Dub

Today’s Track: Christafari (feat. Makamae Auwae) – “Angels We Have Heard On High”

December 19, 2020 — Leave a comment

Don’t ever forget that it all happened Once In Royal David’s City! Time for a new post!

  • Pictured: Cover Artwork for “Reggae Christmas” (Released on October 8th, 2013) (via Lion Of Zion Ent.)

Twas’ the weekend before Christmas! My name is Jacob Braybrooke, and it’s time for me to get writing up all about your daily track on the blog, because it is always my day-to-day pleasure to get virtually typing up about a different piece of music every day! “Angels We Have Heard On High” is a track that I’ve actually been really looking forward to sharing with you all week – but I thought I’d leave it until now because it feels closer to the week of Christmas, and I know that you always want to hear a good one on a Saturday, or, I at least hope so. It comes from Christafari, an 8-piece Christian Reggae-Dub super-group who were put together by Mark Mohr, an ordained Church minister who was born as a Rastafarian, before he became a Christian at the age of 17. Morh also fronts the band. “Angels We Have Heard On High” was originally released back in 2013, from their “Reggae Christmas” album released through Lion Of Zion Entertainment, but it was re-released a year later, along with a new music video. This is a Reggae take on the “Angels We Have Heard On High” French hyym, which tells the story of the birth of baby Jesus from The Gospel Of Luke. Let’s take a listen to it below.

My research indicates that Mark Mohr found an affinity for Reggae music, becoming a grower of Marijuana, in his teens, after a visit to Jamaica in 1986, but his life took a turn for the best, and, after enrolling in Biola University in 1993, he received his ordination in 1997. The video for “Angels We Have Heard On High” is a real Christmas Cracker (Sorry!) and it makes me laugh out loud with the cast of colourful characters who answer their front door to find Christafari and Makamae Auwae singing the carol to them, and I feel that the Thor guy really deserves a special mention, in this post, for his dance moves. As for the song itself, it’s highly joyous and cheerful, with a minimalist vocal production that reminds me of Pentatonix in it’s Acapella influences. A fun Marimba beat and a percussive Jamaican Steel Drum beat form the groovy rhythm, as Auwae sings: “Angels We Have Heard On High/Sweetly singing O’er the Plains/And the mountains in reply/Echoing their joyous strains” on top of a light auto-tune effect that makes her voice sound clear and on-point, but not too artificial and overproduced. A Dub beat is created by Mohr, who adds a rhythmic delivery to “Me say, we give him the glory” and he, in fact, almost creates a Hip-Hop melody. The rest of the group provide some well-spirited vocal harmonies in the background, throughout the song, which are quite subtle and inobtrusive, but the odd “Hey” and the longer notes of the chorus make it feel more ‘Christmassy’ and more seasonal. It’s the cheerful chants of “Gloria, In Excelsis Deo” that gives it an uplifting punch, while the instrumental beats sound very jovial and melodic throughout. The percussion is really crowd-pleasing stuff, and I think the track manages exceptionally well to remind you of the true meaning of Christmas and slightly distract you from the heavy consumerism of the Festival, while still retaining a fun, engaging, upbeat and positive vibe. It also feels very ‘Christmassy’, while providing a nice alternative to the generic tunes from Band Aid or Paul McCartney that you end up hearing ten times a year. If you ask me, this is an absolutely fantastic way to put the “Christ” back into Christmas!

  • Pictured: Mark Mohr, Avion Blackman-Mohr, Ziza Mohr, Nikita Carter, Renato Taimes, Markus Ritchie and Justin Nalimu in the official music video for “Broken Spears” (in 2019) (Photo via PR/YouTube.com)

Thank you for reading my latest blog post! As per usual, I’ll be back at it again tomorrow, for a Festive edition of our weekly Scuzz Sundays feature, where we take an in-depth listen to one of the ghosts of Pop-Punk or Emo-Rock’s past, released between the mid-1990’s and the late-2000’s. 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: Jane In Palma – “One By One (Original Mix)”

October 8, 2020 — Leave a comment

This is basically Cuckoo from the titular BBC sitcom in music form. It’s new post time!

