Today’s Track: Terry Presume – ‘Act Up’

Good Morning to you! This is Jacob Braybrooke, and it’s time for you to read all about yet another track on the blog as we swoop in for a refreshing change of pace away from the Christmas-themed coverage, not forgetting that it’s always been my day-to-day pleasure to write up about a different piece of music every day! A self-described “walking question mark”, the 26-year-old Nashville-based rapper-songwriter Terry Presume is an artist who simply refuses to box his music into any one genre and he’s been open as such with this mission statement in several interviews. Raised in the neighborhood of Golden Gate by a single Haitian mother, he first made waves as part of the South Florida Hip-Hop scene, which he’s even published his own guide about for Acclaim. Praised by MTV News, New York Times and Fader – Terry has a wide range of influences including Andre 3000 and Robert Johnson and he began writing poetry at the age of 8, eventually doubling down on his talents as a solo artist and creating bodies of work that were led by his personal emotions and lived experiences – instead of genres. His latest release is ‘What Box?’, a 6-track EP that follows his tumultous escape to Los Angeles with only high risk ambitions and less than $200 in his wallet. Released on July 29th via September Recordings – the short-form release was co-produced and also mixed by his longtime friends Alessandro Buccelati and Giancula Buccellati and, once again, he draws from a wide array of inspiration and he refuses to restrict himself to conventional genre molds. Lyrically, Terry explores deeply universal emotions and pushes up against social norms with an impact that forges new spaces for people who don’t quite fit into pre-existing labels. Three weeks ago, a new music video for the lead single – ‘Act Up’ – which was created by Overcast. This animated visualizer perfectly matches the Funk-oriented single with a narrative that follows the vibrant journey of a woman unable to get Terry out of her mind. Give it a watch below.

Talking to Amplify about the recent release, Terry Presume says, “Never allow yourself to be repressed by any societal borders, whether that be emotions, thought patterns, way of life or anything that intrigues you that may be deemed abnormal for your ‘standard’. Escaping the limiting stereotypes this world has provided is what ‘What Box?’ embodies”, in his press notes. Terry taught himself to write and produce his music when he was just 11 years of age, and he always used music – as the medium – to navigate the world and the different cultures he encountered as he straddled it. ‘Act Up’ feels like another pretty solid encapsulation of his ideas as an artist, matching poetic lyrics like “Love the lesson though I hate the pain/My hearts investment surely left a strain” and “You choose your weapon, nearly hit a vain/But I can see sadness in you” to match a voice of strength found by his admission of vulnerability over the top of a zany, psychedelic and soulful backdrop. Later lyrics like “I won’t be the reason why your heart broke/Even though my love is icy that’s cold” tackle heartbreak and vengeance as topics, while the proud declaration of “I’m gonna make you act up today/I’m going to make you wish you never left” during the chorus is a more hook-based affair, introducing some catchy Pop flair into the fray. The emotions that he writes this track about are all very human and relatable ones, and the production is bolstered by a light white noise hum that crafts up an illusion that the music is being heard through a crackling Vinyl, which also brings a retro style to the fold. The guitar melodies are full of late 80’s Funk licks, and the light distortion of the riffs during the bridges have a distinctly Post-Punk feel to them. There is a lot of different influences and varied styles going into this, but it’s held together by Presume’s charisma as a performer and the easily accessible material that he writes his lyrics about. The vocals feel energetic and the drums are met with a two-step garage beat feel which give them a Punchy rhythm underneath the stretching samples and the sparse R&B delivery. Overall, the likes of sorrow and spite through heartbreak aren’t topics that anyone finds very cheerful, but they are feelings worth honoring and anticipating for Terry Presume, an exciting artist who likes to keep his music as a diverse listening experience for his audiences. His music isn’t perfect by typical Top 40 radio genre standards, but his concept is that life isn’t always fair and comes lunging at you with problems fairly fast, which is still something that we can all relate to. I like this artistic side to him and his music appeals across a broad spectrum.

