Today’s Track: Toro Y Moi – ‘Postman’

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to virtually hand-deliver yet another daily track on the blog to your letterbox, because it’s always my day-to-day pleasure to write up about a different piece of music every day! We start the day with ‘Postman’ – a track that my mother is bound to enjoy since parcels are her thing. This is the new single from the South Carolina-born producer, singer, songwriter, multi-instrumentalist and graphic designer Toro Y Moi (aka Chad Bear), who is typically recognized as a figurehead for the Chillwave and Synthwave genres from the 2010’s, but his music also toes the line between a brevity of genres including Noise-Pop, Hip Hop, Post-Disco, Psychedelic Soul, Bedroom Pop, Ambient House and Alternative Rock. He has supported the likes of Ruby Suns, Phoenix and Caribou on tour and he has performed his single ‘Ordinary Pleasure’ on Ellen’s talk show. ‘Postman’ has been released as a double single that also includes ‘Magazine’ which features Salami Rose Joe Louis as the featured credit. These two singles are leading his new album ‘MAHAL’ that explores his Fillipino descent and it will be releasing on April 29th via Dead Oceans – the same label as the likes of Mitski, Shame, Khruangbin and Bright Eyes. The new record is a generous 13-track collection which includes contributions from Unknown Mortal Orchestra’s Ruban Nielson, Sofie Royer, The Matson 2 and Alan Polomo (of Neon Indian). Let’s pay his ‘Postman’ a visit below.

‘Postman’ and ‘Magazine’ are the follow-up singles to 2019’s ‘Outer Peace’ – Bear’s sixth studio album. He also collaborated with Flume on ‘The Difference’ during May of 2020, a collaborative single that scored a Grammy nomination and it was used in a global Apple AirBuds advertising campaign. Channeling his inner Bootsy Collins with ‘Postman’, Bear lays out some slinky Psych-Soul beats and some low fidelity Funk grooves that are accelerated by some breezy percussion, like the rattling Tambourine melodies, and the more melodic, driving Bass melodies. Aside from some occasional electronic yelps that sound amusing in how comedically processed they are, the vocals are pretty spacious. Lyrics like “Just another bill today/Just another bill to pay” are direct and to the point, while the repetition of questions like “Mr Postman, did I get a letter?/Did I get a postcard” reflect on the good old-fashioned anticipation that you experience while waiting for an inevitable arrival of a piece of post, a time that we’ve all been through. The last verse, however, features a more emotive lyric of “Mama wrote a letter/A Long time ago/Then she hit her head/God bless her soul” that implies that something more dark is occurring beneath the surface, albeit in a playful way when mixed to the slow rhyming scheme of Bear’s vocal delivery, followed by the glitched outro that feels slightly futuristic by heading towards indie computer music in the brief sequence. Bear clearly leans into how post is a little non-existent in our modern day and age to create some fun and give his track a feel that is both nostalgic and a little progressive. We get a strong grower overall that is a little bizzare, but in a good way, because the composition is frisky and the repetition builds on you with a few repeated listens, and it is the kind of track that can annoy you by getting stuck in your head at work all evening – and that’s coming from my personal experience – thus becoming a catchy little ear-worm. I really liked it with subsequent listens, and I’ve enjoyed quite a lot of Toro Y Moi’s music in the past since it has an air of ‘Almost Pop’ to it where he has a knack for structuring catchy chords and writing high-spirited hooks by directing a decent diversity of various influences, yet it is within his Lo-Fi and Minimalist production that really controls the pace. It has also been a long time since we’ve heard some new solo material from him in comparison to most other artists these days, perhaps, too – and so it feels like a welcome breath of fresh air to hear from him again on ‘Postman’. An engaging and quirky letter of revival and return.

If you want to hear how Toro Y Moi’s style meshes with Flume, you can gauge ‘The Difference’ here: https://onetrackatatime.home.blog/2020/06/06/todays-track-flume-feat-toro-y-moi-the-difference/

That’s all that I have time for today, but I hugely appreciate your support by checking out the blog every day, or for the first time today, as you continue to spread the love to the site this Valentine’s Day despite it being finished. ‘Way Back Wednesdays’ is lined up for tomorrow, where we’ll be revisiting a classic of the Hip-Hop genre of the 1990’s by the Alternative Hip-Hop collective who made Charli 2na a household name.