  • Pictured: Jane In Palma (a.k.a. Julian Smith) in the music video for “Safety Net” (2020) (via Vimeo.com)

Good Morning to you! My name is Jacob Braybrooke and it’s my duty to get writing up about your spotlighted daily track on the blog, because it’s still always my day-to-day pleasure to write up about a different piece of music every day! With such a name as quirky as “Jane In Palma” (a parody of the popular Australian Psychedelic Rock artist Tame Impala), you’d be forgiven for thinking this is just a “p**s take” of that culture. No, this is an incredibly experimental project. “Jane In Palma” is the latest moniker of the California-native percussionist and composer Julian Smith, who has released his material under several different aliases, with Dan Froth being his most notable, and he’s previously been associated with WNCL Recordings, Phonica White and UNO! NYC (between the years of 2010 – 2016) under that pseudonym. “Saftey Net” is the second album of his “Jane In Palma” alias, and it’s the follow-up to 2016’s debut “Primitive Thoughts”, and it was released over the summer, on July 8, via Snake Free Roofing. He has gained support from BBC Radio 1, Rinse FM, NTS Radio and Ibiza Global Radio, of all places. For me, I heard of the artist through one of John Ravenscroft’s recent turns on 6Music Recommends, of which Smith was the featured ‘Spotlight Artist’ of the particular programme. In any case, Smith has been claiming for himself to be “based somewhere between the Balearics and the Basque country”, although I am not too sure if this is a part of the act or not, but I’ve given Smith the benefit of the doubt on that. A purely Instrumental track, let’s give ourselves a gander to “One By One” below.

For his first album of the “Jane In Palma” title, Smith’s “Primitive Thoughts” LP from 2016 saw him interpret the surroundings of two locations – empty caves on the isle of Mallorica – which he used as his recording locations. On his Bandcamp page, Smith explains how “Safety Net” is all about exploring the themes of offline living, and ignoring the presence of the media around us, and the record electronically touches upon elements of Garage-Rock, Post-Punk and Surf-Rock from a sonic standpoint. Although “One By One” is not very representative at all of the core sound of the record overall, personally, it is my favourite track on the record because of it’s simplicity. The rest of the record is an interesting mix of idiosyncratic 80’s hip-hop instrumentals and underground production methods, where “the facts don’t matter if the source is crooked”, according to Smith himself, but the sound that makes up the original mix of “One By One” is a more formulaic and gentle process. It mixes up an audibly soft funk rhythm of a plucky bass guitar riff with a delightfully upbeat Conga drum beat that catches on a melodious, repetitive groove that continually sits on the top of a slightly stuttered time signature. A few push-and-pulls of the pacing can be heard now and again, but it mainly stays at a punchy mid-tempo feel, with a springy interlude towards the end. There’s evidently nothing at all to talk about lyrically here because it’s an entirely instrumental effort, but the tones are cheerful and free-form, allowing the patterns of the repeated guitar-and-drum pattern to catch the attention of your ears. The sound pallete is not too busy, but there’s enough going on to make it feel relaxed and humble, if unashamedly formulaic, to keep you occupied and simply in a nice mood. Overall, it allows Smith to nurture his creativity mind-set, and explore sequenced sets of productions with the use of the experimental recording processes, without even the need to think about the commercial justifications to do so. A “pet project” down to a tee, I find the simplicity of “One By One” to be very appealing, with music which seems basic but groovy. Definitely worth keeping your tabs on this artist.

  • Pictured: Cover Art for “Safety Net” (Album/LP) (Released on July 8th, 2020) (via Snake Free Roofing)

Thank you very much for reading the new post! Don’t forget that I’ll be back again tomorrow, for an in-depth look at another experimental enigma, who is more accustomed to the underground Hip-Hop Fusion realm. It comes off the back of an impressive debut album released two years ago, and the new record features guest collaborative work from Iggy Pop, Jimi Goodwin (of Doves) and Jason Williamson (of The Sleaford Mobs). 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: Drab City – “Troubled Girl”

August 20, 2020 — Leave a comment

Will this Problem Child find itself in a serious bit of Jeopardy? It’s time for a new post!

  • Pictured: Islamiq Grrls (Vocals/Producer) and Chris Dexter-Greenspan (Guitar/Percussion) (2020) (via Bella Union)

Good Morning! I am Jacob Braybrooke and I’m writing about your daily track on the blog, just like always, since it is my day-to-day pleasure to write up about a different piece of music every day! “Troubled Girl” is a recent-ish track that I sadly didn’t quite get the time to spotlight nearer to it’s release, back in April. Drab City is made up of US Witch-House producer Chris Dexter-Greenspan and Berlin-based producer Asia, who perform under the guises of Islamiq Grrls and oOoOO, respectively, for their Drab City project. The two started working together from a joint-album, “Faminine Mystique”, which was released in 2018. Their debut album under the Drab City name is “Good Songs For Bad People”, which they released on 12th June via the Bella Union label. Their sound has been likened to Portishead and Broadcast by Jude Rogers of The Guardian, as their dark palette incorporates elements of Dub, Alternative Hip-Hop, Dream-Pop, Pop-Punk, Art-Pop, Progressive Folk and Experimental Jazz into their lyrical themes of social alienation, violent revenge and spiritual salvation. Not much is known – as this is a very secretive project. Let’s stream “Troubled Girl” below.