That’s all for now! Thank you for checking out my latest post on the blog, and I’ll be back tomorrow to continue our ‘Countdown To Christmas’ for the year as the big day draws near with a late-90’s Brit-Pop number that appeals more to the novelty side of music. They weren’t really a group per-say, but more of a media project including a trained musician, a visual artist and a comedic actor who are all pretty famous. They were probably best known for recording an unofficial theme tune for the 1998 FIFA World Cup that reached #2 on the UK Singles Chart due to its memorable music video.

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Today’s Track: Gorillaz (feat. Jelani Blackman & Barrington Levy) – “Meanwhile”

Good Morning to you! I’m Jacob Braybrooke, and you’ve tuned in to One Track At A Time, where it has always been my day-to-day pleasure to write up about a different piece of music every day! It is quite unusual that I would cover such a big band as Gorillaz, and especially on a Monday instead of a weekend day where there would typically be more eyes and exposure to the site, but I hate to admit that I am fairly late to the party on this release already. ‘Meanwhile’ comes from Gorillaz – the beloved and eccentric project of Blur frontman Damon Albarn and visual artist Jamie Hewlett, which was listed as the world’s “Most Successful Virtual Band” in 2010’s Guiness Book Of World Records, and the duo also scooped up the award for ‘Best British Group’ at the BRIT’s in 2018. It has long become a vehicle for Albarn to experiment freely and make some exciting collaborations happen, and it has sold over 25 million records globally. The ‘Meanwhile’ EP was released with no prior announcement on August 26th, a new three track release that includes new tracks featuring Barrington Levy and Jelani Blackman on the title track, as well as additional guest spots from AJ Tracey and Alicai Harley on the other two tracks. Together, these three tracks are a homage to carnivals and growing up in West London – and they were all debuted during a live concert performance at London’s O2 Arena earlier in August, which was free to attend for NHS workers and their selected family members and it featured cameos from De La Soul’s Posdunos, Robert Smith of The Cure and Peter Hook of New Order. To say the animated animals behind Gorillaz have been in hibernation would be far from true, since the suprise EP follows up the release of the ‘Gorillaz Almanac’ last year, a graphic book documenting Gorillaz’ 20-year history as a project. Last year, there was also the release of ‘Song Machine: Season One, Strange Timez’ that paired quirky collaborations with new music videos and staggered single releases, which allowed Albarn to explore collaborations with artists like Slowthai, St. Vincent, JPEGMafia, Chai, Elton John & Schoolboy Q. Give ‘Meanwhile’ a listen below.

The titular track of the recent EP release includes featured spots from Barrington Levy and Jelani Blackman, and has been pitched, in the accompanying press notes, as a tribute to the cultural historical event of The Notting Hill carnival, which would have taken place in late August alongside the record’s release, but it was cancelled again due to the ongoing ripple effects of the Covid-19 pandemic. 2-D, the animated frontman, added, “Meanwhile Gardens are just round the corner from Memory Lane. If you get to Crawley you’ve gone too far”, to the document. The most noticeable element of ‘Meanwhile’ is how the tune plays with a nostalgic Grime element, with some smoky Hip-Hop vocals from Blackman during the opening verses that lay into the traditions and significance of the event in his life, with lyrics like “Play street with the street I played” and “See when the sound system break/We make the system shake” that reminisce over the fun of the carnivals and the cultural diversity that it celebrates. The chorus is an expansion of these ideas, with lyrics like “I love Carnival bass, ya don’t feel the same, That’s cool, don’t get in my way” that feels a little catchier, but it still feels grounded within the rumbling Grime-style instrumental beats. The second half of the tune, where Albarn and Levy enter the fray, similarly sings of longing for another live event disrupted by the pandemic and the rich heritage of the event, while exploring memory with a more call-and-response style of structure. These different pieces, including the first-hand Brit-Rap sequences from Blackman and the bittersweet tones of Albarn & Levy’s sections, are all held together cohesively by the interweaving Synth patterns that twinkle along to the stoned backing beats and the dream-like aesthetics of the overall package. This probably doesn’t feel like the most inventive lyricism that we have ever heard from Gorillaz before, but it is a charming and coherent celebration of Carnivals and their meaning of purpose, both to an intimate and broader perspective. The instrumentation feels bold and vibrant too, while the sound swoops in for a clear Grime element but never gets too harsh or abrasive for a casual audience group to find too disorienting, and so Gorillaz continues to feel like an exciting project due to the well-produced graphics and fun feature spots. An engaging reminder that Notting Hill is more than just a film.

