Dubplate

Way Back Wednesdays: Roots Manuva – ‘Witness (1 Hope)’

March 23, 2022 — Leave a comment
Pictured: Roots Manuva in promotional artwork for ‘4everrevolution’ (2011) (Photo via MusicRadar.com)

Good Morning to you! This is Jacob Braybrooke, and if you haven’t had your breakfast yet, it’s time to get your fill as we go retro with a 00’s British Dub/Hip-Hop classic as we go retro for ‘Way Back Wednesdays’ on the blog, where we revisit some of the seminal sounds of the past, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Widely considered to be a reference to ‘Doctor Who’ with the intentionally similar melody to the sci-fi phenomenon’s main theme track, ‘Witness (1 Hope)’, released in 2001 by the Stockwell-born rapper and producer Roots Manuva, is a quintessential tribute to British cultural roots that was a stark contrast to the influences of Hip-Hop from the US that was prominent in most other UK hip-hop releases at that point. Infusing the track with Dancehall and Psych-Funk elements, Manuva garnered widespread acclaim for his diverse production and amusing lyricism with the UK Top 45 track. Manuva has since been described as “one of the most influential artists in British music history” by Vice as recently as 2016, having produced several well-acclaimed albums like 2008’s ‘Slime & Reason’, 2002’s ‘Dub Come Save Me’ and, in the case of today’s track, 2001’s ‘Run Come Save Me’. He has also collaborated with an extensive list of other artists including Charli 2na, Gorillaz, Fun Lovin’ Criminals, Beth Orton, DJ Shadow, Jamie Cullum, Leftfield, Nightmares On Wax and The Cinematic Orchestra throughout the years. Released on Big Dada in 2001, Manuva’s album breakthrough ‘Run Come Save Me’ earned him a MOBO Award for ‘Best Hip Hop Act’ of that same year. Q also listed the record as one of the best 50 albums of 2001, as Manuva was showered with praise from critics for his individual approach to contemporary Hip-Hop at the time and the uniquely British edge to his songwriting. These days, Roots Manuva is still fairly active. His latest album release was 2015’s ‘Bleeds’ and he headlined the Lounge On The Farm festival in Canterbury, Kent in 2019. Let’s remember the video for ‘Witness (One Hope)’ below.

The Mat Kirby-directed music video that you have just seen – which features Roots Manuva taking part in a sports day at his previous primary school that he truly attended in real life – is a bizzare piece, but it also gained similar acclaim from critics for it’s humorous scenes and original plot. Sports Day is also something that may mean nothing to schools from other countries, and so it really fits the vibe of his track’s point, in a weirdly fitting way. The track starts off with the aforementioned bass line that squelches and crackles to the tune of self-aware lyrics like “I sit here contented with this cheese on toast” and “We drown ten pints of bitter” that reference unquestionably British themes. The low-fidelity bassline has a downbeat, low-end pummeling quality and pulsating, throbbing rhythms that has a low-budget, DIY sense of production to it. On the Reggae front, there’s a fusion of organic Funk and heavy Dancehall going on here, with rickety and makeshift Dub sounds that Manuva claims was composed in protest to the poor quality of the sound systems being used in British night-clubs in the early 00’s, and the deliberate mimicry of the ‘Doctor Who’ theme track is another audacious jab at British popular culture while complementing the Spoken Word delivery of his half-rapped vocals. On the lyrical front, he uses sharp refrains like “I feel the pain of a third world famine, We count them blessings and keep jamming” to draw from diverse imagery of his Jamaican roots, and he’s never afraid to anglicize these ideas for wider accessibility while seeming self-conscious about it. Ultimately, ‘Witness (1 Hope)’ still holds up today as a wonderfully bizzare take on British-Jamaican male experiences and seeking identity in a multi-cultural environment, where the Dub influences feel as sharp as they are lovingly unsullied by the idea of perfection. The lyrics are still unique and innovative, while the track and video still pack an effective punch because of how amusing and engaging they both feel. It was wildly different to anything else at the time and it’s a track that, while holds an influence other modern DIY-style Hip-Hop tracks, also feels impossible to truly duplicate in the same way again. The most relatable element is how we all had to just survive Sports Day. Brilliant, and only he could get away with it.