“Troubled Girl” is a narrative-driven story piece about a misunderstood and belittled teenage girl’s dreams of her escape from a neglectful home life and her emotional dealing with her angst through a runaway trip. This is a classic pop trope, but it gets reconfigured with a ghostly sentimentality and the enigmatic presence of Greenspan and Asia as left-field producers. The track begins with a whispered vocal delivery, as Asia sings: “There was a troubled little girl/From a small troubled town/With nowhere to go” during a Spoken Word intro that builds to a mid-tempo drum groove that plods along to an airy vocal section, feeling laidback and mean-spirited in both measures. The slow Drum backing develops in interesting ways, with a doo-wop Trumpet melody and a Spanish guitar-laced chord riff that throws in a 1960’s Art-Pop aesthetic. The lyrics progress to a calmed stage, as Asia recites sections like: “Some day, no, I won’t come back/Some day, mother knows what others say” and “You don’t know your own/Whatever they will have” over the top of a muted production flair and some prickly, vintage Jazz qualities that balance the tone out. The mood is downbeat and hopeless, but there are glimmers of peace and hints of a content emotion buried within, especially towards the closing stages of the track. It sounds a little bit like a Shoegaze track, with a semblance of My Bloody Valentine and Pale Saints in the painted, cerebral instrumental qualities, yet it feels melodic enough to latch on contemporary Emo-Pop sounds closer to Billie Eilish or Dashboard Confessional. This will take longer for some listeners to connect with and it falls into a “niche” box, but I really like what I am hearing. There is a woozy Alt-Jazz sensibility which is curiously appealing, and the eclectic drum centric layout develops in subtle, but tasteful, ways.

  • Pictured: Cover Artwork for “Good Songs For Bad People” (Released on June 12th, 2020) (via Bella Union)

Thank you very much for reading this post! I’ll be back tomorrow, as always promised, with an in-depth listen to “(The World) Outside My Door”, the new single by Brighton-based 4-piece Pop band The Magic Gang, taken from their second studio album, “Death Of The Party” which releases tomorrow, via Warner Bros Records. 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: Delvon Lamarr Organ Trio – “Inner City Blues”

August 14, 2020 — Leave a comment

What do you call a Wizard who Potters around the house a lot? Harry! New post time!

  • Pictured: Cover Artwork for “Inner City Blues” (Single/EP) (Released on May 22nd, 2020) (via Colemine Records)

That has nothing to do with today’s track, by the way, I just wanted to make you roll your eyes! Anyhow, I’m Jacob Braybrooke and I’m writing up your daily post on the blog since, as you’re aware of, it’s my day-to-day pleasure to write about a different piece of music every day! Also known as DLO3, Delvon Lamarr Organ Trio are a Jazz Fusion group based in Washington in the US, who formed in 2015, under a different original line-up. Their band name refers to how Delvon Lamarr, who is obviously at the helm of the trio, switched to playing the Organ at the age of 22 after playing the Drums and the Trumpet since an early age. Lamarr now works with Jimmy James (Guitar) and Dan Weiss (on Drums) to make up the trio. Commercially, they are probably best known for their debut album, “Close But No Cigar”, which reached the #1 spot of the US Contemporary Jazz Albums Chart when it was released in 2015. “Inner City Blues” marks a new era for the Colemine Records label, who have launched the “Brighter Days Ahead” initiative as a response to the COVID-era difficulties being faced by independent labels. As a result, they have been releasing a new single, from their artists, weekly on their Bandcamp page to coincide with Bandcamp’s waiving fees on the day, meaning that 100% of revenue from sales goes directly to the artists. This is a cover of Marvin Gaye’s 1971 track “Inner City Blues (Make Me Wanna Holler)” from his landmark LP, “What’s Going On”. Let’s give it a spin!

An upbeat, instrumental version of a vintage 70’s classic track, which can be a hit-or-miss prospect in the odd few cases, Delvon Lamarr Organ Trio put a new spin and a different perspective on Gaye’s original composition with a hefty splash of cool, involving Acid-Rock guitar lines and a Dub-based Funk style which reminds me of Khruangbin, amongst a casual and contemporary Jazz format that seems akin to GoGo Penguin. Driven by an airy Organ harmony, as per usual from the Seattle-born trio, the Jazz trio infuse elements of Soul and Swing that recreates the authenticity of a 1970’s New Orleans sound. Its embellished with short Brass sections and joyous, childlike keyboard chords to replace Gaye’s original lyricism of the bleak economic situation of the 70s and his informed lack of support from the government during the recession with deep bass guitar lines and increasingly layered Classical instrumentals to create a hopeful and optimistic mood with a vintage 70’s Jazz Fusion feel. Jimmy James turns the Funk up a notch on his guitar part, with consistently grooving, light-hearted guitar patterns. Meanwhile, Dan Weiss creates warm Drum beats that feel momentous, increasing the pace from Gaye’s recording, before it comes together with a mellow finish. Frankly, they all play perfectly well individually, but they all sync-up together very cohesively, and that springs the record to life. A head-nodder of a cover.

