Scuzz Sundays: Bloc Party – ‘Helicopter’

November 7, 2021 — Leave a comment

Pictured: Kele Okereke (Lead Vocals/Rhythm Guitar/Sampling), Russell Lissack (Lead Guitar/Keyboard), Justin Harris (Bass Guitar/Synths) & Louise Bartle (Drums/Percussion) (2015) (Photo by Rachael Wright)

Good Morning to you! This is Jacob Braybrooke, and it’s the time of the week where we re-evaluate some of the biggest hits that would have gained airplay from the likes of Kerrang and Scuzz TV in the decades past, because it’s always my day-to-day pleasure to write up about a different piece of music every day! The current line-up of Bloc Party sees long-serving frontman Kele Okereke touring with Russell Lisack, Louise Bartle and Justin Harris, but previous iterations of the project have seen guitarists like Matt Tong and Gordon Moakes playing among their ranks. Although I’m not very sure how well-known that Bloc Party are globally, they are a household name in the UK, having scored many memorable crossover hits like ‘Flux’, ‘Hunting For Witches’, ‘Banquet’, ‘Two More Years’ and ‘The Prayer’ in the UK Singles Charts, well on their way to selling over three million albums worldwide. ‘Helicopter’ was a permanent fixture on the multiplayer mode of ‘Guitar Hero 3: Legends Of Rock’ from 2007, and it was one of the band’s first mainstream successes, as it was released as a standalone single in 2004 before also appearing on their debut studio album, ‘Silent Alarm’, the next year. Known for blending 00’s ‘Indie’ rock tropes with elements of Ambient House and Electronica, Bloc Party received decent reviews for their first LP and the record was named the ‘Indie Album Of The Year’ at the 2006 PLUG Awards and at the NME Awards of the same year. Let’s remind ourselves of ‘Helicopter’ below.

A Garage rock-tinged 00’s indie anthem, ‘Helicopter’ reached #26 in the UK Singles Chart and the main riff was adapted from The Jam’s ‘Set The House Ablaze’ taken off their 1980 album, ‘Sound Affects’. Making it’s mark on popular culture, the original record and remixes of the record have appeared in video games like ‘Project Gotham Racing 3’, ‘FIFA 06’ and ‘Colin McRae DIRT 2’, and it can also be heard in film and TV productions like ‘Yes Man’, ‘Charlie St. Cloud’ and ‘Malcolm In The Middle’ too. As for the track itself, Bloc Party managed to stand out from contemporary peers like Interpol and Franz Ferdinand by drawing from the dark spectrum of their homeland’s 1980’s indie pop canon with some Gang Of Four-laden guitar stabs in the chorus and by jogging the memories of The Jam, especially in the melodic vocals that add a grittier feel to their sound. The lyrics are a rally cry for a call to arms against those who stand for political incorrectness and the acceptance of those who stand still, with lyrics like “Are you waiting for a miracle?” influencing a feel of urgency, and notable refrains like “North to South/Empty” inspiring independence as a glorified weapon. Yet more raw guitar riffs energetically charge these vocals, and the somewhat off-key backing vocals are cased in a distorted fuzz, giving the effect of back-tracking of polished perfection. There’s a catchy Strokes-like harmonized guitar line in the verses, and the track also has a memorable bridge that builds up some bitter effect-boosted guitar riffs leading to an up-tempo riff or harmonics that add a fresh, somewhat inventive, dimension to the track in its great finale, so to speak, and this is a very solid effect because it creates some pounding instrumentation that feels energetic before the charismatic Drum outro. I felt that drummer Matt Tong really shined in this track, and the accessibility of the tune managed to garner interest from the average indie pop/rock listener without departing too drastically from their influences of Electronica and Ghetto House that were important to Bloc Party’s core sound. In conclusion, while this probably isn’t the most accurate representation of Bloc Party overall, it is still a very catchy pop/rock tune that pulls a few of the tricks up its sleeves to a raucous effect with catchy hooks and a nice balance of radio-friendly appeal and something more alternative. It was a timeless single that, along with Arctic Monkeys and Maximo Park, commanded sizeable audiences for Indie acts.

Pictured: Cover Art for ‘Silent Alarm’ (LP) (Released on February 2, 2005) (via Wichita Recordings)

Thank you for checking out my latest post, and I’ll be back tomorrow with an in-depth look at solo music from a Cuban-American singer songwriter who was previously a member of the girl group Fifth Harmony, who found fame with global chart hits like ‘Worth It’ following their third place finish from the US series of ‘The X Factor’ of 2012.

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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.

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New Album Release Fridays: Nation Of Language – ‘A Word & A Wave’

November 5, 2021 — Leave a comment

Pictured: Cover Art for ‘A Way Forward’ (LP) (Released on November 5th, 2021) (via PIAS Recordings)

