptuous addition to your playlist.

‘Little Oblivions’ was previously a pick for ‘New Album Release Fridays’ on the site. We covered ‘Hardline’ here: https://onetrackatatime.home.blog/2021/02/26/new-album-release-friday-julien-baker-hardline/

That’s all for now! I’ll be taking my own ‘Dreamer’s Holiday’ tomorrow morning as Father Christmas himself will be spreading his share of seasonal cheer by introducing you to one of his favourite edgy hits for ‘Scuzz Sundays’. He’s told me to relay that it will be coming from a legendary Brooklyn native Synth Punk band whose leader is the co-founder of DFA Records. Their 2007 album ‘Sound Of Silver’ was listed as one of the 666 greatest albums of all time by KEXP listeners during a poll finished in 2019.

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Today’s Track: Sam Evian – ‘Never Know’

Good Morning to you! This is Jacob Braybrooke, and I hope to inject some energy into your Monday as we go for something that sounds a little retro, not forgetting that it’s always been my day-to-day pleasure to write about a different piece of music every day! A New York-based songwriter, producer and guitarist, Sam Evian is a Broolyn-born indie rock and psychedelic pop recorder whose music is pitched as a soft blend between 60’s Jangle Pop, Americana and 70’s tinged Psychedelic soft rock that nods towards Sly & The Family Stone and T-Rex, as well as each of the classic Soul legends who have inspired him. Having previously released his material on Saddle Creek Records, his third studio album – ‘Time To Melt’ – has shifted him over to Fat Possum Records, and it has received a positive reception from publications like The Quietus, Uncut, Mojo and Glide Magazine, with further support from BBC Radio 6 Music DJ Huw Stephens and MPR’s The Current, since it was released a handful of weeks ago. The follow-up to 2018’s ‘You, Forever’ – which Digital Trends have included in their rankings of their best albums of that year – ‘Time To Melt’ is a backward-looking collection of fun tracks where his studio does the talking. It was recorded at his own studio, Flying Cloud Recordings, located in a Catskills Town in Upstate New York with his frequent collaborator and real-life partner, Hannah Cohen, during the outbreak of the Covid-19 pandemic last year. It also features remote production work from The War On Drugs’ producer Jon Natchez, as well as contributions from Chris Bear and Spencer Tweedy. Check out his final pre-release single off the LP, ‘Never Know’, below.

Sam Evian had this to say about ‘Never Know’ in his press release, “Never Know is kind of about escapism, dystopian realities and aliens. Sometimes it’s more fun to sit there and look out, you know?”, adding, “It’s a wild time to be alive, for better or worse. It used to be that we only had fiction and conspiracy to feed off our real-world fantasies. Now we have fighter pilots coming forward about strange, impossible experiences they’ve had in the sky”, to his notes. Exploring some distinctive subject matter on ‘Never Know’, Sam Evian seems to suggest that George Harrison was his favourite member of The Beatles with his slide guitar outro and his instrumentation which nods towards progressive Soul artists like Curtis Harding and Issac Hayes. Evian calls out to the skies for answers beyond our understanding with lyrics like “I look in the eyes of the one who loves me/Can we live in the afterglow?” and he touches on how he sees the world as a human with later lyrics like “Is there life in the great wide open?/I saw some in the sky today/But my eyes are always joking” above some twinkling keyboard riffs and slightly distorted bass riffs that echo the science vs. fiction themes of his songwriting. Therefore, he uses the idea of escaping our world to a path beyond our own by looking past the social constructs of our current reality and leaning into what could be as a hook being expressed through the swooning basslines that imply a sense of fantasy and reverie. Overall, Sam Evian manages to strike a good balance between serious and silly on his recent track, ‘Never Know’, as he combines honeyed vocals with nostalgic, 70’s-esque guitar riffs with some more ethereal elements of his Dream-Rock and Psychedelic-leaning sound. As a result, it never feels like too much of a bad pastiche or a caricature, but it takes solid influence from the vintage to fall on the softer side of pioneering 70’s Funk and Soul acts like Parliament.

That’s all for now! Thank you for checking in with me on the blog today, and I’ll be back tomorrow for something that diverts our focus to the electronic and ambient realm of releases instead. The music comes from another artist who is based in New York. Formerly known as Ital, his brand new album has just been issued on Planet Mu.