  • Pictured: Delvon Lamarr (Keyboard), Jimmy James (Guitar) and Dan Weiss (Drums) (2020) (via Promogogo.com)

Thank you very much for reading my daily blog post! Don’t forget that your weekly edition of Scuzz Sundays is coming up very soon, but in the meantime, please make sure that you visit the blog again tomorrow for an in-depth look at the brand new solo project from the frontman of one of the world’s most internationally popular Alternative Rock music groups, Sigur Ros. 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 Post: Khruangbin – “Pelota”

June 26, 2020 — Leave a comment

Does it live up to the hype or should it go in the Khruang-Bin? It’s time for a new post!

  • Pictured: Laura Lee (Lead Vocals/Bass Guitar), Mark Speer (Lead Guitar/Occasional Backing Vocals) and Donald “DJ” Johnson (Drums/Percussion) in a press shoot for the “Con Todo El Mundo” debut album era (2018) (via Echoes.org)

At last, it’s big release time! Good Morning to you, I’m Jacob Braybrooke and I’m writing about your daily track on the blog because it’s always my day-to-day pleasure to write about a different piece of music every day! I’m glad the scorching hot weather has calmed down a bit, aren’t you? But, imagine the feeling of partying on a pleasantly warm beach in Croatia while you hear a DJ busting out the Earthly, Dub-inflicted Funk sounds of Khruangbin! It would be perfection, and it’s a tranquil feeling that the Houston trio of Laura Lee, Mark Speer and Donald “DJ” Johnson are hoping to capture on the new album, “Mortdechai”, which is the follow-up to 2018’s “Con Todo El Mundo” and it’s 2019 dub remix album “Hasta El Cielo”. They also released “Texas Sun”, a collaborative 4-track EP with Leon Bridges, in January of this year. So, they’ve been all over the shop – both sonically and geographically. I was very impressed with “Time (You and I)” and “So We Won’t Forget”, the previous two singles from the brand new album, although they don’t switch up the familiar formula of Khruangbin from their previous releases very much. “Mortdechai” releases today on the Dead Oceans label. It’s up to “Pelota”, the new single to be released by the band in support of the new album, to carry the hype train along. Let’s have a listen to it below.

A music video that is loosely based upon an animated Japanese film which has not been named by the band, Khruangbin’s “Pelota” sees director Hugo Rodríguez pair images of a Japanese Anime-style character morph through spherical shapes as the guitar-driven motifs of “Pelota” warp around a Latin American Pop style, full of Polyrhythmic drum beats and hand-clapped Jazz intervals. Khruangbin’s new album is their first to feature prominent vocals on every track, deviating from their predominantly instrumental style prior, but I was even more surprised to hear vocalist/bassist Laura Lee sing in Spanish on the new track, “Pelota”. The core lyric hook, “Ahorita Yo Puedo Ser Uno Pelota”, is a rough translation to the irreverent chorus “Right now, I can be the ball” in Spanish – an undercurrent to the track’s hidden meaning of the band exploring and observing the world by envisioning themselves as rubber balls. Silly as it may sound, it works well. This is because the band retain their dub-based, Funk and World aura with bass guitar riffs that feel familiar to their existing work, pleasing their built-in fanbase. “Pelota” has a more grounded feel to the previous two singles, “Time (You and I)” and “So We Won’t Forget”, due to the tempo being slightly raised by the lead vocals, and a lesser focus on their psychedelic trip. The instrumentation feels quite percussive, with an energetic lead guitar melody and jolting Steel Drum melodies rippling throughout. Although it’s a mostly abstract outing, it manages to negate my light concerns of the new album not sounding different enough to their prior releases to stand out amongst them. The proof will be in the pudding, however, and judging by the quality of all three singles from the new album, it’s shaping up to be one of, and potentially even, their best. I absolutely can’t wait to stream it later today once my jobs are done.

  • Pictured: Cover Artwork for “Mortdechai” (Released on June 26th, 2020) (via Dead Oceans)
  • Pictured: Cover Artwork for “Pelota” (Single) (Released on June 16th, 2020) (via Dead Oceans)

As I mentioned, I am a huge fan of Khruangbin so I have covered multiple tracks from them in the past. Have a listen to “Time (You and I)” and “So We Won’t Forget”, the other two singles from their new album, “Mortdechai”, here: https://onetrackatatime.home.blog/2020/05/02/todays-track-khruangbin-time-you-and-i/ and here: https://onetrackatatime.home.blog/2020/05/20/todays-track-khruangbin-so-we-wont-forget/, respectively. Check out my thoughts on “Texas Sun”, the titular track of their collaborative EP with Leon Bridges, here: https://onetrackatatime.home.blog/2020/01/06/todays-track-khruangbin-feat-leon-bridges-texas-sun/. Finally, you can check out the festive hit “Christmas Time Is Here” below: https://onetrackatatime.home.blog/2019/12/13/todays-track-khruangbin-christmas-time-is-here/