We have covered a few of Gorillaz’ tunes before, including the launch track of the ‘Song Machine’ series, which featured Slowthai and Slaves. You can find out what I thought of ‘Momentary Bliss’ for an escape here: https://onetrackatatime.home.blog/2019/11/22/todays-track-gorillaz-on-melancholy-hill/. Alternatively, you can read up on their 2010 classic ‘On Melancholy Hill’ here: https://onetrackatatime.home.blog/2019/11/22/todays-track-gorillaz-on-melancholy-hill/

That’s all for now! Thank you for joining me on the blog, and I’ll be back tomorrow for an in-depth look at a laidback single from a London-based Psychedelic Jazz quintet who have just released their fourth studio album over the past weekend on Fire Records. The band are female-fronted and the one of their members was previously a member of Fanfarlo. The drummer’s production credits also include Bat For Lashes and Gruff Rhys’ “Neon Neon” project. Their style has been oft-compared to Stereolab.

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

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

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

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

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Today’s Track: Solemn Brigham – “Dirty Whip”

Good Morning to you! This is Jacob Braybrooke – showered and shattered after my first Cambridge gig (Which you’ll be hearing more about at some point during the week) – and the time has come 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! If the face of North Carolina-based lyricist/rapper Solemn Brigham appears to be strikingly familiar to you, then you may already know the chap as one half of the underground rap duo Marlowe, a project that he leads with the producer L’Orange, which, for my money, is one of the most exciting new hip-hop double acts in years. Last year, they released ‘Marlowe 2’ through Mello Music Group, and, this weekend, they will be playing at the Sound City festival in Ipswich. It has also been a restless weekend for Brigham himself, who has just released the new solo album ‘South Sinner Street’. Brigham’s music, as a solo artist, can be heard on Gatorade’s ‘G For Greatness’ campaign, 7 Eleven’s ‘Harmony Korine’ campaign and the soundtrack of NBA 2K22. For Brigham, the new album is an ode to those who carried him to greatness and an exploration of the theme of decay – economically and medically – through the lens of his hometown in Albemarle. He says, “What was once a vibrant area now survives as a reminder that the only thing eternal is change. Trash and debris flood the streets, relics of the many lives lived – each piece with a story to tell” for the album’s description. Take his latest single – ‘Dirty Whip’ – for a ride below.

‘South Sinner Street’ features production work from Marlowe compadre L’Orange, Kuartz (Also known as Katalyst from The Quakers), Frank Drake, The Lasso, Scud One and Krum, who all create some fluid instrumentals for Brigham to bounce off. On ‘Dirty Whip’, Brigham reflects on the illusion of wealth and the power of your roots through the lens of rapping about his Porsche. He says, in a press release, “This song is an ode to someone who carried me and provided for me during tough times”, elaborating, “When I was broke, you helped me find a way, and when I was reckless, you helped to keep me safe. To my Dirty Whip and all dirty whips alike, I’ll always ride for you” in his press notes. Brigham has always struck me as a virtuoso of tone, flipping between playfulness and severity at a skittering ease, and he confides in these strengths once again on ‘Dirty Whip’, delivering a genuinely witty moment when he raps that he didn’t make the basketball team “Cause I’m me first” in the verses. This light sense of humor is counteracted by the dramatic strings of the single’s opening and the Blues-leaning scatterings of Piano arrangements that make up the instrumental bed for the track, a softly cinematic backbeat that gives Brigham plenty of fresh energy to launch his own lyrics, at a frenetic pace, from. On the other hand, Brigham’s vocals feel raw and not very polished, which is different to the more sample-based style of his work as one half of Marlowe. I have also noticed how Brigham spits his bars on top with an equal mix of intimacy and observation in the sense that he raps about how riding in this car brought him joy, but the streets that he rode down had a share of corruption to them, later extending to the themes of poverty and security. Overall, ‘Dirty Whip’ is a nice rap tune that perhaps could have done with a little bit of neatening up when it comes to the lead vocals, but the ideas that he explores lyrically are very intriguing when you read between the lines, and he is very good at manipulating the tone of his words to suit his demands, an aspect of what makes his work as part of Marlowe really entertaining. I would ride down to this.