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New Album Release Fridays: Courtney Barnett – ‘Before You Gotta Go’

Good Morning to you! This is Jacob Braybrooke, and it is time for us to delve deep into one of the weekend’s most exciting new LP releases for your daily track on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! If you’re looking for some gift ideas for the hardcore music lover in your household at the moment, this week’s helping of new albums may give you some inspiration. There is the first entirely self-produced new album from the critically acclaimed Worship singer Sara Groves, which certainly seems worth picking up. The likes of Blur and Gorillaz frontman Damon Albarn, popular Hardcore Punk stars IDLES and the cult classic American Alt-Rock outfit They Might Be Giants join the ranks. I, meanwhile, have been looking forward to hearing the first solo album release from the multi-time ARIA Award winning and the Brit Award nominated Sydney-Born Alternative Rock singer-songwriter and producer Courtney Barnett in three years. I really enjoy listening to her dry, witty mannerisms and her gut-punch guitar riffs that she has become known and well-reviewed within the industry for, and I think she’s perfectly on-brand for this blog too. You may recall her recording the ‘Lotta Sea Lice’ collaborative album with Kurt Vile from The War On Drugs fame, and I love how that album has since introduced more Blues and Country influences into her music. She returns today with ‘Things Take Time, Take Time’ via Mon + Pop Records or Marathan Artists depending on where you live, which she recorded between late 2020 to early 2021 with producer/drummer Stella Mozgawa between Melbourne and Sydney as an attempt to delve into her own psyche to explore themes of love and renewal, as well as healing and discovery. It includes the previous singles ‘Write A List of Things To Look Forward To’ and ‘Rae Street’. So, let’s check her out ‘Before You Gotta Go’ below.

A recent press release hyped up Barnett’s new album like this, “Things Take Time, Take Time is yet another assured leap forward for Barnett; a breakthrough really, but not in the ways you might expect”, expanding, “This is Barnett at her most creative and adventurous – an exquisite look at Courtney’s private world, and consequently her most beautiful and intimate record to date”, and the third single to be taken from the record, ‘Before You Gotta Go’, is another refreshing take on her pre-established Indie sound as the vocal delivery and acoustic instrumentation veer more towards in the direction of Americana and Country records. Paired to a few surrealist images from director Claudia Sangiorgi Dalimore in which Barnett tries to capture field recordings in nature, there’s nothing massively bombastic in terms of style here and Barnett angles for something more minimalist than normal. Lyrics like “If something were to happen my dear/I wouldn’t want the last words you hear/To be unkind” get some plaintive emotions across, and she pulls herself into a reflective state as she recalls a fight with her partner and she resets her actual emotions towards them. The instrumentation is smooth, starting off with a tranlucent lead guitar riff that cycles around some beat-matched Drums and an airy feeling of longing. By the end of the track, we’re left with clarity as Barnett regains a perspective and appreciation for the other person, giving the pay off for the soft rock instrumentation and slowly building melodicism that has been built up throughout the song, giving you the chance to breathe in and absorb everything that she’s just unloaded on you in terms of her emotional baggage. It sounds a little 90’s at points, while trading in the harsh Grunge sounds of memorable singles like ‘Dead Fox’ and ‘Pedestrian At Best’ for something that strikes a similar emotional chord in feeling headstrong and personal, yet the delivery is more polished and the rhythms feel more introspective. Like the prior single of ‘Rae Street’, the softly crooned lyrics and the twangy bass guitar beats bear some resemblance to Kurt Vile, her former collaborative partner, and so you can hear the more gentle formula of their album, ‘Lotta Sea Lice’, coming through to her own solo work. ‘Before You Gotta Go’ uses that period of her career and gives her a few fresh ideas for her own solo material. Overall, ‘Before You Gotta Go’ is a lovely single that feels laidback and mellow. The sound is a little more Country-oriented and Folk-driven than her earlier work, and usually the likes of cheesy, twangy and irritating Country music isn’t my thing at all to be honest, but it also feels less sardonic, in a way, to her prior output. It’s nice to see one of our stronger songwriters of the present day switching things up by looking inward, thinking deeply, and blissfully unpacking.

You can also check out my thoughts on the previous single – ‘Rae Street’ – here: https://onetrackatatime.home.blog/2021/08/21/todays-track-courtney-barnett-rae-street/

That brings us to the bottom of the page for today. Whether you think it’s too early or not is up for debate, but, tomorrow, we’ll be kicking off our ‘Countdown To Christmas’ assortment of posts for the first time of this year’s holiday season. The first entry is a new single release from an American multi-instrumentalist perhaps best known for scoring a UK Top 20 hit, ‘Ex’s & Oh’s’, in 2017. The song was originally written by Blues legend and pianist Charles Brown in 1960, and it has been covered by the likes of Michael Buble, Willie Nelson, Bon Jovi, Eagles, Kelly Clarkson, Josh Gracin and others.