  • Pictured: Khruangbin outside of the BBC Radio 6Music studios (2018) (via BBC Music)
  • Pictured: Khruangbin performing a live set at Coachella (2019) (via Timothy Norris/Getty Images)

Thank you for reading this post! In regards to #BlackLivesMatter, we endorse the peaceful protests on One Track At A Time. Please go and check your local area for good charity causes that help those directly affected by racism and injustice. I’ll be back tomorrow with an in-depth look at a track from a South-London based drums player who was one half of the sax-and-drums duo Binker & Moses, and he also fronted his own indie rock band, Exodus. 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: Khruangbin – “So We Won’t Forget”

May 20, 2020 — 1 Comment

I say that to myself every day in pretty much any situation. It’s time for your new post!

  • Pictured: Cover Artwork for “Mortdechai” (Available to buy from June 26th, 2020) (via Night Time Stories)

Good evening, I’m Jacob Braybrooke and I’m writing up your daily track on the blog because it’s my day-to-day pleasure to write about a different piece of music every day! (Yeah… that even means Christmas!). I’ve written a couple of posts about Khruangbin before because I am a huge fan of the Houston, Texas Trio – who create an upbeat and gorgeous World sound through their unique mixing of Neo-Soul, Jamaican Dub and Tropicalia influences, who are releasing new singles in the build to their upcoming follow-up album to 2018’s debut “Con Todo El Mundo” and 2020’s “Texas Sun” collaboration EP with Leon Bridges. The album, currently set for release on June 26th via the Night Time Stories label, is called “Mortdechai” and sees an enhanced focus on prominent vocal spots by vocalist Laura Lee and guitarist Mark Speer, a first for the band. Last month’s “Time (You and I)” saw Khruangbin retain their usual formula but go for a more disco-inspired release, a single which really blew my socks off. On Tuesday, they dropped “So We Won’t Forget”, a more laidback and mellow cut from the upcoming record. Will my socks stay on by the end of the track this time? It’s time to find out! Let’s have a listen to “So We Won’t Forget” below.

The bunny on the bike has the power to turn that frown upside down… and so does the track. “So We Won’t Forget” is a smooth glide through sun-glazed funk grooves and globally influenced syncopated guitar riffs which reflect their strong, acoustic rock guitar sound. Laura Lee chimes, under a Falsetto: “One to remember/I’m writing it down now/So we won’t forget”, layered on top of a bright, soothing guitar melody and light-stepping drum percussion. Less instruments are used on “So We Won’t Forget” than “Time (You and I)”, but it doesn’t change the mellow production style or detract from the warm, honeyed Jazz sensibilities that made their previous single such an effective source of relaxing transportation. The chorus refrain goes: “Never enough paper/Never enough letters/So we won”t forget”, delivered over the top of an Earthly bass guitar riff and a Mediterranean-esque keyboard riff, both of which keep getting repeated in a Dubbed style for good effect. Later on, the band chant: “Call me what you want/Call me what you need/Words don’t have to say/Keep it to myself” following the interlude of an acoustic breakdown. The vocals are prominent, but they feel minimal underneath the instrumental-led, guitar-driven rock sound. It sounds very familiar for existing fans of Khruangbin, but that’s not a bad thing, because the instrumentation is beautiful and it simply doesn’t need to evolve very much at this point. The end result is a track that sounds majestic… and I’m not wearing any socks!

  • Pictured: Laura Lee (Bass Guitar/Vocals), Mark Speer (Lead Guitar) and Donald Johnson (Drums) (2018) (via PR)

As mentioned, I have previously covered a few Khruangbin tracks on the blog before! If you missed out on “Time (You and I)”, you can peruse the link here: https://onetrackatatime.home.blog/2020/05/02/todays-track-khruangbin-time-you-and-i/, you can read my thoughts on “Texas Sun” with Leon Bridges here: https://onetrackatatime.home.blog/2020/01/06/todays-track-khruangbin-feat-leon-bridges-texas-sun/, or get in the festive spirit with their cover of “Christmas Time Is Here”… Well, here: https://onetrackatatime.home.blog/2019/12/13/todays-track-khruangbin-christmas-time-is-here/

  • Pictured: Khruangbin in a press shoot in the “Codo Todo El Mundo” (debut album) era (2018) (via Echoes.org)

Thank you for reading this post! As always, I’l be back tomorrow, where I’ll be giving my in-depth review on a fairly recent track from a US electronic pop duo signed to Ninja Tune, one half of which is an on-air personality for The Late Late Show with James Corden, a US late-night television talk show. In the meantime, please stay alert, don’t do anything silly and keep washing those hands! 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: Khruangbin – “Time (You and I)”

May 2, 2020 — 2 Comments

I fancy being a herb picker – I just don’t have the Thyme for it! It’s time for a new post!