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Today’s Track: Kadhja Bonet – ‘For You’

Good Morning to you! This is Jacob Braybrooke, and it’s time for you to give a warm welcome to another daily post on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! A 33-year-old singer songwriter born in Richmond, California – Kadhja Bonet is an LA-based artist who has recently announced her solo return to the business following three years on a hiatus. Resembling Psychedelic Pop and 70’s Funk & Soul sounds in her typical output, Bonet learned how to play the violin and she studied classical music in her childhood while growing up in a musical family. Following collaborations in recent times with the likes of Khruangbin, Nicolas Godin (from Air), Khruangbin and Free Nationals, Bonet has received critical acclaim from sites like Pitchfork and The Line Of Best Fit for her two last solo albums. An 80’s-leaning track that encompasses modern Synth Rock and retro Electro-Pop, ‘For You’ is an ode to “showing up for yourself in any form that may take” for the Red Bull Music Academy Tokyo 2014 graduate, who states, “I wanted to create something new for myself, not to overthink or be held onto a certain genre”, in her own words about the single in her attached press notes. Let’s give it a spin below.

Talking about her comeback to writing and recording her new solo music after the three year break, Bonet has written, “My forced hiatus from music has created an urgency in brand redirection. I began making music to get to know myself and fortify connections, and in many ways, I have derailed away from that intention”, explaining to us, “I reflect on my last few years as a recording artist and see someone trying desperately to fit the mold, despite music that does not. To be pretty, to be liked, to be relevant, good or accepted” in recent interview material. To meet these goals, she conjures up a Chiptune-enhanced Synth backdrop and a swelling series of long vocal harmonies to make ‘For You’ feel, in equal parts, like a plea for love in the vastness of a Tron-like virtual world as it does a warm cruise through the bright British sea side in the summer time. Establishing a tone of clarity without confusion, Bonet uses lyrics like “Teach me a lesson I thought I knew/I still need learning/But I’m a fast learner when it comes to you” and “I’m looking for you/Now that I’ve found you/I’m seeing this through” to provide reassurance to the listener and yearn her tales of warmth, although it’s unclear whether she’s making promises to accept herself as a personal ode or addressing a new romantic partner, and this denotation of her lyrics are left wonderfully open to your own interpretation. A hypnotic mixture of unapologetically 80’s Synth-Pop influences and sparse Drum Machine riffs that are dressed in a dream-like quality in terms of mood, create the rich electronic backdrop of Synth-forward keyboard arrangements and a euphoric electronic crescendo that reverberates and breaks neon 80’s barriers. Using the experience that Bonet has developed during her time away, ‘For You’ is a nice evolution for the artist and a warm welcome back to recording for her, with a new single that sounds accessible yet decorated by her own conscience, instead of commercial goals. A self-sensuous, dramatic return to the fold.

That leaves me with very little left to say for now! Thank you for checking out the blog for the first or latest time, and please feel free to join me tomorrow for our final regular entry of ‘New Album Release Fridays’ until the new year. This week’s record comes from a Venezuelan transgender artist who is one of the busiest figures in the industry right now, as they will be completing a quintet of interconnected LP’s this week. She’s collaborated with Bjork – as well as produced for Kanye West and Rosalia.

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Today’s Track: Relaxer – ‘Narcissus By The Pool’

Good Morning to you! This is Jacob Braybrooke, and the time has come for you to slip into something more comfortable for your 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 New York-based experimental electronic music producer, Daniel Martin McCormick has enjoyed a career that reads like a long list of small achievements. He’s also known for releasing specialist music under the alias of Ital, and he is known for his frequent collaborations with the fellow DJ Aurora Halal. He has also been a member of groups like Black Eyes and Mi Ami, and he is the co-founder of Climate Of Fear, as well as being the founder of Lovers Rock Recordings. In 2019, he established a new alias of Relaxer and he released ‘Coconut Grove’, an album which delivered something that felt more close to a pure Techno album than his earlier releases. The follow-up, 2021’s ‘Concealer’, is his first album to be released on Planet Mu in ten years. It drifts towards hyper digital sounds and it marks his return to using PC hardware. The album’s cover art, created by the NY-based graphic designer Bjorn Copeland, is an indication of his new album’s sound, which explores the sub-genres of Dark Ambient and Microhouse. McCormick notes that it reflects “this open, airy material squeezed and wrestled into a contorted shape, suspended in air with an empty center. That’s exactly how the album felt. In this sense, I wanted to take myself out of it, to let the materials bloom into their own shape, guided by my hand but not defined by my intellect or any market concerns”, in a press statement. Let’s check out ‘Narcissus By The Pool’ below.