Good Morning to you! I’m Jacob Braybrooke, we’ve somehow made it to the end of the week, and so it’s time for a new entry in our weekly ‘New Album Release Fridays’ picks as we discuss one of today’s most notable album releases, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! If you are a fan of 80’s New Wave bands like Soft Cell or Depeche Mode, or even newer variations of that sound like Hot Chip and White Lies, I think that the latest album from the Brooklyn-based Synth Rock band Nation Of Language – ‘A Way Forward’ – releasing today in association with PIAS Recordings – could be right up your street. Ahead of the Christmas rush, this week’s album releases also include new offerings from Brighton indie rock band Penelope Isles, the latest team up from Greek producer Zenjungle and Canadian Jazz musician Valiska, a new solo LP from Curtis Harding, the return of Motown icon Diana Ross and the fast-emerging Lo-Fi Pop project Snail Mail, along with the debut extended play from Monday’s subject on the blog, Cathy Jain. There’s also ‘Voyage’, the companion album to the Swedish Eurovision legends virtual comeback tour. Still a relatively new band, Nation Of Language’s line-up features frontman Ian Richard Devaney, Synth producer Aidan Noell and bassist Michael Sui-Poi, who we have come to know from earlier seperate projects like Machinegum and The Static Jacks. The band came together in New York in 2016 when Devaney heard ‘Electricity’ by OMD in his dad’s car, and that one was a record which resonated with him during childhood, and this became the inspiration to form the group together, who have received airplay across the UK and US across stations like BBC Radio 6 Music, NTS Radio and KEXP. Their second album has arrived with a share of hype attached to it today, and it has already earned a five star review from NME. It was produced by Nick Milhiser (from Holy Ghost). Let’s have ‘A Word & A Wave’ below.

Songwriter/vocalist spoke about the recent single in his press release, offering, “When writing the song, I kept finding myself imagining this person living in Portland, Maine. It’s never mentioned in the lyrics, but I found myself wishing I could have conveyed the rest of the scene I pictured – a warmly lit room on a calm overcast evening in a small coastal city.”, later adding, “When it came time to make the video, I saw our chance and decided we would journey up there and follow that vision as much as we could”, in his notes. “Retro” is probably a word that could have been used to describe Nation Of Language’s nostalgic blend of traditional Post-Rock and mature Electronic Pop music a thousand times before, but it is a term that is certainly a good fit for their sound and, possibly, the most accurate depiction of what they do. Walking the same tightrope as successful bands like New Order and LCD Soundsystem in terms of their production, ‘A Word & A Wave’ is an emotionally driven piece of twinkling early-80’s Synth patterns and continous flashings of Drone-influenced vocals that resonates with a sweeping sense of memory and anxiety, as lyrics like “Aching for something you could save/A word & a wave” and “Fall asleep romanticizing/Heartache in the city centre” are given melancholic aplomb. Ambiguous in their direct meaning, later lyrics like “Softening the seconds/As they’re falling from the open window” play on some atmospheric instrumentation and a rattling kick-drum melody to mirror the feelings of taking a small step to make a giant leap of some form. The notions of a bright, yet flickering light are created by the repetitious Synth groove that wanders along to the sonic sounds and quite mellow vocals throughout, and the track interweaves some Staccato vocals with some more minimalist instrumentation throughout. Although sounding directly lifted from the 1980’s at points, the overall sound is not massively dance-oriented because the themes are touching more regularly upon reminiscence and contentment instead. It feels like the slightly socially anxious lyrics of 80’s Synth artists like Deacon Blue are given a more cinematic sense of grandeur in turn. Overall, the melodies of ‘A Word & A Wave’ are given a patient and cautious approach that makes it feel very old, yet never quite outdated, packing a sweeping sense of filmic influence into a tighly packaged four minute duration where the looping Synths and the self-believing drum machine loops are slowly fading away to reveal an emotive core. It makes for a nice change of pace where the authentically 80’s-leaning beats become more hushed and meditative, and the band find some space for the instrumentation and vocals to shine equally because the band don’t feel hidden, as such, behind they keyboards and Synth desks. It would make for a compelling fit on mainstream adult radio stations like BBC Radio 2 due to its accessibility and 80’s sound, yet it stands out decently enough on its own. A heartfelt symphony of Synths.

Pictured: Ian Richard Devaney (Lead Vocals/Rhythm Guitar/Percussion), Aidan Noell (Synths/Keyboard) and Michael Sue-Poi (Bass Guitar/Cowbell/Backing Vocals) (in 2021) (Photo Credit: Robin Laananen)

That’s all for now! Thank you for checking out my latest post, and I’ll be back tomorrow with an in-depth review of some new music from a legendary Leeds-born and Ibiza-based electronic Trip Hop producer known for crossover chart hits like ’70’s/80’s, ‘Finer’ and ‘Aftermath’, and he is one of the oldest serving names for the renowned Warp Records label. He’s also released material under the title of DJ E.A.SE.

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Today’s Track: Jon Hopkins (feat. Ram Dass & East Forest) – ‘Sit Around The Fire’

November 4, 2021 — Leave a comment

Pictured: Jon Hopkins in a photoshoot for a FACT! Magazine feature (2015) (Photo by Dan Medhurst)

Good Morning to you! This is Jacob Braybrooke, and I’ve got a relaxing pick for your daily track on the blog, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! You may know the Kingston Upon Thames-born electronic music producer Jon Hopkins from his work on composing the soundtrack for the 2010 cult science fiction drama film ‘Monsters’, or his time playing the keyboard for Imogen Heap on tour. He has also produced or contributed to albums released by Brian Eno, Coldplay, David Holmes and others, and he’s taken part in various collaborations with King Creosante and Leo Abrahams. Whether you’ve heard of him or not before, the fact remains that Hopkins has always left exciting projects in his wake. His next album – ‘Music For Psychedelic Therapy’ – is set for release on November 12th and it promises nothing different than a bold new chapter of his career, exploring genres like Ambient and Electronica in their most blissful forms. The follow-up to 2018’s Mercury Prize-nominated sister projects – ‘Singularity’ and ‘Immunity’ – his next record was inspired by a creative expedition that he took at the Tayos Caves in Ecuador during 2018, and he says, “What grew from this experience is an album with no beats, not one drum sound, something that is closer to a classical symphony than a dance/electronica record”, also adding, “The freedom from traditional rhythmic structures unlocked so much – it felt like I was free to explore a new form of rhythm, one that you discover when you just allow things to flow without letting yourself get in the way”, to his announcement. The lead single, the 8-minute LP closer, is ‘Sit Around The Fire’, that sets a lesser-known talk from ceremony guide Ram Dass, as well as a music video set to scenes from his illustrated book ‘Be Here Now’, to additional production by East Forest. Let’s drift off to it below.