  • Pictured: Cover Artwork for “Mortdechai” (Available to buy from June 26th, 2020) (via Night Time Stories)

Good afternoon to you, I’m Jacob Braybrooke. It’s my day-to-day pleasure to write about a different piece of music every single day, so here I am – typing up today’s track on the blog! I’m glad the sunshine is suitably warm today because it’s the perfect background to indulge in the World-Fusion sounds of Khruangbin, one of the VERY best, who are BACK! Khruangbin are a trio from Houston, Texas who blend an overall Thai influence with Earthly and mellow sounds of old-school Funk, Jamaican Dub, Psychedelic Neo-Soul and Disco-Rock. Thus far, Khruangbin have released two albums, as well as a collaborative EP with fellow Jazz Texan Leon Bridges, with their upcoming third album “Mortdechai” being set for release on June 26th via Night Time Stories. I am a MASSIVE fan of Khruangbin and so I’m very pleased to see, or rather hear, them back again! The lead single from their new record is a 6-minute belter called “Time (You and I)”! The music video features British comedian Stephen K. Amos (who I also like) and Lunda Anele-Skosana planting sandcastles around London City because… Why not, I guess? Let’s get our groove on with the track’s video below!

How Vibey! I think that’s what the “hip” crowd say! Whether I’m part of the “hip” crowd or not is all left down to your judgment. Khruangbin have mostly been an instrumental band, but “Mortdechai” will be their first album to feature prominent vocal spots on each track. Laura Lee chants: “That’s life, If we had more time, we could be together” over the top of a globally influenced, crisp rhytmn guitar groove. The melodies of the drums grow tinnier and a swooning bass guitar riff enters the fray as she continues: “We can rhyme like children rhyme/Just you and I/Have we got the time?/Make a plan for when we get old” before the track goes full throttle in it’s disco sound, with an increasingly syncopating drum beat and a low-key synth line creating a more intense backing beat. The track also features foreign backing vocals: “Hayat/E a Vida/Seo an soeul” before the guitar-driven instrumentation gets brought back into the forefront at the end. It feels like a vintage blend of old-school Funk and Soul, with a heavier focus on the Disco groove than their previous releases. Khruangbin really appeal to me with their talents of creating a very hypnotic sound and the airy vocals from Laura Lee give it a Dream-Pop edge. It’s only ever so slightly different to their previous releases, but the old saying goes, if it ain’t broke, don’t fix it – and their music is genuinely perfect in my ears – It’s shaping up to be a perfect Summer record!

  • Pictured: Laura Lee (Bass Guitar), Mark Speer (Lead Guitar) and Donald Johnson (Drums, Percussion) (2018) (via PR)

Other tracks from Khruangbin include “Christmas Time Is Here” and “Texas Sun” featuring Jazz songwriter Leon Bridges. If you’re feeling festive, check out my thoughts on the former here: https://onetrackatatime.home.blog/2019/12/13/todays-track-khruangbin-christmas-time-is-here/ and peruse my thoughts on the bright, hazy “Texas Sun” here: https://onetrackatatime.home.blog/2020/01/06/todays-track-khruangbin-feat-leon-bridges-texas-sun/

  • Pictured: Khruangbin performing a live set at the “Coachella Valley Music and Arts Festival” (April 2019)

Thank you very much for reading this post! We’re having some fun on the blog tomorrow with your weekly edition of Scuzz Sundays as I take you on a stroll down memory lane to revisit an emo-punk or pop-punk track from the late 90’s or the mid 00’s! Don’t miss out! 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: Keith & Tex – “Stop That Train”

April 23, 2020 — Leave a comment

To keep in shape, I wonder if they have a Personal Train…er! It’s time for a new post!

  • Pictured: Keith Rowe and Texas Dixon in a photoshoot to promote a tour with The Steadytones (2018) (via 4 Ecluses)

Good morning to you on this sunny Thursday! I’ve been looking forward to the hot weather and planning accordingly in the hopes of whisking you away to the even brighter and warmer shoals of Kingston, Jamaica for this Jamaican Rocksteady classic from Keith & Tex! I’m Jacob Braybrooke and I’m writing about your daily track on the blog, since it’s always my day-to-day pleasure to do so! Keith Rowe and Phillip Texas Dixon are some of the late guardians of the 60’s Rocksteady and Dub genres from Jamaica. Rowe and Dixon were introduced to each other by a mutual friend after both growing up near the Pembroke Hall area, before finding little success in a 5-piece vocal group, but more so later when Rowe and Dixon continued their act as a duo. The two are still going strong to this day, having released the entirely acoustic Rocksteady album “Same Old Story” via Liquidator in 2017, a return to their early Reggae roots following years of more experimental endeavors. It led to tours around the UK, Hong Kong and Brazil last year as their musical journey carries on. Arguably their biggest hit is “Stop That Train”, a single which they released back in 1967. It’s been covered and sampled several times since. Let’s have a listen to the single below.