As mentioned, I’m a big fan of Marlowe and I would recommend checking them out very much. Why not start with a blog post that I did previously on ‘Future Power Sources’?: https://onetrackatatime.home.blog/2020/09/09/todays-track-marlowe-future-power-sources/

That’s all for now! Thank you for your continued support for the blog, and I’ll be back for more of the same with ‘Way Back Wednesdays’ tomorrow. We’ll be doing something a little different tomorrow, as we take an in-depth look at a lesser remembered album from an 80’s female pop star who recently got a laugh out loud mention on BBC One’s ‘Ghosts’ and popped up in a Cadbury’s Darkmilk commercial.

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Today’s Track: Swindle (feat. Loyle Carner, Kojey Radical & JNR Williams) – “Lost”

Good Morning to you! I’m Jacob Braybrooke, and the time has come around 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! ‘LOST’ comes to you from the South London-based Grime, Garage and Dubstep producer Swindle – his real name is Cameron Palmer – who first emerged on the UK’s Grime scene with his self-released debut mixtape, ‘The 140 Mixtape’, in 2007. His earliest influences call back to Stevie Wonder, Miles Davis and Bob Marley, and Palmer has a background in Jazz, Soul, Funk and Hip-Hop music. This is because his father was a Blues guitarist who gave Palmer lessons at a young age, and so he has been making his own music – starting from his Bedroom studio – since 2004. Palmer has been known for his fruitful collaborations with other artists in recent years, and he has worked with the likes of Terri Walker, Flowdan and P Money during his career. The trend will continue on his upcoming new album ‘The New World’, which is hitting record store shelves late next month – on October 29th – via BMG. The lead single, ‘LOST’, has been playlisted for BBC Radio 6 Music’s daytime rotation, and it finds Palmer linking with Loyle Carner, Kojey Radical and JNR Williams. Check it out below.

The follow-up to 2019’s ‘No More Normal’, Swindle wrote and recorded ‘The New World’ over the time of just two weeks at Real World Studios in Wiltshire after the lifting of the UK’s national lockdown period in late 2020, with the effects of the Coronavirus pandemic forming the backbone of the album’s themes. The release also features a diverse line-up of guests, including the likes of Greentea Peng, Maverick Sabre, Joel Culpepper and Poppy Ajudha among the collaborative track listing. ‘LOST’ finds Loyle Carner lending his intimate, socially conscious rap style to the first verse, while Kojey Radical contributes his slightly heavier rhythms to the cause. The two have more of a verbal spar in the third verse, delivering some motivational lyrics about finding purpose like “Pinocchio knows no bounds but he’s trying/That brother say he run the jungle but they lying” and “They was trying to make darkness a weapon/I was trying to make darkness a blessing” that duel at times, with the two narrators controlling a mid-tempo journey through some slabs of warm Bass and some stretches of orchestral Brass sections. JNR Williams, meanwhile, keeps the pace flowing with the memorable hook of “Oh, they lost themselves in lying” during the chorus. Swindle’s work behind the decks on production is diverse throughout, as he serves up some snatches of horns that gives Williams a Gospel quality to his voice, and he plays around with understated Bass to provide a sonorous, laconic style to the proceedings. Although it begs the question of “How many people does it take to make a song?” just a tad (You would be suprised, a lot of mainstream Pop tunes have at least 15 writers credited), the sum of all the parts here is certainly worthwhile and that’s all what really matters. A diverse, colourful take on Grime and Dubstep that feels grounded enough by the ‘Jam session’ style of collab vocals, and it sounds fresh.