McCormick has revealed that his latest LP was “made in a very private way” and he describes this process as being akin to “peering into materials – the materials defined the record”, adding, “Rather than making a record that’s about an emotion, or a political scenario, or the dance floor, or the empty dance floor, or any narrative, this record was about communicating with the materials and letting them speak with me” in his own press notes. Taking a mellow approach to proceedings on mid-album cut ‘Narcissus By The Pool’, McCormick takes influence from old-school 90’s Glitch and more forward-looking minimalist Techno. By disregarding traditional Dance music traits and the normal contexts of finicky textures and spacial tricks that characterize popular Industrial music, he creates a more detailed recording that is defined by how the music flows and the intimate textures that it creates on its own. Using a slightly acidic Synth line and a chiming Chiptune melody, McCormick creates something simple and effective that would not have felt out of place if it was originally released during the mid-2000’s. It is far from just a nostalgic throwback anthem, however, with some downtempo oddities in sound and a peak-time euphoria feeling that creates something that feels more firmly post-modern. In conclusion, this is a beautiful record that isn’t focused on big hooks and catchy melodies, so it falls into a bit of a niche. However, there’s absolutely nothing that is inherently wrong with that, as it feels diverse enough to appeal to different sub-sections of audiences, like those who study at their computer to the beats of Lo-Fi radio channels on YouTube and those who are likely to take things down a notch right before bedtime with their ear plugs tuned into a podcast like ‘Ambient Focus’ on the BBC Sounds app. Whatever the case, this is meticulous, very thoughtfully crafted music that is approached like a sculpture.

That leaves me with little left to say! Thank you for reading the blog today, and I’ll be back tomorrow to resume the ‘Countdown To Christmas’ this year. Our next entry is a cover version of ‘Frosty The Snowman’ which was released in 1993 by a pioneering Scottish Shoegaze outfit whose lineup featured the head boss of Bella Union Records.

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New Album Release Fridays: Remi Wolf – “Quiet On Set”

Good Morning to you! You are reading the words of Jacob Braybrooke, and you are joining me for another daily track on the blog, which is the platform for my mission of writing up about a different piece of music every day! We’ve reached the third Friday of October, and the competition is heating up in time for the end-of year lists that will be rolling in by various music publications and YouTube channels shortly. This week – new albums from the likes of London-based, Art Pop-driven Psychedelic Jazz quintet Vanishing Twin, Swedish Electronic Pop producer and blog alumni Sir Was, Cumbria-born Wild Beasts multi-instrumentalist Hayden Thorpe, Billie Eilish’s beloved brother FINNEAS and retro international DJ Purple Disco Machine are all vying for a place on said lists. My pick for this week – however – is possibly the most vibrant one of the pack, and it comes from the California-born Alternative R&B and Synth-Funk singer Remi Wolf, who appeared as a contestant on ‘American Idol’ in 2014 and completed her studies at USC Thornton School Of Music in 2018. Earlier in the year, she made an appearance on a major US talk show – ‘The Tonight Show With Jimmy Fallon’ – to perform a medley of her hits. The follow-up to 2019’s self-released ‘You’re A Dog’ EP and 2020’s ‘I’m Allergic To Dogs’ major label debut EP, ‘Juno’ continues Wolf’s running trend of pooch titles since it was named after her adorable pet dog. The album was announced with two singles, including a catchy Pop number titled after a phrase that your favourite actress – mine are Kathryn Newton and Natalia Dyer – might mutter while shooting on location if they weren’t such sweet people. Be ‘Quiet On Set’ below.