Pictured: Cover Artwork for ‘Run Come Save Me’ (LP/Album) (Released on August 13, 2001) (via Big Dada Records)

That brings me to the end of another throwback post and, as always, thank you very much for supporting the site today. I’ll be back tomorrow, as we head across the shores to the US to review a recent single by a Brooklyn-based indie rock trio who will be performing at The Junction in Cambridge on March 30th. They have supported names like Pixies, Wolf Alice and Cherry Glazerr and they have released material on labels like Fat Possum Records and Mom + Pop Music. They gained the attention of critics with their sets at South By Southwest & CMJ Music Marathon in the mid-2010’s.

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Way Back Wednesdays: The Specials – ‘Gangsters’

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

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

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

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

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

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

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

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Nia Archives – ’18 & Over’

January 17, 2022 — Leave a comment
Pictured: Cover Artwork for ’18 & Over’ (Single) (Released on November 25th, 2021) (via HIJINXX)

Good Morning to you! You’re tuned into the text of Jacob Braybrooke, and it’s time for us to dive headfirst into a new week of January with yet another daily track on the blog, given that it’s always my day-to-day pleasure to write up about a different piece of music every day! A 21-year-old musician who was born in Leeds and raised in Manchester, Nia Archives is a London-based singer-songwriter, producer and visual artist who you may remember from the ‘Headz Gone West’ EP that she released last April that we discussed a few times on the blog. Nia Archives is an exciting new artist who fuses a range of Hip-Hop, Neo-Soul, Dubstep, Drum and Bass, Drill and Techno, House and Jungle elements into her melting pot of sounds. She is also the founder of the ‘HIJINX’ label, which is also the name of her visual archive of short DIY-style film documentaries which was a side project that she started before producing any music. Her influences includes names like Burial, J Dilla and Roots Manuva. She has recently released the follow-up track to her ‘Forbidden Feelingz’ single that she released last October with a heavier-than-usual dance recording that she implores us, lyrically, was designed for ’18 and Over’. She digs into her Carribean heritage for her new single that samples one of her favourite classic Reggae cuts – ‘Young Lover’ by Cocoa Tea from 1987. The Taliable-directed music video pays homage to London’s sound-system culture and references ‘Yardie’ films like ‘The Harder They Come’ and ‘Babylon’ from the 60’s and 70’s. She comments, “For the ’18 and Over’ video, I knew that the visuals had to be iconic as the song is an absolute banger. Working with Taliable who was the director and editor was super fun, I feel we creatively gelled really well to create this vibrant piece”, in her press statement. Let’s check it out if you are ’18 and Over’ below.

Nia continues, “The actual video was shot in my warehouse yard, I thought it would be sick to use that space as no one has ever shot a music video there – meaning it is unique to me. We kept things even more local by asking Hackney native Mark Solution if he could set up his wicked ‘Solution Soundsystem’ – it was an honour to feature it in my video”, adding, “There are also some references to the original record that I sampled for viewers to spot”, in her press notes. Starting off with chirping bird sounds that remind me of the sweetness of Aphex Twin’s ‘Syro’ from 2014 in the classic Jungle template, paired up to a steady breakbeat instrumental, Nia develops the soundscape further with a driving bass line and some twinkling Synths as she layers her vocals above the main hook of the focused sample of “Now, this one was designed for 18 and over” with a psychedelic Neo-Soul backing as the breakbeats get continually more fragmented throughout the progress of adding her own lyrics. The glistening synths soon augment into a booming bass beat that feels like a nuanced representation of Dub-rooted texture that she playfully gives a UK drum & bass twist as the ethereal mix warps into a Jungle aesthetic, eventually leaving behind a central emphasis on the early 90’s rave melodies that give us a spellbinding symphony of breakbeats, as the lyrics promise to give us. While the ‘Headz Gone West’ EP leaned into her anxieties on entering a relationship and overthinking her intimate emotions, ’18 & Over’ is a purer exploration of the Post-Garage and Jungle-driven feel that has always existed within her sound. It all feels very exciting and gripping as a result, creating very surprising shifts in production and fusing her early sound with a flipside of some traditional Reggae to pay homage to her Jamaican heritage and the country’s creative output. A heavy and engrossing evolution of her artistry that is unique to her.