“Music For Psychedelic Therapy is not Ambient, Classical or Drone but has elements of all three. For me, it’s a place as much as it is a sound. It works for the somber mind, but takes on a new dimension entirely when brought into a psychedelic ceremony”, Jon Hopkins notes in a press statement, explaining, “I love this idea of music as something you inhabit, something that works on you energetically. In fact, it was while in that state that the title appeared to me. Psychedelic-assisted therapies are moving into legality across the world, and yet it feels like no one is talking about the music; the music is as important as the medicine”, in his own words. ‘Sit Around The Fire’ is possibly the most accessible track on the LP because it features some fairly conventional lyrics, which are recited in a Spoken Word poem recorded by Ram Dass that was used for a real-life psychedelic ceremony. The first half of the track is dominated by field recordings instead of catchy chords, with some sparse Lo-Fi beats and a motivational speech about presence of being and the source of the light from Dass driving the lyrics forwards. Later, East Forest introduces a calm and plaintive Piano melody to the mixture, which gently complements the ongoing vocal samples. Hopkins brings some melodious chimes into the background, while Dass continues to confront inward vocal tones through to the eight minute mark. The recording feels long, but it never feels overbloated because Hopkins manages to mesh the glitchy elements of Indietronica with the solemn, meditative style of softly building Ambient music to create something that feels more refined and introspective altogether. The lead vocals from the spiritual teacher allows you to feel sand slowly sinking between your fingers, with some calming vocals and some spacious pacing that provides some extra breathing room for the instrumentation to come through clearly. Standouts include lyrics like “You don’t need loneliness/For you couldn’t possibly be alone” that speak about the judgments and opinions of the mind, and vocals like “You don’t need greed/Because you already have it all” that evoke anti-materialism ideas, and later sections like “You don’t need doubt/Because you already know” that speak about finding inner connection and submitting yourself to existence beyond a metaphysical construct. Overall, ‘Sit Around The Fire’ was something very interesting. Far from a conventional single, it is not beat driven at all and is simply built for a different purpose than most other music. It may appear too fanciful at first glance, but the new single is an exemplification of Hopkins’ ideas to arrange music for philosophical commentary. It strengthens Hopkins to be a proper artist because he is not restricting himself to conventionality, and instead chooses to explore broader concepts on his own terms. We could all do with this 8-minute psychological mindfulness in our lives.

Pictured: Cover for ‘Music For Psychedelic Therapy’ (Available on Nov 12, 2021) (via Domino Records)

Thank you for reading my latest post, and I look forward to delivering yet another ‘New Album Release Fridays’ pick tomorrow as we delve into one of the singles taken from one of the weekend’s most notable album releases. If you were a big fan of Soft Cell or Depeche Mode in the 1980’s, you’re hopefully going to love tomorrow’s post. It comes from a US indie Synth-Rock/Post-Punk band who have previously worked in other side projects including The Static Jacks and Machinegum throughout the years.

Pictured: Jon Hopkins performing a live DJ set at Parklife Festival (2018) (Photo by Max Miechowski)

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Today’s Track: Totally Enormous Extinct Dinosaurs – “The Distance”

October 16, 2021 — Leave a comment

Pictured: TEED (Orlando Higginbottom) in an ‘I Can Hear The Birds’ EP shoot (2020) (via Pia Riverola)

Good Morning to you! You’re reading the words of Jacob Braybrooke, and I’ve got a new dance track to jumpstart your weekend for your daily track on the blog, because it has always been my day-to-day pleasure to write about a different piece of music every day! As I teased yesterday, ‘The Distance’ comes to you from a London-born Electronic House producer who I honestly believe is frequently at the top of my own underrated lists. The musician who consistently lives up to that pressure is Orlando Higginbottom – aka Totally Enormous Extinct Dinosaurs – who swept me right off my feet and onto both the dancefloor and the bedroom with 2012’s ‘Trouble’, his major label debut album on Polydor Records. Although he has not released a full-length follow-up album since that year, to say the prehistorically-themed producer has been in hibernation until now would be simply far from the truth. In 2014, he launched the Nice Age cross platform label with a collaborative track featuring Anna Lunoe, and he’s continued to release a string of emotive yet vibrant singles like ‘Energy Fantasy’ and ‘Body Move’ and he even released a breath of fresh air during lockdown last year with his ‘I Can Hear The Birds’ EP, which was immensely enjoyable. I was delighted to hear ‘The Distance’, the title track from a new forthcoming EP that he will be releasing on his Nice Age label on October 27th, which is his first piece of new music since his ‘Heartbreak’ collaboration with Bonobo early last year. He is also a classically trained musician and the son of a former Oxford choir conductor, and he’s been injecting some colour into the UK’s club environments with his music and costumes since his late teens, commenting to Spin that he was looking for a name that “couldn’t be cool, couldn’t be put into some kind of scene that gets hip for six months and then falls out of fashion” in 2015. His 2012 album, ‘Trouble’, also found places in best of year lists compiled by DJ Magazine, iTunes UK, NME and the BBC. Let’s go ‘The Distance’ below.