Telling us about her debut full-length LP, Wolf states, “Every song on this record is a vivid snapshot into what was going on in my life and mindset the day I wrote each one”, adding, “The album is named ‘Juno’ after my beautiful dog I adopted during lockdown. He ended up being in every single writing session for this album and I consider him my partner, witness and support in the making of this record”, to her press release while explaining how Juno was her true companion when mastering her material.’Quiet On Set’ has a 00’s sound that reminds me of R. Kelly and Usher in tone, and her vocals feel very quippy, with one-liner lyrics like “I’ve been stealing Corvettes, stunting” and “Eating my ass like the human centipede” that have a playful Hip-Hop delivery on top of a Pop-oriented drum groove and some funk-oriented guitar licks that form a smooth, polished bassline. The lyrics veer strongly into over-the-top territory, providing a quirky and comedic dramatization of Wolf’s issues with ADHD and overworking, themes that my otherwise feel bleak or mundane. Wolf, however, uses lyrics like “I ain’t leaving my bed/The work be killing me dead” to spin the typical emotions into something more bouncy and quirky, with a hilarious refrain of “I don’t want to be a debbie downer” being played out right across the middle of the track. The overall package feels marvelously Beck-like and it reminds me of his 90’s LP, ‘Hollywood Freaks’ in its muddled pastiche of commercial Pop-Funk music. Pitch-shifted narration ends the track, where Wolf goes into a bizzare tangent reminagining herself as a baby, while earlier lyrics like “Wait, there ain’t no steeze if there ain’t no grease/Unless you order that sugarfish sushi” feel directly taken out of Beck’s late-90’s playbook by combining strange and obscure hooks with a false rhyme delivery. Overall, ‘Quiet On Set’ was a fun tune that makes me imagine what may happen if Beck and Brockhampton had a love child together, with Wolf displaying a frivolous personality while discussing the ruminations of her mental health. Some of these retro, Chiptune-like Synth melodies and unique lyricism could come across as irritable to some, but I feel that she would definitely appeal quite well to children and teenagers if she went a little bit easier on the bad language. She probably doesn’t want to target this mass audience, however, and that’s a really good thing because it allows her peculiar lyric elements and her throwback Synth Funk sounds to resonate without any restriction. Overall, this is mental health stigma represented in a fun way.

On that note, that’s all I’ve got time for today. Thank you for heading to the blog for your daily fix today, and I’ll be back tomorrow to rave on about some brand new music from a UK electronic house producer who I honestly think is one of the most underrated musicians in the whole of history. I’ll be thrilled to present my post about the technological wizard, who is pretty prehistoric in his fashion and approach. Last year, he collaborated on a tune with Bonobo to signal the arrival of the ‘Outlier’ label. He’s also known for the launch of the Nice Age cross-platform label in 2014. The first release was a collaboration with gifted Aussie DJ and Apple Music 1 host, Anna Lunoe.

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New Album Release Fridays: RP Boo – “Haters Increase The Heat”

Good Morning to you! You’re reading the words of Jacob Braybrooke and, of course, the time has arrived for me to get typing up for yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of new music every day! The cycle of day-to-day life has kept going, and so we’ve reached another ‘New Album Release’ Friday yet again. This week sees new albums from Fleetwood Mac guitarist Lindsey Buckingham, Hot Chip’s frontman Alexis Taylor, New Zealand-Australian soul star Jordan Rakei and “Gothic Blues” singer-songwriter Adia Victoria hitting record store shelves and digital marketplaces. There’s also the highly anticipated new nature-themed LP from Gothenburg crossover folk songwriter Jose González and St. Vincent’s soundtrack release for ‘The Nowhere Inn’ vying for your attention too. However, I wanted to select something more leftfield this week, and that’s ‘Established’ – the new solo LP from Chicago experimental House producer RP Boo – which is out on Planet Mu today. RP Boo is one of the most prominent figures, alongside DJ Rashad and DJ Spinn, in the evolution of the Footwork dance movement from Chicago. Footwork is a style of dance music that has derived from the roots of Chicago House, and incorporated elements of Juke House and Ghetto House along the way, and it quickly found success in the Mid-west region of Chicago, later finding popularity across the state, in the 2010’s. The rhythms typically draw from the sub-bass frequencies of Drum & Bass, the tracks usually feature syncopated samples of Hip-Hop and Future Funk, and the BPM is around 60. Footwork is reliant on the street dance of the same name, performed by the sub-cultural youth of Chicago. As one of the originators of Footwork, RP Boo started making music in the late-90’s with a Roland R-70 drum machine and an Akai S01 digital sampler, and he has since gone on to craft the mixtapes used for the Bud Billiken Parade, which is the largest annual African-American parade in the US. His new LP, ‘Established’ is highly inspired by his early times of creating Footwork music, and he channels the competitive nature of ‘dance battles’ for the release. Check out the single, ‘Haters Increase The Heat’, below.