Pictured: Cover Artwork for ‘Headz Gone West’ (EP) (Released on April 29th, 2021) (via HIJINXX)

If you also think that Nia Archives is one of the most engaging new artists to follow in 2022, check out my previous post about ‘Headz Gone West’ here: https://onetrackatatime.home.blog/2021/05/03/todays-track-nia-archives-headz-gone-west/

Pictured: Nia Archives in a still from the ‘Headz Gone West’ music video (2021) (Photo by Delphino Productions)

That brings us to a pretty thrilling end to today’s track on the blog. Many blessings for showing your support and I’ll be back tomorrow as we continue to hear some of the most important voices in the industry with the next post that arrives tomorrow. It will come your way by a Harlem-based poet, teacher and founding member of the Spoken Word band The Last Poets, who were widely considered to be the first Hip-Hop group.

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Way Back Wednesdays: Massive Attack – ‘Karmacoma’

January 5, 2022 — Leave a comment
Pictured: Robert “3D” Del Naja, Grant “Daddy D” Marshall & Andrew “Mushroom” Vowles (Date n/a) (Photo via Classical Album Sundays)

Good Morning to you! This is Jacob Braybrooke and, of course, it’s time for the return of ‘Way Back Wednesdays’ on the blog as we remember some seminal (or simply hidden) gems of yore to help me fulfill my goal of writing up about a different piece of music every day! Massive Attack are recognised as one of the most important and influential acts in 90’s British Music history as the original Trip Hop trio of Bristol, and so they are a great choice to kick off our regular throwback fixture again. Having won two Q Awards, two MTV Europe Music Awards, a BRIT Award for Best British Dance Act, as well as placements on greatest-of-all-time lists compiled by NME and Rolling Stone, Massive Attack were also a really successful commercial crossover act having sold their way to over 13 million records worldwide. ‘Karmacoma’ is one of their signature closing tracks during live performances and it was originally issued as the final single off their second LP – ‘Protection’ – that earned critical acclaim in 1994. ‘Protection’ saw the group lean into the Dub and Trance aspects of their pre-established sound, as well as seeing Tricky joining 3D and Grant Marshall on their musical journey by joining their ranks. DJ Mad Professor created a remixed version of the album that was released one year later, and ‘Protection’ was included in the book ‘1001 Albums You Must Hear Before You Die’ in 2011. 3D and Tricky say that most of the lyrics for ‘Karmacoma’ were written while high on a drug trip while backstage at a music festival somewhere in England and the music video saw the debut of British film director Jonathan Glazer – who went on to direct 2013’s ‘Under The Skin’ as well as music videos for Radiohead and Jamiroquai. Let’s remember ‘Karmacoma’ below.