Higginbottom has kept rather hush-hush about the influences behind his new EP, but his Bandcamp page has been teasing that ‘The Distance’ finds him stripping the sounds back to the core roots of his very early material that he released as mixtapes on the Greco-Roman label in the late 00’s and the early 10’s, where he explored warm Jungle melodies and ambiguous melancholy with a unique twist of emotional, quintessentially English heft of depth. The title track starts off with some chirping birds and a trickling series of Synth lines, with a muted croon about a lost lover from Higginbottom floating nicely over the top, before a more cinematic burst of Bass and some carefully treading Drum beats provide a more melodic and boastful bassline. The rest of his lyrics are delivered quite hazily and nostalgically, with Higginbottom singing quietly about the memories of a past romance of which, however much that he tries to let go and live on, continues to submerge him in memory and youth. There’s certainly a slight hint of nostalgia in his vocal performance that feels small but profound, and it works very smoothly when married by the atmospheric instrumentation and the diverse tones of the electronic production that he creates. The melodies are a little disorienting and they feel fragmented in nature, which fits the themes of temporary pleasure and preserved sentimentality that is explored by the irregular time signatures and the wistful textures of his sound. Overall, ‘The Distance’ is an outstanding tune that continues to cement his status as one of the UK’s most exciting talents over the course of his career, and he lives up to my lofty anticipations once again pretty confidently and easily. It really takes me back to why I enjoyed his work so much in the first place, and that’s because he makes ‘The Distance’ feel like more than just another dance track from one of the UK’s hundreds of electronic music producers. He takes me back to the tone and style of his previous work by recording vocals that sound deliberately shaky and plaintive. They are imperfect, and this gets a wealth of genuine emotional depth across to my ears as the listener. The diffracting melodies feel deep and fractured, yet the Synth lines feel as refreshing as the first rays of sunshine after a pitch black and frosty January night, and the combo of the Drum and Bass sections continue to inject vibrancy and energy into the recording, with a cohesive variation of dance-based genre influences and an archetypal English feel to the harsh, but fair, bleakness of the songwriting. A truly exceptional effort from a genuinely talented and fulfilling, remarkable music creative.

Pictured: Cover Art for ‘The Distance’ (EP) (Available on October 27th, 2021) (via Nice Age Records)

I hope that you enjoyed my latest blog post, and that you feel encouraged to check out some of Orlando Higginbottom’s other work. You can start with a few snippets on my blog, with a short review of his Bonobo-led collaboration for ‘Outlier’ here: https://onetrackatatime.home.blog/2020/10/06/todays-track-bonobo-totally-enormous-extinct-dinosaurs-heartbreak/. I have also talked about his birdsong EP released in lockdown in 2020, which makes for a refreshing change of pace and it was named my second favourite EP of the year. Sample ‘Los Angeles’ from it here: https://onetrackatatime.home.blog/2020/08/05/todays-track-totally-enormous-extinct-dinosaurs-los-angeles/

Pictured: TEED with Bonobo (Simon Green) in a ‘Heartbreak’ PR shoot (2020) (Photo by Grants Panier)

Thank you for checking out my blog today, and please feel free to revisit some of the ghosts of Pop-Punk past with me for a fresh new entry in our ‘Scuzz Sundays’ library tomorrow. This week’s entry marks the debut appearance from a Florida Rock group who met at an AP Music Theory class in 2001. They have released five albums to date.

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Today’s Track: Wayward – “Camden Road”

October 14, 2021 — Leave a comment

Pictured: Lawrence Gayle Hayes (Drums/Synths) & Louis Greenwood (Sampling/DJ) (2021) (via PR)

Good Morning to you! This is Jacob Braybrooke, and it is time for me to get typing up for yet another daily track on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! Wayward is the fast-emerging Experimental Electronic music project of the London-based duo Lawrence Gayle Hayes and Louis Greenwood, who have gained acclaim from Pitchfork, Mixmag and Vice. They have worked as A&R’s for Silver Bear Recordings, and released material through the Australia-based Beasts Of No Nation label and Fort Romeau’s Cin Cin Records label, and they have been in the studio with the likes of Ninja Tune’s Park Hye Jin and Grammy-winning producer Skrillex. In March, the pair of producers released their debut LP, ‘Waiting For The World’, which was influenced by Burial’s ‘Untrue’ and they combined Drum & Bass, House, Breakbeat and Ambient elements into a concise record. Their latest release is ‘Sapphire Eyes’, a four track EP which was self-released on September 29th. It was inspired by the rave experiences they had while growing up in London – an ode to nightclubs and community. Let’s spin ‘Camden Road’ below.