A timeless, mellow dubbed single which feels like a precursor to the Reggae Roots sound of the mid-70’s in a few ways, Keith & Tex’s “Stop That Train” is a stand-out track from the output of the Trojan Records label in the late 60’s, although I feel the slightly melancholic texture adds a low-key strength in comparison to some of their contemporary peers from their time. Built around a mid-tempo steel drum groove, Keith sings: “Stop that train/I want to get on/My baby, she is leaving me now” and “She said, my dear, I do love you/No matter what they say or do/I keep shouting” above a shimmering cymbal rhythm that keeps going and going. A slight precursor to the “Funk” boom of the 1970’s, repetition in sound in order to control a flowing groove is key. At a mid-way point, the track leads us to a beautiful guitar solo which twangs and shakes as all of the instrumentation in the background slowly dissipates, leaving the guitar riff as the sole layer. Tex joins for the chorus, as well as adding some neat, calming backing vocals to support Keith’s pace. The consistent, mid-tempo drum riff makes its return as Keith & Tex repeat the chorus with a strong male harmony and a thick Jamaican accent which emphasize the traditional reggae sound amongst a gentle keyboard riff. The rhythm is a little bit harder and deeper, with the lyricism more rough-edged, than your average 60’s Rocksteady track. The loops are catchy, but the focus on voice is the draw. A golden oldie that should not be forgotten.

  • Keith & Tex (Keith Rowe & Phillip Texas Dixon) performing “Party Night” live for KCRW (December 2017) (via YouTube)

Thank you for reading this post! I hope that you enjoyed it! I’ll be carrying on with the warm vibes tomorrow for an in-depth look at a fairly recent-ish single from a Haitian electronic music producer who began to produce his own material at the teen age of 15 and he’s part of the hip-hop fusion duo The Celestics! 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: Dread Zeppelin – “Your Time Is Gonna Come”

March 13, 2020 — Leave a comment

Mentally drained, the time for bedtime has almost come… It’s time for your new post!

  • Pictured: Cover Artwork for “Un-Led-Ed” (Released on 24th July, 1990) (via I.R.S. music label)

It’s almost the weekend… The time is gonna come! Good evening to you, I’m Jacob Braybrooke and I’m writing about your daily track on the blog because it’s my day-to-day pleasure to do so! For a band which is essentially a novelty tribute band for a 70’s classic rock band, Dread Zeppelin are strangely prolific, having produced and recorded a whopping total of 15 albums between 1990 and 2011. Obviously, Dread Zeppelin are a Dub-plate take on the 1970’s British Heavy metal pioneers Led Zeppelin, having produced each of their tracks as covers of Led Zeppelin tracks, with a Reggae style. The band were formed in California in 1989, which led to an extensive touring schedule as a part of a long tenure with IRS Records – led by an Elvis Presley impersonator named Tortelvis on lead vocals. Dread Zeppelin have also been publically endorsed by Robert Plant, the lead vocalist of Led Zeppelin, who has stated that he prefers Dread Zeppelin’s 1990’s cover of “Your Time Is Gonna Come” to his own band’s original version. Compare for yourself with Dread Zeppelin’s cover below!

Dread Zeppelin’s cover version of “Your Time Is Gonna Come” by Led Zeppelin starts off as you might probably expect, with the recognizable opening lead guitar riffs of the track being replaced by the bouncy sounds of a Sitar, before a fizzled synth-line and a funk-laden groove settles into a constant affair of mid-tempo arrangement, before Tortelvis enters the fray: “Women lie/You’ll be cheated, you’ll be hurtin’/Messing around with every guy in town/Puttin’ me down for thinking of someone new”, with Tortelvis adding a vintage 70’s rock-and-roll edge to the duelling Rastafarian backing vocals. He later continues “Made up my mind to break you this time/Won’t be so fine, it’s my turn to cry/Do what you want, I won’t take your brunt/It’s fading away, I can’t feel you anymore” over an acoustic layer of Cuica riffs and Harpischord sections. The chorus sounds as triumphant as Zeppelin’s classic original, but with a lack of stadium rock sensibilites and a replaced sense of care-free fun, created by a thumping steel drum rhythm and a soft dose of licked bass guitar melodies. On paper, it sounds like a horrific idea which simply shouldn’t work, but it does. I’ve found there’s a dark corner of my mind that tells me I like this song and I can’t help but nod in approval to that. It’s humorous and quirky, with a cheerful quality of light-hearted Dub textures and the anthemic chanting vocals of the chorus have managed to translate to a more pop-driven style with effective results. The joke doesn’t quite ware itself out and the varied instrumentation keeps it melodic enough to hold your interest. The result is an entertaining novelty track which strikes the balance of accessibility and credibility. Your time, to have a boogie to this, has come!