‘Karmacoma’ – known for a wild and experimental music video that probably freaked a few poor children out during the mid-90’s – was so popular that Tricky later recorded his own solo version of the track that he renamed as ‘Overcome’ for his debut solo album ‘Maxinquaye’ that he created in 1995. Full of bizzare cinematic references to ‘The Shining’ and ‘Reservoir Dogs’ among other titles, Massive Attack have also name-checked Patrick Swayze in the lyrics for the enigmatic track and they say it was dedicated to him. I find it difficult to believe that the bass-heavy, middle eastern Drum beat that runs throughout the track was entirely manufactured at the hands of the Bristolian group because it sounds so authentic, and yet, it creates a catchy but cerebral groove that understandably gained some mainstream attention for the band at the time. The lyrics are very discreet and give next to nothing away, but powerful lyrics like “I won’t lie and say this love is best, leave us in emotional peace” and “Your troubles must be seen to see through money” that seemingly form a social commentary comparing the interests of lovers to the authorities of the world in some way or another, to the best of my guesswork. Either way, the instrumentation was quite spellbinding as the thunderous snare sample sounds very realistic and the group keep introducing more elements, such as the alluring Bass melodies and the loping rhythm, that maintain an unpredictable feel to the record although the main loop gets very hypnotic as the duration progresses. The most alluring line of all comes when “I must be crazy/see I’m swazy” as the key cinematic reference comes to light. The lyrics, with hooks like “Karmacoma, Jamaican aroma” and “You’re sure you wanna be with me I’ve nothing to give/Take a walk, take a rest, taste the rest” are almost erratic at times, complementing the psychedelic oscillation of the unique pacing. The dynamic between Tricky and 3D, however, still feels new, as they recite their sequences with a mild Spoken Word feel that delves into a gently Poetic flair while the trippy instrumentals keep the proverbial room spinning. They form the important adhesive to the track that melds the laced looping of the relentlessly spiraling Drums and the adventurous songwriting, for the lack of a better term, together thematically. While reclusive and challenging, ‘Karmacoma’ was an off-kilter anthem that gives you just enough time to get used to the ongoing melodies before another strange, but key, element flips the switch halfway again. A chilling spectacle.

Pictured: Cover Art for ‘Protection’ (LP) (Released on 26th September, 1994) (via Circa/Wild Bunch Records)

That’s all for now! Thank you for spending the beginnings of your new year with me, and I’ll be back again tomorrow for some more unique music from a Canadian Ethnotronica group who blend Instrumental Hip Hop, Reggaeton, post-00’s Dubstep and Moombahton together with elements of First Nations music for their own brand of “Stadium Pow-Wow” sounds. Their earlier name was a nod to A Tribe Called Quest.

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Nightmares On Wax (feat. OSHUN) – “Breathe In”

November 6, 2021 — Leave a comment
  • Pictured: Cover Art for ‘Shout Out! To Freedom’ (Released on October 29th, 2021) (via Warp Records)

Good Morning to you! I’m Jacob Braybrooke, and it’s time to indulge your senses into 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! ‘Shout Out! To Freedom’ is the latest LP to come from the legendary Leeds-born and Ibiza-based electronic Trip Hop producer Nightmares On Wax – the now solo project of George Evelyn that used to be a trio with Kevin Harper and John Halnon up until the early 90’s – who has scored multiple crossover hits like ’70’s/80’s’, ‘Aftermath’, ‘Finer’, ‘Know My Name’ and ‘I’m For Real’ in the UK Singles Charts. He is the longest serving signee to the iconic forward-thinking experimental label Warp Records, and the critical acclaim of classic albums such as 2006’s ‘In A Space Outta Sound’, 1995’s ‘Smokers Delight’ and 2008’s ‘Thought So’ have led to his projects being highly anticipated among electronic music fans as some of the genre’s most important offerings. Sadly, he became more like ‘Nightmares No Vax’ in some Twitter posts leading up to the marketing machine of the new record, but, luckily, none of these controversial opinions have really cropped up on-record or became too preachy, and he opted to explore the general themes of freedom and meditation on his new album, and so it’s quite nice to see that he’s supporting freedom of speech without bringing any harm to others, and I could see his perspective as a creative coming from a non-white background. ‘Shout Out To Freedom’ has instead been released to pretty positive reviews, and it features a solid guest list of names including Greentea Peng, King Shabaka Hutchings of The Comet Is Coming fame, Mara TK, Pip Millett, Haile Supreme and others – each of which have been asked by Hill to collaborate on songs exploring what freedom means to them. The only single taken from the record with a music video attached is ‘Breathe In’, a mid-album track which includes vocals from the NYC duo OSHUN. Check it out below.