Citing influences like Addison Grove, Machine Drum and Overmono for their latest short form release, the duo shared on their own Bandcamp page in a press statement, “If our debut album showcased the more reflective side of our yearning for clubs, and a softer side of the lockdown experience, this EP is the anger, frustration and urgency coming out”, concluding, “Stuck indoors again just wanting to band it out in a club with the intention of making something completely focused on the dance floor” in the notice. Their fourth track on the record, ‘Camden Road’ sticks out amongst the others for the emotive feelings which it shares, coming across to me as more nostalgic than euphoric. It boasts a similar sound to some early 00’s Hyperdub recordings and more recent Footwork releases, where the Synths and the propulsive basslines feel as vibrant as the mixed multi-cultural community that their hometown, which they are paying tribute to, has become known for in recent developments. Their vocals play with escapism, with Lawrence reciting the likes of “So much life, so much fun” and “Festivals in Hungary with black people” with a slightly muted Spoken Word delivery that doesn’t feel massively poetic, and feels grounded in approach instead, with a soft Hip-Hop rhythm and a mumbled tone of speech which fits the wonky production aspects and the very metropolitan aesthetics of London. The rest of the instrumentation goes down a treat too, with a looped Piano melody and light Synth pads creating a gentle opening, before Wayward flip the switch for the big chorus where they replace the light-hearted beats with a more rugged dance style, using some swooping drums and syncopated vocal chops to hit a BPM of around 130, which feels subversive and unpredictable when the earlier melodies are flipped on their head. Overall, I was very impressed with ‘Camden Road’, a modern dance track that has an ability of conjuring up some feelings and visuals for their listeners, a rare technique that greats like Aphex Twin and Burial have achieved in their career. It feels as fresh and lively as the street it is based on – A sprawling, multi-cultural metropolis.

Pictured: Cover Art for ‘Sapphire Eyes’ (EP) (Released on September 29th, 2021) (via Self-Released)

That brings us to the end of the page for another day! Thank you for joining me, and I’ll be back tomorrow for ‘New Album Release Fridays’ tomorrow as we take an in-depth look at the soon to be released new LP from a US female Funk, Soul and Alternative R&B singer-songwriter who performed a medley of her hits on an episode of major US talk show ‘The Tonight Show With Jimmy Fallon’ earlier this year. She completed her studies at USC Thornton School of Music in 2018, and she was also a contestant on ‘American Idol’ in 2014. Her latest album is named after her dog – Juno.

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Today’s Track: Caribou – “You Can Do It”

October 11, 2021 — Leave a comment

Pictured: Dan Snaith (aka Caribou) at a mural to accompany the ‘Suddenly’ press kit (2020) (via PR)

Good Morning to you! My name is Jacob Braybrooke, and the time has come for me to fulfill my everyday challenge of delivering another daily track on the blog, because it is always my day-to-day pleasure to write about a different piece of new music every day! As a PhD degree holder in Mathematics from Imperial College London and as the son and brother of a pair of Mathematicians in his family, the 43-year-old Canadian-born Experimental Electronic Dance music producer Dan Snaith (Primarily known for his main alias of Caribou) has always been known for his very complex patterns and layered Synth work in his compositions across notable releases like 2010’s ‘Sun’ and 2001’s ‘Breaking My Heart’, which landed a spot on Pitchfork’s list of ‘The 50 Best IDM Albums Of All-Time’ in 2017. His latest LP – 2020’s ‘Suddenly’ – earned similar praise from different publications and my humble little blog that your eyes are focusing on right now, earning a spot on my list of the ‘Top 25 Best Albums Of 2020’ late last year. The associated tour for the record, however, was originally set to take place in 2020 before the Covid-19 pandemic reared it’s ugly head into our lives. Snaith’s world tour was postponed again for 2021, before it was later to be indefinitely shelved. Now, the meticulous craftsman has announced that he will indeed be hitting the road in the UK this month and the US in early 2022, and ‘You Can Do It’ is a new single that avid Caribou fans will be hearing across headline festival sets and solo arena shows from Snaith over the course of the next year, as a bonus treat to coincide with the cheerful announcement that was made by Snaith a handful of weeks ago. Snaith has also released music as Manitoba and Daphni, and he has been working with Shynola’s Richard Kenworthy for the official music video that sees adorable pooches catching some frisbees to the beat of Snaith’s mastery. Be reminded that ‘You Can Do It’ below.

Dan Snaith gave a shout out to Migle / Kennel UPE in the description for the music video for ‘You Can Do It’ on YouTube, and the beloved IDM producer made his return to touring with a performance at London’s All Points East festival in late August and he premiered the new track during his set at Green Man Festival over the weekend prior. You can catch Snaith playing some shows in Liverpool, Nottingham, Manchester and a few more locations in the UK later this month, and he’ll be hitting sites in Glasgow, Bristol and Brighton in January 2022, before touring in the US, Canada and Europe across the new year. ‘You Can Do It’ will likely not suprise you if you are familiar with Snaith’s work already, but this is still classic Caribou at his finest. The sparkling lyric of ‘You Can Do It’ is layered over and over again to a brain-dancing degree, before a slowed down ‘Do It’ sequence takes a decent precedence over the repetition, with the continuous vocals becoming more garbled and warped as the literal distillation of the hook continues along. The warm and 90’s-leaning instrumentation makes up for the lack of variety in the songwriting for the diverse array of moods that it creates alone, however, and the rippling sentiments of the echoed vocals are spread across the coherent duration of the tune with a signature heartfelt sensibility and gets packed into the euphoric sound of a festival-ready dance hit. The energetic delivery of the Synth arrangements whip up a tone that feels celebratory and jubilant, while the sound strikes a fairly similar style to 2020’s ‘Suddenly’ where the tempo changes feel drastic, but they feel light-hearted and boundless in flow. Overall, while the sugar-colored theme lacks a little inspiration, the production is faultless and the warmly lit mood sounds appealing to a diverse group of audiences. He is ace – is our Dan Snaith.