That’s all for now! Thank you for joining me on the blog today and for showing your support. It is very hard to believe that it’s been almost an entire week since RP Boo made his return and proved that he’s still got it – but here we are. It is ‘New Album Release Fridays’ tomorrow as we divert our attention to the hyped new album release from the drummer Betamax and keyboardist Danalogue from The Comet Is Coming.

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

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.

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.

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New Album Release Fridays: Little Simz – “I Love You, I Hate You”

Good Morning to you! You are reading the rather excited words of Jacob Braybrooke, and it’s time for me to get typing up for yet another daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! ‘New Album Release Fridays’ returns today, and this week’s array of competitive new offerings includes fresh releases from Drake, Iron Maiden (Just saying), Manic Street Preachers, The Wildhearts, Lauren Alaina, Priya Ragu, LANY and more. However, the biggest release of the week for me certainly comes from Little Simz, who is a female British rapper (of Nigerian ancestry) from Islington, London. I’ve raved on about her multiple times as the future of Hip-Hop music on the blog, and the ‘Drop 6’ EP and the singles lifted so far from her new album ‘Sometimes I Might Be Introvert’, out now on her own label Age 101, have certainly whetted my appetite for some more. The new album is centered around the theme of introversion and how Simz handles a shy, reserved personality in a business driven by the talkative social media influencers and complicated job recruitment processes of the modern times, and so it sounds like an interesting exploration of ideas when you consider that Simz is quite a fast-rising producer whose job is to project her voice to the public at large. This is her fourth full-length LP release, and it is the follow-up to 2019’s ‘Grey Area’ in album terms, an LP that won Album Of The Year awards at both the NME Awards and the Ivor Novello Awards following its release. Check out her new single, ‘I Love You, I Hate You’, below.

“Inflo {her co-producer] asked me, “What do you love and what do you hate”, I knew the answer immediately”, Simz says to us of her latest deep-cutting single, adding, “I wanted to just let people know like, yo, I’m actually this way inclined, being this introverted person that has all these crazy thoughts and ideas and theories in my head, and not always feeling like I’m able to express it if it’s not through my art”, to her general press release. If you’re fan of Little Simz, like me, then you may have noticed how the new single is just a little bit more alike to her early stuff because it focuses more on the introspection elements, trading in anthemic experimentation for a more personal quality. Lyrics like “Hard not to carry these feelings even on my best days/Never thought my parent would give me my first heartbreak” expresses her troubled relationship with her mother or father, and these quick bars are recited over the top of a driving Snare drum which forms a well-rounded bassline, and these sequences are interspersed with a darkly soulful male backing vocal that repeats the hook of “I love you, I hate you” at a consistent tempo formed by a sample. The subject matter of the heated vocals flow from hot to cold throughout, and Simz expertly communicates a tense feeling of not being able to live with or without a part of her heritage. The rest of the instrumentation honestly reminded me of The Avalanches because these wistful Horn sections and sprawling String arrangements feel very virtuosic and carefully curated in texture. The harp riffs build some tension for the murkier segments, and the crescendo of Classical instrumentation samples cuts right to the bone, allowing for the uneasy emotions to flourish in the soundscape. I like how Simz is never afraid to shift geers when she needs to, and the track certainly heads in a more unpredictable formula than we may be used to hearing from her. On the whole, this is another solid-as-a-rock showing from Simz, where she delivers her very raw and smartly written lyrics on top of an engaging sample-based backbeat that heads in some creative storytelling. She is an excellent role model for young girls, and she cements that claim with the natural talent that she shows on singles like this.