“I feel like I’ve been set free of something and I am now becoming who I really am”, says Evelyn of Nightmares On Wax fame, adding, “I’ve been gigging non-stop for 10 years, and that experience has been beautiful but it also drained me emotionally. As a creative, you’re always questioning everything. So, having the time and the space has meant that I could do a proper deep dive into this stuff. So it was all about this journey of going back to myself, and realizing being at home with my wife and my daughter that I’ve not really been here properly. It’s like I’ve just woken back up to what I actually have – and it’s already here”, when writing all about his new album – ‘Shout Out! To Freedom’. ‘Breathe In’ still contains the influences of Curtis Mayfield and Quincy Jones that have all shaped his typical concoction of Funk, Soul, Jazz, Downtempo Electronica, Dub and Techno that have kept his project alive for many decades and have characterized his sound, while putting a more modern spin on these styles predominantly within the lyrics, which discuss the simple act of staying off your phone and meditating instead. ‘Breathe In’ takes a slinky and psychedelic groove, embedded with the lyrical themes of nature and mindfulness, and Evelyn arranges some 90’s Trip Hop beats and a playful 90’s ploy on old-fashioned Dancehall melodies that have a weightlessness and an airy sense of production to them, mixing nicely with the deep and spiritual vocals from OSHUN that echo Dub all over the track. Some interesting String samples and subtle Keyboard loops make up the rest of the instrumentation, and there seems to be a lush 70’s Black Exploitation vibe to things where the usual elements of Jazz, Funk and Soul come together from Hill, some genres that he’s well known for exploring. A mix of darker Piano chords and punchier beats differentiate this track from some of his familiar 90’s and 00’s chilled out House offerings, and the more spacious parts of the vocals build to some longer harmonies and some sustained notes in the latter half of the track. While there aren’t any lyrics that specifically stick out to me, it seems like a variety of ideas are being conveyed through the balance of Urban and Nature that OSHUN evoked here. Overall, ‘Breathe In’ was a track which I enjoyed from the new album, which really strikes me as a good headphones-in-bed type of listening experience. While not as essential as other recent Warp Records efforts from the likes of Yves Tumor or Jockstrap, due to some of the melodies feeling as though they meander along a little bit, I still have a pretty positive perception of it. I like how it manages to not quite sound like any other track that I have heard from Evelyn to date, as the tribalistic drum loops and the psychedelic Soul feel manage to sound interesting. Whereas most of his tracks gives me a warm and comforting feel inside, this one feels more urgent in taking action, which is different to the way that most of his other singles make me feel. While there’s a general sense of positivity, it seems slightly more alarming. A great-sounding return.

  • Pictured: Nightmares On Wax (aka George Evelyn) performing at Wire (2016) (Photo by Justin Gardner)

That’s all for now and thank you for continuing to support the site. ‘Scuzz Sundays’ is set for tomorrow, and we’ll be focusing our attention to an English rock band who got their big break in 2006 when their Platinum certified debut album won the ‘Indie Album Of The Year’ gong at the 2006 PLUG Awards and each member of the band have continued to work on their own solo side projects in more recent times. Whilst together, the London band have sold over three million albums worldwide as of 2012.

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: The Bug (feat. Flowdan) – “Pressure”

September 14, 2021 — Leave a comment
  • Pictured: Cover Artwork for ‘Fire’ (Album/LP) (Released on August 27th, 2021) (via Ninja Tune)