Pictured: Dan Snaith in a PR photoshoot for a ‘Stereogum’ Q&A interview (2014) (Photo via PR)

Dan Snaith is a familiar face to us on the blog, and so his music has been covered a few times on the site before. His ‘Suddenly’ single landed a place on Pitchfork’s list of ‘The 30 Best Electronic Music Releases Of 2020’, and made an appearance on the blog here: https://onetrackatatime.home.blog/2020/02/28/todays-track-caribou-never-come-back/. You can also read my thoughts on ‘You & I’ here: https://onetrackatatime.home.blog/2019/12/09/todays-track-caribou-you-i/, and check out his initial comeback track ‘Home’ here: https://onetrackatatime.home.blog/2019/10/28/todays-track-caribou-home/

Pictured: Cover Artwork for ‘Suddenly’ (LP) (Released on February 28th, 2020) (via Merge Records)

That brings us to the bottom of the page for another day! Thank you for checking out my latest blog post, and I’ll be back tomorrow for an in-depth look at some brand new music from an Essex-born Neo-Soul singer-songwriter who grew up playing the Celtic Harp – and she attended the Purcell School For Young Musicians with Mica Levi.

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Today’s Track: Metronomy (feat. Biig Piig) – “405”

October 9, 2021 — Leave a comment

Pictured: Joseph Mount (Lead Vocals/Keyboard/Rhythm Guitar), Oscar Cash (Saxophone/Backing Vocals), Anna Prior (Drums/Occasional Backing Vocals), Olugbenja Adelekan (Bass Guitar/Occasional Vocals) and Michael Lovett (Keyboards/Guitars/Percussion) (in 2019) (Photo by Gregoire Alexandre)

Good Morning to you! This is Jacob Braybrooke, and I’m wishing you a very enjoyable weekend along with the uploading of yet another daily track of the day, because it has always been my day-to-day pleasure to write up about a different piece of music every day! ‘405’ comes to your ears from the established Electronic Pop 5-piece band Metronomy, who have been quite prolific on the UK’s indie circuit since they were founded in 1999 by frontman Joseph Mount, merging Indie Rock influences with 80’s Pop sounds and modern Electronic soundscapes which have been grounded and progressive in their adaptations of both vocal and ambient material. The band have remixed a staggering line-up of other artists including Lady GaGa, Klaxons, Franz Ferdinand and Goldfrapp, and their most recent LP release was ‘Metronomy Forever’ in 2019, which was well-received by critics. The lead single, ‘Salted Caramel Ice Cream’ earned a rave review on this very blog too, and I’ve embedded the music video of that track to the end of this post because it’s an exceptionally amusing one. After reminding fans a few weeks ago that “there’s normally a new Metronomy album every two to three years” on social media, the quintet quietly released the ‘Posse: Volume 1’ EP that finds Mount’s misfits tinkering around with guest collaborations from Spill Tab, Sorry, Brian Nasty, Folly Group and Pinty. ‘405’ has made the daytime A-list over on BBC Radio 6 Music, and it features the seductive vocal talents of Irish producer/singer-songwriter Biig Piig (aka West London’s Jess Smith), who has been regularly featured on BBC Radio 1 and used to always pop up on focus group playlists that used to be sent to me from the SRA for student radio purposes, and so it’s always felt like she’s just small steps away from breaking into more mainstream territory for a very small sum of years now. Take their collaboration, ‘405’, for a spin with me below.

On Twitter, Jospeh Mount posted, “I made the EP after finishing the new Metronomy album, please consume it in the same spirit it was made; discover some new artists and share the music with your friends”, on Metronomy’s account. Meanwhile, Jess Smith has also spoken about ‘405’, penning, “Joe sent over the Piano instrumental and it was so beautiful and brought back so many memories. I feel like when you hear a piece of music that does that, you know it’s special. My melodies and lyrics over it came out really easily and it just felt really nostalgic”, in a press statement of her own. On ‘405’, Smith sings about frantically searching for love in different relationships with lyrics like “Cuz’ I ran off in the wrong direction/Looking for love when you were stood right there/Under my nose” and soon realizes that a true partner was spending time with her all along, singing lyrics like “You smiled in the mirror with those bright eyes/And you froze time, you’re an old soul” with a sweet and soulful tone during the verses. The delivery feels calm and assured, but the self-realization comes through with a sense of eerie contentment in her voice, and lyrics like “You taste like Vanilla, and your hand is soft” that feel romantic and quite dream-like, with an 80’s-leaning Synth Pop instrumental that reminds me of Eurythmics and La Roux’s androgynous style, and these vocals evoke her confused emotions nicely because they add a soft sense of Jazz and R&B to the gently pulsating Synth beats. The vocal harmonies from Smith add a loose, ambient mood to the silky Synth lines, with a few hints of a more shy and seductive tone that adds a little more emotional depth to the otherwise straightforward, if solid, songwriting. On the whole, ‘405’ is a great collaboration as it marries the enchanting vocal tones of Biig Piig and the 00’s Electronica roots of Metronomy together with a strong sense of cohesion and, while the Synth pads feel a little repetitive by the end, there’s a nice balance of melancholy and comfort in the mixture to give the lightly melodic sounds more atmosphere. One for the drive home.