Are you a fan of Little Simz? If you haven’t been converted yet and fancy checking out some more like this, why not start with some of the singles that we have previously discussed on the blog here? Check out the excellent ‘Where’s My Lighter?’ featuring Alewya here: https://onetrackatatime.home.blog/2020/05/15/little-simz-feat-alewya-wheres-my-lighter/, an go back to where the build for the new album started with ‘Introvert’ here: https://onetrackatatime.home.blog/2021/04/27/todays-track-little-simz-introvert/

That brings us to the end of the page for another day! Thank you for joining me again today, as always, and I’ll be back tomorrow for some brand new music from an Indie Rock group currently signed to Simon Raymonde’s Bella Union record label. They previously impressed me on the blog with their debut album two years ago and made a pair of appearances on the site, and they’re back with a new album set to release in November. This group is centered around two Brighton-based siblings who originated from the Isle Of Man, and they have embarked upon three US tours. They have hit the road with notable groups such as The Flaming Lips, The Magic Numbers and Wallows.

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Today’s Track: B-Wey – “Psych Police”

Good Morning to you! You are here with Jacob Braybrooke, as always, in time for yet another daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Approaching the cusp of 30 years of age, South East London-based independent rapper Ben Weyman has been reflecting on his twenties in his tell-all debut album, ‘Section 1’, which he self-released last month. The new record examines tragedy – familial grief, mental health struggles and his run-ins with the law. This is a very hard-hitting and stripped-back listen that was partly inspired by the tragic loss of his parents, which occurred due to battles with cancer and within only four months of one another. The record was also named after his development of Bipolar Disorder which has led to an arrest pertaining to his share of psychotic, manic episodes. Brutally honest, B-Wey has laid bare on the taster track, ‘Psych Police’, which specifically refers to the heavy-handed treatment of those who need support. The new LP was mixed and mastered by Ryan Sullivan, the former head engineer of Red Bull Studios, and Weyman wants you to know that he has been stable for 3 years – and hopes his work can guide others to peace. Spin ‘Psych Police’ below.

Following a tumultuous period, Ben Weyman has turned to music as a way to express himself like never before, writing, “My musical journey and influences give way to a unique production style while my life experiences give me something tangible to write about and gives my music a real direction. I hope to raise awareness and influence change in his neat address to the music press. A deeply personal call to others going through serious pains, B-Wey delivers some candid, and catchy, lyrics that cut like a knife sunk in deep to your heart. The repeating hooks of “What they want from me, I’m not sure/Now they’ve got me pinned to the concrete floor” and names the likes of corporate greed and the vanity of 20’s youth as the stigmas surrounding his times of downfall. The refrain of “1 to the 2 to the 3 to the 4/Psych police are knocking at my door” is a memorable and wickedly melodic one, while he spits the rest of his bars with a rough-edged first person perspective. His beats harken back to J Dilla and Madlib, where his sampling goes for a more playful brand of style collage, and his turntable scratches equally evoke the old-school Hip-Hop production of Boom Bap. He peppers this material with some sombre Piano notes and a gently ethereal female backing vocal that get the dramatic subject matter across to the listener in a way that continues to ditch flashy Synth schemes or the mincing of his words. I like how the overall track feels rather unpolished to an extent, as this really allows for Weyman’s personality and his expression to come across naturally and without any hesitation of mentioning the more hardcore scenarios of his narrative, as he continues to seek introspection through his lowest of moods. Overall, this is an effective example of DIY UK Hip-Hop production, and it harkens back to the days of The Streets or Kate Nash that feel increasingly rare to come by in this day and age. A hard-hitting listen, which B-Wey’s personality makes all the more attention-grabbing.

On that note – we’ve reached the end of the page. Thank you very much for joining me for another day, and, as I have already mentioned, I will be going on a short break starting from Thursday because I’m busy attending my sister’s big day! I shall leave you tomorrow with a track, taken from our ‘Way Back Wednesdays’ feature, from a particularly special act. This androgynous Synth-Pop and New Wave band were formed in 1983 and they found their fame after supporting Depeche Mode’s tours in 1985 and 1986. The group have been described by The Houston Press as “forward thinking” for their lyrics that used to deal with gender politics and sexual orientation.