Good Morning to you! You are reading the words of Jacob Braybrooke and it’s always my day-to-day pleasure to write up about a different piece of music every day, so it’s time to put that into practice by publishing yet another daily track on the blog! Having been active in the UK’s underground Techno scene since the 1990’s, notably as one of Hyperdub’s most significant signings during the early 2000’s, Weymouth-based electronic music producer and journalist Kevin ‘The Bug’ Martin has dabbled in the genres of Dubstep, Post-Hardcore, Industrial Hip-Hop, Dancehall, Power Electronics and more in experimental ways throughout the course of the last two decades, fronting different music projects like ICE, Curse Of The Golden Vampire and Techno Animal. There was also the collaborative moniker of King Midas Sound, which he has fulfilled with graphic designer Kiki Hitomi and poet Roger Robinson. There’s an air of 80’s Avant-Punk on his recently released solo album, ‘Fire’, which quickly became one of the year’s most anticipated hardcore album releases when it was released in the same month that it was announced, arriving in late August on the excellent Ninja Tune label. The album features collaborations with several vocalists including Logan, Flowdan, Nazamba, Manga Saint Hilare and more. This is Martin’s first solo album release since 2014, and he’s pitched it as a spiritual sequel to 2008’s ‘London Zoo’ and 2014’s ‘Angels & Devils’. The record has a scorching hot tone and it explores a range of socio-economic tensions and climate issues. Give the single, ‘Pressure’, a listen below.

“I’m always asking – how can I ramp this up more? How can I get more people out of control? For me, a live show should be unforgettable, should alter your DNA, or scar your life in a good way – that’s always been my goal, to set up shows that are unforgettable”, Martin told us in a press release, adding, “I like friction, fanning the flames with sound, and this album is the most reflective of the live show in terms of intensity and sheer f**k-off attitude of those shows”, he explained. ‘Fire’ is certainly one of Martin’s heaviest releases for a few years, but, as per usual from Martin, this isn’t a record that simply feels like a turn up the dial and shout for the sake of noise, in a Scuzz Sundays guilty pleasure way, but it instead uses Drone sounds and Dark Ambient influences to comment on a diversity of issues that seem to plague the modern world that we’re all a part of today. Working with frequent partner Flowdan on ‘Pressure’, Martin kicks the intensity of the new release into full gear with some anthemic two-step Drum beats and some relentless attacks from a string of reverb-drenched rumblings of Bass. Flowdan’s Hip-Hop vocals show serious flair, with the London-based MC adding a heavy Grime element to the chaotic energy of the tune, spitting thought-provoking lyrics like “Babylon time dun/Yuh sing for the stretcher” and “Wait for the revolution, but the revolution can’t stand” at a breakneck pace, as he conjures up some striking imagery of fleeing refugees and recent events in Alfghanistan that hit at a great speed and with an understandingly strong impact. Martin’s electronic soundscape deserves plenty of credit for the well-developed and uneasy atmosphere too. He kicks off the tune in riotous fashion with a jagged blast of sirens and foghorns, before he complements Flowdan’s hard-hitting vocals that rails against poverty and inequality at the fault of the government with a genuinely post-apocalyptic variety of sounds that shows his considerable experience and doesn’t hide behind the vocals from Flowdan as a literary device. Instead, the two together decide to hit their problems at their core with a passionate energy. On the whole, this is certainly not a mainstream release by any stretch of the imagination, but Kevin Martin and Flowdan do an absolutely brilliant job of unleashing a barrage of pent-up rage with good intelligence and academic creativity. There’s a ton of atmosphere as a result here and it feels undeniably cool. A release which you certainly should not skip.

  • Pictured: Kevin ‘The Bug’ Martin in a studio PR shoot for ‘Fire’ (2021) (Photo via TheVinylFactory.com)

That brings us to the end of the page for another day, and thank you very much for your continued support with my daily project. I will be back tomorrow for ‘Way Back Wednesdays’, as we take a break from my recent recommendations to revisit one of the most influential sounds of the past for the present. This week’s pick comes from a female-led band who were one of the greatest Bristol-based pioneers of Trip-Hop in the mid-90’s, and they were named after a nearby town of the same name. The trio sometimes bought a fourth member, Dave McDonald, on board as their own engineer.