Pictured: Biig Piig (Jess Smith) in a Wonderland Magazine photoshoot (2018) (Photo by Elliot Wilcox)

When you write up about a different piece of music every day, you end up covering a few releases from most of the UK’s most prolific emerging artists, including Biig Piig and Metronomy. You can still check out my thoughts on Metronomy’s ‘Salted Caramel Ice Cream’ here: https://onetrackatatime.home.blog/2019/08/26/todays-track-metronomy-salted-caramel-ice-cream/ and their instrumental masterpiece ‘Miracle Rooftop’ here: https://onetrackatatime.home.blog/2019/10/11/todays-track-metronomy-miracle-rooftop/. As for Biig Piig, you can hear more of her soothing voice in ‘Roses & Gold’ here: https://onetrackatatime.home.blog/2019/12/14/todays-track-biig-piig-roses-and-gold/

Pictured: Cover Art for ‘Metronomy Forever’ (LP) (Released on September 13, 2019) (via Because Music)

That’s all for now! Thank you for your continued support for the blog and for streaming the first episode of my new podcast – ‘The Subculture Sessions’ – if you got the memo. I’ll be back tomorrow for another new entry in our ‘Scuzz Sundays’ feature, as we take aim at a Canadian Hard Rock band who have yet to been featured in our library before. They were formed from the ashes of the 00’s band The Dropouts.

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Today’s Track: DJ Seinfeld (feat. Stella Explorer) – “She Loves Me”

September 27, 2021 — Leave a comment

Pictured: DJ Seinfeld in an official photoshoot for the ‘Galaxy’ EP (2019) (Photo via TicketArena.co.uk)

Good Morning to you! My name is Jacob Braybrooke and, as you’ve probably figured out by now, it is time for me to get typing up for another daily track on the blog, since its always been my day-to-day pleasure to write up about a different piece of music every day! DJ Seinfeld is the alias of the Swedish House music producer Armand Jakobsson, who now finds himself being based in Germany after rising to prominence a few years ago as a key part of the new wave of Lo-Fi electronic music producers alongside names like Saint Pepsi and Ross From Friends around the time of 2016. He’s been known for releasing his electronic dance material under names like Birds Of Sweden and Rimbaudian, and he is the founder of the Young Ethics indie label. Jakobsson has since played DJ sets on the stages of The Warehouse Project and Sonar By Night, he has curated one of BBC Radio 1’s ‘Essential Mix’ sets, and, to top it all off, none other than the legendary tinkerer Aphex Twin has been known to play Jakobsson’s track ‘Sakura’ in one or two of his live DJ sets. The latest release from Jakobsson is ‘Mirrors’, his first solo album in four years following his 2017 debut, ‘Time Spent Away From U’, which is out now on Ninja Tune. It’s an expansion of the style that he explored on 2019’s ‘Galaxy’ EP and 2020’s ‘Mezcalita’ EP, with the ten-track project being recorded between Berlim and Malmo, and leaning into the realms of Ambient Electronica and late-90’s Dubstep for inspiration. The album is titled ‘Mirrors’ as a reference to how the producer views a reflection of himself in the mirror and how the throes of a nasty breakup in recent times has changed these internal perceptions. He tells us in a press release, “On this album, I wanted to retain a lot of the raw emotionality that brought people to my music in the first place, but I also wanted to become a much better producer. It’s been an arduous process but it’s a real statement of where I’m at as a producer and person right now”. The new LP includes a stunning opening track, ‘She Loves Me, which finds the experimental creative working with the emerging South African-Swedish vocalist Stella Explorer. Check it out below.

Speaking of the collaboration, Stella Explorer said in a press statement, “The fine line between self-affirmation and paranoia is alluring to me, and in music it’s always present. It’s deceptive, and lyrics can change meaning at any time”, before expanding on the duality that she feels in ‘She Loves Me’ by writing, “I think the fewer words you use, the more they shift and by combining that with different intentions like you do when you collaborate with someone (like this), it makes the outcome exciting” for her press notes. For me, as a listener, ‘She Loves Me’ highly reminds me of Burial – not necessarily in the sound itself, but the way that Seinfeld selects a very small snippet of an emotive vocal and twists the context and textures of the piece, and he has a way of saying a lot without really saying anything at all, which is similar to the techniques that Hyperdub legend Burial built his career on using as his niche. ‘She Loves Me’ are the first words that can be heard on the new album, and it sets the stage going forward by exploring diverse, new avenues of his production style. The vocals feel confused and drowsy, with lyrics like “With you, so much time/Still pieces of my mind” and “She loves me/Why does she?” morphing their way around skittering Trap beats and sparkling Synth textures that evoke a little bit of Seinfeld’s Garage roots, but they largely feel focused on a bittersweet melancholy. Lyrics like “She loves me/Yes she does” float seemlessly above a meticulous amount of saturated tape effects that evoke feelings of lost nostalgia, and the more euphoric combination of gentle lo-fi synths and very thick basslines mix the nice energy that runs underneath with an inescapable feeling of change, and a tightrope between longing and reminiscence. Overall, this track was a real suprise, and I find myself to be absolutely loving it whenever I hear it. I wasn’t quite as keen on some of Seinfeld’s other material with the more Big Beat-based Garage sounds, but I love how Seinfeld plays with the meaning of vocals on this track, and the contributing vocals from Stella Explorer adds some even more delightfully clunky emotion to the formation. This one is a real treat.