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New Album Release Fridays: Mr. Jukes & Barney Artist (feat. Kofi Stone) – “Check The Pulse”

Good Afternoon to you! It’s Jacob Braybrooke here, and it’s finally time for me to, like always, get typing up for another 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! We’ve reached the end of another long working week, and so it’s time to unpack one of the weekend’s biggest new album releases. Kanye West is dominating the headlines this morning for his still unreleased LP, ‘Donda’, which is meant to be released today, with fans making lots of memes in the process. Alternative options come from the likes of Ty Segall, Laura Stephenson, Fredo, Ishmael Ensemble and Nas. However, the new release that I have been pining for is ‘The Locket’, which was originally delayed to August 6th when it was initially set to arrive last month. ‘The Locket’ is a surprising collaborative album between Mr. Jukes, the solo side project of frontman Jack Steadman from Bombay Bicycle Club, and the East London-born MC Barney Artist, who first popped up in 2012 with his ‘BAEP’ EP. The two got together for this joint venture when Steadman stumbled across Barney on Spotify, and he was never forgotten since. The title of the record refers to memories of more cheerful times, “We fill a locket with memories we protect and don’t forget to keep it round your neck”, Jukes & Barney both said. The record has gained positive reviews from critics, with Sean Kerwick of DIYMag.com writing, “A fantastic collection of tunes that encompass everything from bangers to slow jams that leaves you hoping Mr. Jukes and Barney Artist’s schedules continue to align” in their review. Time to ‘Check The Pulse’ below.

“The aim is to bring hope to people after the maddest year”, Barney & Jukes write about ‘The Locket’ in their press release, and they will be bringing this positive energy to stages in Manchester, Brighton, Bristol and London later in the year. ‘Check The Pulse’ brings Kofi Stone, a close friend and frequent collaborator of Barney Artist, to the party, and he told the press, “It was a pleasure to link up with my brother Barney and go back-to-back with him, also, Mr. Jukes is a wizard on production. This one’s got a real nice bounce to it, looking forward to playing it live” in his own statement. It is bouncy indeed, with a East Coast Hip-Hop synergy that calls back to A Tribe Called Quest and The Jungle Brothers to me, since there’s a clear chemistry between Barney and Kofi as they rap fast lyrics to the tuneful sound of a very Soulful sample and a Psych-tinged instrumental beat composed of Vinyl scratches and a crawling bass guitar riff. Lyrics such as “Drillin’ the bars, feelin’ the lyric when I’m spittin’ this fast” respond to music and memory, while lyrics like “Slithering snakes wanna get into your business/Wanna get into your brain” are a reminder to ignore bad influences and those most critical of your work as a creative. It’s got a very feel-good sound, but the relatively mid-tempo pace is very slick and smooth, filling the left-field indie Pop vibes with something more reminiscent of 80’s Boom-Bap rap and sharp rap beats that gleam brightly above the underlying warmth. There’s also not really a full chorus of-sorts, but the samples and the melodic backing vocal harmonies keep the influences sounding engaging. We’ve heard Steadman dabble in sampling a little bit during his time as the leader of Bombay Bicycle Club, but this project gives him the space he wants to fully flex those production muscles. I also want to point out how his smile adds a lot to the performance video. This is a songwriter who clearly loves writing and performing his music with a genuine passion, and his sparkling smile lit up the room in there. He provides a fantastic platform for the solid cohesion between Barney and Kofi to really get across, too, as they fluidly bounce water-tight lyrics seemlessly against one another at a great flow, and with superb chemistry. Overall, I felt that ‘Check The Pulse’ was an utterly joyful listen from the beginning to the end, and it’s a very enjoyable tune that could really brighten up your day in a time where we’re all looking for fun distractions, expertly mixing Jukes’ Indie production with decent Hip-Hop material, and all topped off by the love for the music which the three artists have.