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Today’s Track: Sea Girls – “Sick”

Good Morning to you! My name is Jacob Braybrooke and I’m wishing a well-deserved rest during half term to any teachers and teaching assistants in the UK who may be reading this post – while also reminding you that it has always been my day-to-day pleasure to write up about a different piece of music every day! Sea Girls are another one of those major label ‘Indie Rock’ bands like Blossoms and The Magic Gang that I have heard quite a great deal of critical praise and general information about, and so I have had some fun listening to their new single ‘Sick’ ever since I read about their upcoming second album ‘Homesick’ that is set to be released on January 14th in 2022 via Polydor Records. Known for their energetic live shows, Sea Girls are a London-based group that only began playing together six years ago and they seem to have achieved a rather decent amount of chart success in their time together, including mainstream exposure from radio stations like BBC Radio 1 and Radio X, giving them daytime airplay, and their debut LP, 2020’s ‘Open Up Your Head’, reached the #3 spot on the UK Singles Chart. ‘Homesick’ releases next year, and the aptly titled lead single ‘Sick’, according to their frontman Henry Camamile, is a more deeply personal record, saying, “I am sick of everything – from things I used to love through to the things that feel vacuous, like consuming and buying. All these emotions are piling up and it’s me just asking for a reset, a childish solution”, to the press. Vent out your concerns below.

‘Sick’ represented a turning point for the development of the upcoming new album for Henry Camamile, who had returned to the sights of his own childhood home in Lincolnshire to self-isolate during the Covid-caused national lockdown periods of 2020, and found himself having to re-address the good and bad events of his past, and he says, “It was a turning point in the writing for this album where the songs became about worrying for other people and how they were feeling. The pivot where I started writing clearly with a broader perspective. I literally feel myself growing up throughout this song”, in a press release. Starting off with some shifting Synth patterns and a rhythmic drum beat, Camamile simply lists off the things that he’s ‘Sick Of’, like his tendencies to get drunk and sober again, the news and how the wider media represents different topics and people, and the toxic relationships that he’s got going on in his life, and a few more witty quips about how The Beatles are over-played and how his friends are treated by their partners, and the long tirades build up to a catchy chorus where he wishes to find innocence as a child again and how his youth was a momentary bliss for him. There’s also some forgiveness for his parents towards the latter end of the track, and so the cycle of not accepting himself and others on surface value draws to a natural conclusion. The band support him with some vaguely Soulful backing vocals, and the instrumentation is mostly packed with some chugging guitar riffs with a little distortion, and very polished Synth effects that give the intentional repetition of the lyrics a little more variety in sound to work with. It is simple stuff, but it works, and I felt this was definitely above average for the ‘Indie’ era of Pop and Rock that we currently experience in spades. Firstly, the vocals come across quite naturally and there’s no use of auto-tune at all, and so there’s a nice serving of personality that comes across from Camamile’s delivery. On the one hand, it feels like a casual Rock tune about the ongoing pressures that build in our conscience with each day and the tampering of our own frustrations, but there’s also a sense that it is capturing the general morale of the times and connecting with the themes of Covid-19 in an accessible way. While the lyrics are quite repetitive, there’s enough variety in the Synths and the fragmented guitar riffs to keep things moving along without getting too restless. My criticism remains with these types of bands – also like The Lathums and The Kooks – in which this is really not an ‘Indie’ song because they are signed to a major label, and it is an issue in the general industry that irks me as opposed to a nitpick of the track itself though, mind. Finally, there is also a very conventional Pop song structure to the track which plays things a little safe for me. Other than that, I found myself enjoying ‘Sick’ more than I expected to when I read the press release. The lyrics and vocals are both polished without making the frontman sound robotic, and the track has a blunt force to it’s overall package that works well, creating a straightforward Rock track that orbits around some relatable commentary on our recent events nicely and with a personal quality that suits the skills of the band decently – yet some people are only happy when they are moaning!

That’s enough blogging for another day! Thank you for reading my latest post, and I’ll be back tomorrow for a deeper look at an Alternative Pop project from Melbourne, Victoria who have just released a new album – ‘Barnyard’ – over the past weekend. The duo have performed at South By Southwest and they began their musical journey together, in 2013, when the two members split up the cost of a Foxtex between them.

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