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Way Back Wednesdays: Lady Saw – “Sycamore Tree”

August 11, 2021 — Leave a comment
  • Pictured: Cover Art for ‘Passion’ (LP) (Released on June 12th, 1997) (via VP Records/CoverMyTunes)

Good Morning to you! It’s Jacob Braybrooke here, and it’s time for me to get typing up on the blog for this week’s ‘Way Back Wednesday’ flashback, as we revisit the seminal sounds of the past that have been influential to the present, since it’s always my day-to-day pleasure to write up about a different piece of music every day! It has become a rather multi-cultural week on the blog so far, and that lovely trend continues with ‘Sycamore Tree’ by Lady Saw, which was released as a single from her 1997 album, ‘Passion’, which reached the #8 spot on the US Billboard Reggae Top Albums Chart. It, therefore, officially became Saw’s first album to chart. Formerly known as ‘The Queen Of Dancehall’, Lady Saw was a Jamaican vocalist and producer whose career has spanned for two decades, and she holds the distinction of being the first black female DJ to be certified as both a Grammy-winning artist and a Platinum-selling artist. In more recent times, Saw converted to Christianity in late 2015 and announced that she would now identify as “Marion Hall”, and she has began a career in writing Gospel music – which Hall has performed at The White House. Revisit ‘Sycamore Tree’ below.

Ever since the peak of her popularity, Hall has been known for her ‘Slack’ performance style that has been controversial to the authorities in Jamaica, a battle that has also influenced Hall to write protest anthems about freedom of speech and double standards between how vulgarity is perceived in music from male and female Jamaican artists. Hall is also known for her socially conscious lyrics, and one of the biggest examples of this trend was her 1996 track, ‘Condom’, a track that warns young girls about the dangers of unprotected heterosexual sex. She has, therefore, never been afraid to speak her mind with her music, and 1997’s ‘Sycamore Tree’ is another decent portrayal of this attitude. The lyrics are about an obstructive woman who will not participate in oral sex with a love interest, and tries to convince him that she is a more honest person than we’re led to believe, with some occasionally lewd lyrics like “Remember, it was under the Sycamore tree” and “The sun stopped shining for me” that discreetly show the cracks of her true intentions. This style of lyrics are recited underneath her famously high-pitched bass that she was known for frequently producing. Her raw vocals continue to reflect upon one of the most contentious musical topics in her country for a number of decades, but the sound maintains a rather joyful and bright personality, with some light, yet classic Dub toasting and shimmering, percussive rhythms, which turns her assessment of Jamaican sex taboos into a more refreshingly wicked, playful affair. A potent and firmly female-focused effort, the Reggae backing beat is rather catchy, with Hall bragging about a ‘false innocence’ with lines that feel fully aware of her sexuality, such as “Mi a gal wi gi yuh all di wickedest ride”, while also proclaiming lyrics like “a nuh everything mi like” in later sections. On the whole, it’s not something that I would usually choose to listen to, since it’s simply not in my typical wheelhouse of favourite genres, so to speak, but I enjoyed a few minutes of the time that I spent with Saw’s song. The vibe is pretty sexual, but joyously defiant and character-oriented. A seminal salute to her free spirit.

  • Pictured: Lady Saw (aka Marion Hall) performing at The White House (2016) (Photo via Jamaicans.com)

That’s enough of my musical musings for another day, and thank you very much, as always, for reaching the end of the page. I’ll be here to catch up with you once again tomorrow with some more information about, possibly, one of my favourite new albums in recent memory. It is really good, and it takes us to South Korea for some Shoegaze sounds. The young adult artist, however, likes to keep his proverbial cards quite close to his chest. We know very little more than his recording name: Parannoul.

Connect with One Track At A Time:

Facebook: https://www.facebook.com/OneTrackAtATime/

Twitter: https://twitter.com/OneTrackAtATim1?fbclid=IwAR2demHDssZESnHDMi6gzTGNZJvdS42Ot930CA9Rttw7n4CJ5nvB8VJbWxE

Today’s Track: Nia Archives – “Headz Gone West”

May 3, 2021 — Leave a comment

Headz, Shoulderz, Kneez and Toez…Kneez and Toez. On that note, it’s new post time!