That brings us to the end of another post for the day! Thank you for your support once again, and please feel free to join me again tomorrow for some more brand new music from a big-name artist! Tomorow, we’ll be listening to some brand new music from an Indie Punk 4-piece from Amsterdam who played not one, not two, but THREE performances at Glastonbury in 2019! Signed to Heavenly Recordings, the band have been praised by publications like Brooklyn Vegan, Double J and Rolling Stone. Their debut album ‘Boat’, made it to the top spot of the Independent Album Breakers Chart.

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Today’s Track: Curtis Harding – “Hopeful”

“Hope is seeing light, in spite of being surrounded by darkness”. Time for a new post!

Good Morning to you! It’s Jacob Braybrooke here, and it’s time for another optimistic 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! ‘Hopeful’ is the latest single from the Atlanta-based Soul singer-songwriter Curtis Harding, who records his own music with his self-described ‘Slop ‘n’ Soul’ style where he carries across the influences of R&B, Blues, Gospel, Psychedelic Rock and Country into his process of songwriting and musicality. In the past, Harding has been known for backing mainstream star CeeLo Green. Also, he is a founding member of Night Sun, an R&B-infused Garage-Rock band with former members from Black Lips, which has been active in Atlanta since 1999. Harding has now inked a solo record contract with Anti- Records, the same label which is also home to the likes of Booker T. Jones, Deafheaven, Mavis Staples and The Black Keys. There’s no news on a new album release associated with ‘Hopeful’ yet, but it has been four years since his last album material. ‘Hopeful’ arrives with a music video directed by Lynsey Weatherspoon, which directly references the events of 2020, like the Black Lives Matter protests, of which the lyrics were influenced by. Let’s give it a spin below.

A peaceful protest for the current racial affairs of the present times, Harding reflects on ‘Hopeful’ as, “I wrote ‘Hopeful’ some time ago, but in theory it goes far beyond a time and place”, Harding explained in a press release, noting, “I’ve always tried to carry it {Hope} wherever I am. Darkness finds us all, hope allows us the fortitude to seek out the light” in his self-assessment. For us, it’s the unmatched energy that his vocals bring to the track that brings home what we were all feeling in the millions last year, and how we can progress our mindset as a society to craft a brighter future for all. A radiant Gospel backing vocal of ‘Hopeful’ spreads across the canvas, while a melodic Hip-Hop delivery and tight Drums piece the decisive emotions together. Harding’s voice conveys qualities of vulnerability, longing, tenderness and peace as the stabbing Percussion and the funky Guitars provide an upbeat, yet golden era of Jazz-leaning, backbeat. Lyrics like “Now in this present darkness/All ears listen just a mass has formed to cure the common condition” and “A catalog of parables that’s broke down in a tongue/That’s been corrupted no substance to be hidden from” are delivered with a rhythmic flow. It feels like an effort split into two acts, with a long Wah-Wah guitar solo signaling the transition into a more melodramatic vibe. Horns, Strings, Brass stabs, cinematic female backing vocals and soulful Psychedelia carry the angrier, bluesier direction through to the perceptible climax, while the first half of the instrumental arrangements are a notch more Pop-driven, aside from a few quiet Organ chords that whistle briskly in the soundscape, marking a shift in the times. On the whole, this is a solid single that tells us that Harding is back, but, it also tells us that attitudes change for the better, and, as a society, we are fundamentally good and typically have our combined hearts in the right place, although a straight road to such positive unity can have it’s fair share of twists. Although it may feel a tad too 2020 for the next year at the first glance, the instrumentation definitely has a timeless feeling, and so do the key messages and personal values that Harding is raising awareness of.

That leaves us on a very Hopeful note to end the day with, but please feel free to join me again tomorrow for some more intriguing new music. The pick in question comes from a Los Angeles native who proclaims herself as the “Wal-Mart Marilyn Monroe” because she has been associated with the entertainment industry since a very young age. She was a child star on screen and is professionally trained in tap dancing. She has just released her debut solo album on Johnny Jewel’s label – Italians Do It Better.

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