“I want the listeners to really get close to something beautiful, to enjoy with family and friends”, RP Boo says of the highly experimental new release in a press statement, continuing by telling us about the sample track above, “I was feeling heat that I detected targeting me in the scene and I grab it and tracked it out and that’s what fueled the track”, he says about ‘Haters Increase The Heat’, the new single, where he reflects on his younger days where he developed passion for Paul Johnson’s Disco records from the late-90’s. Built from stabbing synth rhythms, a flickering drum machine pattern and an aggressive, yet fairly moderately paced, bassline. It all feels like a propulsive combination on the whole, with Boo strategically structuring the witty sample flips and the blaring siren-like sounds of the modulated Synth patterns to keep the rhythm feeling thick and fast, but perfectly paced for a high-stakes dance battle. Across the course of the track, the prominent male vocal sample gradually contorts into more of an unfamiliar grunt, while a soft female backing vocal sample feels barely recognizable among the heavy syncopation effects, but it certainly adds some ethereal tones to the mix, with bruising synth pad melodies and frisky keyboard patterns which add a joyful sense of playfulness to the sound. Before too long, we’re left with the musical equivalent of a dizzying game of Jenga, where the stripped-back foundations of alternative House music are contorted to a large extent that nearly combat the repetitive nature of the production, and the vocals strongly come across as an Urban dance battle track that often nearly doubles up as a gentle personal philosophy in the process. From a pure at-home listening standpoint, it is quite a challenging listen as the rhythmic dexterity marries the sample voice and drum machine arrangements to a level that warps each element beyond noticeable recognition, but these fundamental values are what keeps RP Boo feeling as relevant as ever, and it keeps Chicago as one of the finest purveyors of House music, albeit in numerous slightly different forms. As the music continues to evolve, so do the artists.

That brings us to the end of the page, and all that’s left for me to do is thank you for checking out the blog today. I’ll be back tomorrow, as per usual, with some more new music, this time coming from a New York-born indie pop singer-songwriter who co-founded the Art Pop trio Chairlift while studying at The University Of Colorado. Now gaining mainstream popularity as a solo artist, she has collaborated with producers and artists including Charli XCX, Blood Orange, SBTRKT and Danny L Harle, and she has written songs for none other than Beyonce and Travis Scott. Not too shabby at all.

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Today’s Track: Peggy Gou (feat. OHHYUK) – “Nabi”

Good Morning to you! It’s Jacob Braybrooke here, and now is the right time to cheer yourself up with your daily track on the blog, as per usual, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Her first new solo tune since 2019’s ‘Starry Night’, the South Korean DJ and Producer Peggy Gou has brought her A-game to the global clubs again with ‘Nabi’. We last heard from her on 2020’s ‘Jigoo’, a guest spot on Maurice Fulton’s ‘Earth’ EP. She’s had an interesting career trajectory so far – from releasing her ‘DJ Kicks: Peggy Gou’ mix on !k7 Records, to launching Gudu Records, an independent EDM label of her very own. She has also released her material on Ninja Tune and Phonica, and Gou has even spent her time in London, at 18 years of age, studying for a degree in Fashion at the London College Of Fashion, before graduating and subsequently working as the London Corresponding Editor for Harper’s Bazaar Korea. She is now currently based in Berlin, Germany – where she spends her time tinkering away with downtempo dance anthems like ‘Nabi’. Gou’s new single sees her enlists the help of OHHYUK, from the South Korean rock band Hyukoh, who added, “It’s been a long time since Covid-19 has adapted to the changes it has made in society. It contains the desire to become a butterfly and fly away from the beautiful days before” to Gou’s press release. Give ‘Nabi’ a spin below.

“We’ve all been through so much over the last year and it’s {Nabi} about facing up to the problems and negativity in our lives and learning how to deal with it”, says Gou on her process for creating ‘Nabi’, who added, “When people hear ‘Nabi’, they’ll hopefully feel the same sense of healing – that feeling that everything’s going to be OK – that I feel when I listen to the songs that inspired it”, to her press notes. Starting off with a kick drum sample and Hi-Hat snares, we’re treated to a feel-good 80’s-style dance track with gorgeously plush instrumentation and sultry Korean vocals. Some of these lyrics roughly translate to “Time, amid that emptiness/I’m about to leave now” and “In my silence time/I can only see hatred in the distance” in English, some cryptic and poignant songwriting about the passages of time, and how the natural progression of time can lead to positive change. I loved the 00’s throwback feel of ‘Starry Night’ and also the wonky experimentation on ‘Jigoo’, but I’ve noticed how ‘Nabi’ skews more towards a retro-revivalist aesthetic, with more focus on building an atmosphere with the floaty vocal harmonies and the thudding drum machine riffs. The BPM framework isn’t wildly frenetic, but the subtle Dub influences of the bright Piano rolls and the late-80’s Lounge Jazz feel of the more soulful chorus keep the pace moving quickly due to the refreshing extracts of these influences being pulled from. The spoken word piece from OHHYUK adds another intriguing layer to the sound, while the subdued warmth of the hazy, sunshine sounds of the sparse percussion and the earworm vocal hooks hints towards Gou possibly exploring a more 00’s ChillOut or Chillwave style of electronic production in the future, but the fundamentally nostalgic dressing of the laidback beats keeps the cohesion in balance rather robustly. Overall, this was a very satisfying return from Gou, with an eclectic palette of some varied influences that are embossed neatly into the soundscape, and this would be a great pick for BBC Radio 2.