  • Pictured: Nia Archives in a promotional shoot for The Pit, London (2020) (Article by Ben Tibbits)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for me to get typing up for your daily track on the blog, as always, since it’s my day-to-day pleasure to write up about a different piece of music every day! ‘Headz Gone West’ is a short-and-sweet single that’s been sneaking it’s way onto my radio show and streaming library over the last week or so. It comes from the London-based (by way of Manchester and Leeds) singer-songwriter and visual graphic designer Nia Archives, who mixes Erykah Badu-inspired Neo-Soul and light Hip-Hop with more DIY-spirited Jungle and Drum & Bass production. There’s also some love for House music and UK Garage included in the pot too. Archives has just released her debut EP, of the same name as her latest track, via HIJINXX – which is also the name of the youth street art project that she also manages. Nia has remixed Lauren Faith, and collaborated with Zeitgeist, and so the stock is rising for this young lady, who claims to work primarily from her bedroom using old and second-hand kit to express herself through her material. Tune in below.

“Making the EP was super fun!”, Nia told Clash Music, elaborating, “I had a little DIY set up in my room, and I would sit up all night making loads of quick beats for fun… some of them I would end up proper vibesing to and kept working on them”, finishing up with, “Overall, the project is massively inspired by my love for breakbeats, jungle and D’n’B – and ‘Headz Gone West’ is the second track I wrote for it straight after ‘Sober Feels'” as she guided us along the process of putting together her first solo release. Her Jamaican heritage seems to have played a role in the intoxicating blend of lo-fi synths and Dub underlayers, paired up with lyrics that talk about independence, difficult relationships with familial figures and alcoholic addiction. The chorus of “My head has gone west, ain’t never getting nowhere, I watch the sunrise and then the sunset, I wanna get high so I can forget” balances a storm within the beauty, while a slightly more subdued verse gives space for lines like “I can’t sleep at night, I have so much on my mind” to address the elephant in the room willingly, despite the tone of the beats feeling danceable, and the subject matter of the lyrics feeling relatable. What I like about what Nia does here is the blending of traits from different genres that feel soulful, yet unwind in an experimental way that holds a personal quality for her. The explorations of late 80’s liquid rave music culture and German Soundsystem Reggae all fit under a similar umbrella and so the pieces all fit together neatly. The cohesion is really nice, yet there’s a feeling of “Summer anthem” to the mildly euphoric style. The lyrics have a darker mood if you read between the lines of the skittering, IDM-like breakbeats, however, and there’s simply a decent deal of interesting fusions to maintain your attention here. There’s a little over-reliance on repetition, but the duration is cut short and sweet, as to not overstay it’s welcome too much. Overall, it’s early days for her, but these results seem solid and very promising.

  • Pictured: Cover Artwork for “Headz Gone West” (EP) (Released on April 29, 2021) (via HIJINXX)

That’s all for today – but don’t forget to bring your Headz back over to the blog tomorrow for another review of recent, new music, this time coming from the Hip-Hop side of the pond, as we bring our focus to another emerging artist who was born in Boston, raised in Kenya, and now lives in New York City after graduating from the Berklee College of Music. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Pa Salieu (feat. Mahalia) – “Energy”

February 8, 2021 — Leave a comment

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

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

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

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

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

Well – That’s all I have for you to read today! My daily diary continues tomorrow as you would expect – where you can join me for an in-depth listen to a single from another very exciting emerging talent who I’ve heard about before, but I’ve only recently discovered for myself. She blew me away with her recent performance for KEXP’s Live At Home sessions, and this Colombian electronic music producer loves to describe her own sound as “Bright Music For Dark Times”, the direction of her debut solo LP, which she released last October from the well-known Domino Recordings label. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

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/