Pictured: DJ Seinfeld producing an ‘After Party Playlist’ mix for BBC Radio 1 (2018) (via BBC.com)

If you loved what you just heard, you may be pleased to know that some other DJ Seinfeld-related content has been posted on the blog before. Check out what I thought of ‘Electrician’, a single previously released from the ‘Galaxy’ EP here: https://onetrackatatime.home.blog/2020/01/28/todays-track-dj-seinfeld-electrician/

Pictured: Cover Artwork for ‘Mirrors’ (LP) (Released on September 3rd, 2021) (via Ninja Tune)

That’s all for now! Thank you for checking out my latest blog post, and I’ll be back tomorrow for more of the same shtick. My next pick comes from one half of one of my favourite rap duo’s in quite a long time, who have released great projects together via Mello Music Group. You may have caught them at Sound City in Ipswich last weekend.

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New Album Release Fridays: Soccer96 (feat. Salami Rose Joe Louis) – ‘Sitting On A Satellite’

September 24, 2021 — Leave a comment

Pictured: Cover Art for ‘Dopamine’ (LP) (Released on September 24th, 2021) (via Moshi Moshi Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for me to get typing up for yet another 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! It has been a very slow week, and so I’m looking forward to taking it all down a notch with the help of the new highly anticipated album release from the London-based Drum and Synth duo Soccer96. There’s also new albums from Public Service Broadcasting, Wigan local heroes The Lathums, Marlowe’s lyricist Solemn Brigham, Merge Records’ label boss Mac MacCaughan, intriguing World-infused UK Drum & Bass producer Zen Dub, and more hitting both digital and physical storefronts for ‘New Album Release Fridays’ this week. As aforementioned, Soccer 96’s new album is one of the few LP releases that I can childishly say that I’ve been ‘Hyped up’ for in a while, based on the quality of their prior work, the singles taken from the album so far, and the general excitement about this release in Alternative music circles. Soccer96 is the side project of keyboardist Dan Leavers (‘Danalogue’) and drummer Max Hallett (‘Betamax’) from the Prog-Jazz trio The Comet Is Coming who, for those still uninitiated, are a terrific London-based Nu-Jazz trio also involving Shabaka Hutchings (‘King Shabaka’) who were nominated for the Mercury Prize in 2016 and were signed to Impulse! Records in 2018. Leavers has produced albums for Ibibio Sound Machine and Snapped Ankles, while Hallett has played the Drums with the likes of Sons Of Kemet and Yussef Kamal, and so the two musicians are very active on the UK’s underground scene. Together, Soccer96 specialise in a really diverse blend of Prog-Jazz, Instrumental Grime, Dark Ambient and Electronica that always feels as fresh and eclectic as ever. Their new album, ‘Dopamine’ – also featuring collaborations with Salami Rose Joe Louis and Nuhu Ruby Ra – is being released digitally today, with a short stint of physical transparent blue/marble brown Vinyl copies set to follow on 15th October, which are limited to just 300 copies on Rough Trade’s website. Check out the latest single below.

‘Dopamine’ is a concept album exploring the narrative of an artificial intelligence programme taking over a human nervous system, a sci-fi vision of a codependency between humans and machines, as the robots only source of dopamine is from people, and vice versa. It began life as a sonic reaction to the graphic novels of Moebius’ Jean Giraud, and the duo displayed one of the revered French artists’ paintings in the middle of their studio when recording the album for inspiration. Hallett told XLR8R, “All musical decisions would centre around this image. It was a depiction of a cosmic traveler gazing across a desert at a sort of crystal city. If the music was resonating with the image then we knew we were on the right path” in an interview. As a single itself, ‘Sitting On A Satellite’ is very obedient to these visual ideas, with the two very talented players conjuring up an Astral set of themes with the Space-Age synths, the hazily atmospheric tones and the pulsating drum rhythms that give the duo the platform to express themselves creatively with no ties to their previous projects, giving them ample creative freedom in their approach. The vocals, meanwhile, are highly processed and they seem to depict the double alter-ego system of an AI gaining human consciousness. Together, everything makes for a very hypnotic and entrancing blend of refreshing keyboard sections, laidback Drum grooves and intoxicated vocals that give off a wonky feel to the eclectic graphical influences. There feels like less of a Grime influence that we heard on The Comet Is Coming, but the London Jazz blueprints are still intact, with a colourful set of ambient instrumentals and broad sweeps of percussion that bring the duo’s niche cyber-imagination of androids to life. All in all, this is an inventive and visually creative twist on Progressive Jazz – with some vibrant experimentation and some Gorillaz-esque vocals that just orbit around the listeners ears with a calm confidence.

Pictured: Dan Leavers (Keyboard/Synths) and Max Hallett (Drums) (2021) (Photo by William Barnes)

As mentioned above, we’re all great fans of The Comet Is Coming on the blog, and, to help them take off, we’ve covered some more of their spacey stuff on the blog. Check out ‘Lifeforce Part II’ here: https://onetrackatatime.home.blog/2019/09/28/todays-track-the-comet-is-coming-lifeforce-part-2/

Pictured: Betamax & Danalogue with King Shabaka Hutchings in The Comet Is Coming (2019) (via PR)

That’s all for now! Thank you for joining me on the blog, and I’ll be back for more tomorrow. Join me then for something a little more radio-friendly (But still quite cool) single from a Liverpool-formed indie band who have been around since 2003. The band, known for the frontman’s smarky witticisms and realistic depictions of young adult issues, have released music for 14th Floor Records and Bright Antenna Records, and the veteran rockers have sold over one million copies of their albums worldwide.

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