  • Pictured: Ed Zeppelin (Graphic Artist/Writer/Producer), Tortelvis (Lead Guitar), Jah Paul Jo (Lead Guitar), Carl Jah (Rhythmn Guitar/Backing Vocals), Put-Mon (Bass Guitar) and Charlie Haj (Drums/Percussion) (1989) (via WikiWand)

Thank you for reading this post! I’ll be back tomorrow, as per usual, with an in-depth look at the final track that I’m going to cover on the blog from “Our Pathetic Age”, the outstanding new double album from American EDM/Trip-Hop icon DJ Shadow, who claims to own a personal collection of over 60,000 records! 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: Chicano Batman – “Color My Life”

March 12, 2020 — 2 Comments

This Batman is nowhere near as bad as that awful DC’s Suicide Squad film and it’s a lot more reflective in quality of The Dark Knight instead! It’s time for a new blog post!

  • Pictured: Bardo Martinez (Lead Vocals/Keyboard/Rhythm Guitar), Carlos Arévalo (Lead Guitar), Eduardo Arenas (Bass Guitar/Backing Vocals) and Gabriel Villa (Drums/Percussion) (2019) (Official press shot via ATO Records)

I wonder how Superman would respond to this DC-related tomfoolery! It’s Thursday afternoon and you’re reading the words of me, Jacob Braybrooke, as I’m typing my musing about your daily track on the blog because it’s my day-to-day pleasure to so so! Chicano Batman are a Psychedelic Rock band from California who certainly don’t take themselves very seriously at all! A fun fact: They once starred in a TV commercial for Johnnie Walker’s Scotch Whiskey in 2018! The 4-piece group, who my friend introduced me to during our weekly playlist meeting for our student radio station last week – formed in 2008 through bonding over their shared love for Brazilian music from the 1960’s, a Jazz-Punk root which blends with the styles of Tropicalia, Dub, Progressive Soul and Electronic Indie Rock to form the basis of their sound. The band are gearing up for the release of their fourth album, “Invisible People”, which comes out on May 1st via ATO Records. Let them Color your Life with their new single below!

“Color My Life” is painted by a quirky video with a sunny palm background which, for me, gives off shades of the 90’s Hip-Hop parody “Windowlicker” video created by Aphex Twin and Chris Cunningham which was released back in 1999! Lead vocalist Bardo Martinez skates around the shoals, in front of lots of slightly disturbing camera close-ups, crooning: “Are you a lucid dream?/That’s what it seems/I’m not really sure if it’s real”, above a chilled psychedelic groove created by a sublime Conga drum beat and a lush Kookaburra melody – sounding accidentally precursored by the melody of Men At Work’s Down Under – which paves the way for a Reggae sound, leading up to a distorting, tripped-out bass guitar riff, before Martinez continues: “Are you a lucid dream?/Or just a beam of light/Shining on me?”, as the melodies settle into a harmonic pace again, before Martinez stutters: “With the feels I’m on”, as the rhythm takes a more soulful, R&B-infused turn, before the glitched-out haze of electro-tropicalia echoes the sentiment of Martinez’ highly reverberated Falsetto once again: “You’ve got to color my life/You’ve got to fill in my thoughts”, as the constant breezy underlayer crashes to an abrupt halt. The band match idyllic scenes of the Pacific coast with their eccentric sense of humor, matched by the cinematography, costume design and shot layout. It’s a well-produced video, and I think the song’s really good as well! There’s a subtle Australian psychedelia influence, as the track doesn’t sound miles away from the likes of Tame Impala – with the volume turned up to eleven, but it sounds closer to the frenzied sequencing effects of Pond. There’s also call-backs to 80’s Latino pop and the care-free songwriting shares the vibes of early 70’s Ska music. Chicano Batman have an awful band name, and they play that to their advantage by having fun with their ideas and going hell-for-leather with it all, ending up with a varied sound which takes elements from different genres for inspiration, but it doesn’t sound too close to one or the other as to sound very much like another existing band or solo artist. It’s quite out-there, but that’s what makes it work. I’ve only heard this one single so far – but I’m looking forward to hearing more from them!

  • Pictured: Chicano Batman playing a live Tiny Desk Concert for NPR Music on YouTube (2017)

Thank you for reading this post! As always, I hope you enjoyed it! I’ll be back tomorrow to introduce you to another comedic act – a novelty tribute band who are led by an Elvis Presley impersonator and who were publically endorsed by Robert Plant, who claimed that he preferred their cover of his own band’s track to the original version released in 1969! 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