Thank you for sticking with me until the end today, and, if you’re new to the blog and would enjoy more of this style of content, then please feel free to join me again tomorrow for the ‘New Album Release Fridays’ as we shine the spotlight on one of the weekend’s notable new album releases. I know that Kanye West is dominating the headlines tomorrow for the release of ‘DONDA’, but I’m instead going to be writing about something that got delayed to this Friday, in July, that I’ve been very excited to hear. This is a collaborative LP between the frontman of Bombay Bicycle Club and a 28-year-old rapper from East London, who first popped up in 2012 with the ‘BAEP’ EP.

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Today’s Track: Pizzagirl – “Car Freshener Aftershave”

Love a bit of 80’s soft-Rock or 00’s Psych-Pop? You’ll want a Pizza this! New post time!

A good afternoon to you! I’m Jacob Braybrooke, and it’s time for a brief respite away from the scorching heat 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! Monday’s music comes from Liverpool’s Liam Brown, who has recorded his material under different names over the years, but his current and most notable solo project is Pizzagirl. He goes all-in on that theme as well, recording his brand of Indie Pop and R&B-infused Psych-Rock from his bedroom, which he calls his “Beatzzeria”. His influences include The Orielles, Grimes, David Byrne, Ariel Pink, and he loves a bit of Kelly Clarkson too. The follow-up to 2019’s ‘First Timer’, his second album ‘Softcore Mourn’ was released over the past weekend via Manchester’s Heist Or Hit independent label. It finds him venting out his own lovelorn frustrations of 21st century dating and pulling in some elements of Vaporwave. Check out the lead single, ‘Car Freshener Aftershave’, below.

After being away from Liverpool’s scene for a short break, Liam Brown had this to say about the new album: “Over the last year or so I’ve been screaming, sighing, crying and lying at my computer, which has manifested itself into my aptly titled second album Softcore Mourn”, adding, “The first single ‘Car Freshener Aftershave’ is a cold reminder to the internet that I still exist and I still haven’t figured that out yet. I’d say this is a break-up song” to his press release notes. Likened to LCD Soundsystem and The Postal Service by Gaby Mawson of Clunkmag.com, the new tune goes for a hint of nostalgia with 90’s dial-up tones and Prog-Synth sounds that appear directly lifted from the 80’s by complementing the retro, teen-hood aesthetic of the self-referential lyrics. The Chiptune-leaning vocals contort themselves around different layers of instrumentation that are continuously adjoined to the soundscape, as the percussive finger clicks and fizzy Lo-Fi synths emerge in the cutting edge of the fray at elusive key changes. Quirky lyrics, like “Where are the cameras? I must be punk’d” call back to outdated popular culture, and lines like “Well, if you’re gonna cry, then at least make it snappy/Cause once in a while, well, I kind of feel happy” add subtle sentimentality to the mix with a vocalist who feels socially pessimistic leading us on the charge. The chorus, led by “The California motel vomit/It’s like a Jackson Pollock” and “The California motel vomit/It wasn’t me, I promise”, emphasizes the quirky sense of his own self’s inertia. The ambient electronica bulk of the track feels like it’s been lifted from a falsely futuristic 80’s infomercial. Constructively, I think the production space gets a little too busy at some points, and I would have liked for his voice to come out more naturally at times. There’s more here to enjoy than not, though, with a fun edge of Prog-Synth and hyperactive visuals that make his breaking point seem believable, and there is clearly a welcome personality to this track. A stuffed, but delicious, Crust.

That’s all for today, but please feel free to join me again tomorrow for another slice of action. BBC Radio 6 Music are a huge fan of my next artist, who makes his debut appearance on the site tomorrow. The London-via-NYC songwriter and producer previously found his footing in the Future-Soul duo Voices Of Black, and he’s set to support Yard Act later this year ahead of the release of his new album – due in August.

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