Experimental R&B

Today’s Track: Eddington Again – ‘Petrify’

February 10, 2022 — Leave a comment
Pictured: Eddington Again in a recent promotional photoshoot for MusicAlternatives.com (2021) (Photo via PR)

Good Morning to you! You’re tuned into One Track At A Time and you are reading the words of Jacob Braybrooke, and I’m here to present yet another daily track to your eardrums on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! One voice that you need to hear right now is the husky vocals of Eddington Again, a multi-instrumentalist and producer who fans of Yves Tumor or Alfa Mist are likely going to get a little kick out of. Currently based in Berlin, but native to Los Angeles, Eddington Again’s music typically dabbles in sound collage elements with Post-Rock and Noise-Rock influences to form a crescendo of Experimental Rock soundscapes which tackle a diversity of personal and intimate themes courageously. Eddington began their musical career as a crucial figure in LA’s queer underground, and they have cited. Bloc Party, SZA, Santigold and Sampha as a handful of their biggest influences. In addition to this, they have performed alongside Flume, Charli XCX and Dam Funk on the live touring circuit. Support has also poured in from i-D Magazine, Mixmag and Boiler Room 4:3 over the years since Eddington first surfaced in 2015 as an emerging artist. One of their strongest singles is ‘Petrify’, which was recently featured on an episode of BBC Radio 6 Music’s ‘The New Music Fix’ curated by Tom Ravenscroft – the son of the late-great BBC Radio 1 host John Peel. It arrives via Friends Of The New – a division of Majestic Casual. Let’s check it out below.

‘Petrify’ was accompanied by a cinematic music video that was directed by fellow LA-native artist 011668, a close friend of Eddington’s back home, and Eddington brings context to the single by stating, “Petrify is a story based on experiences dealing with fragility in lovers and the people closest to me”, in a press note, explaining, “Not having a place to fully be transparent about my past, gifts and heightened awareness leading me to dwell and cultivate my power alone in the dark”, in their own words. Starting off with a dark tone, Eddington pulls us into their haunting flood of emotions with “I don’t wanna petrify you, I just want to tell you my secret” with a half-spoken and half-rapped delivery that is paired to a driving, but ethereal, guitar sample and a percussive drum work-out that is played on a loop continuously, conveying the disorientation that Eddington feels when they expose others to their own fragility. Shuffling hi-hats and a snappy, stuttering Snare pick up the nervous energy of Eddington’s voice that leaps and bounds around a hazy Baritone vocal that floats between reverb-drenched guitar strums to the motion of soulful R&B beats that complement his vocals with a mix of tender emotion and a sense of danger. The abstract visuals of the attached music video are compelling too, but there’s a great mix of straight to-the-point lyrics and a brisk pace to the instrumentation that make the emotive layers feel convincing, with Eddington’s vocals eventually breaking into a lovesick croon as the sonic production becomes more energized and the rhythm becomes a floating mix of underground dance influences and light Hip-Hop intricacies. Overall, ‘Petrify’ represents Experimental Pop at it’s most effective, with the track showcasing the knack for emotive lyrics that Eddington has and a very unique fusion of influences that bound together to create an intimate, gripping single.

Pictured: Eddington Again in a professional photoshoot for his artist page on Simbi.com (2018) (Photo via PR)

Thank you for checking out my latest post on the blog, and please feel free to join me again tomorrow as we take an in-depth look at one of the weekend’s hottest new album releases by sampling a single from it and, this time, we’re listening to a single that was recently promoted by KEXP’s Song Of The Day podcast. The album itself comes from a bold Danish film composer who once headlined the Orange Stage at Roskilde Festival in front of 60,000 people with a set design created by Henrik Vibskov.

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Today’s Track: Earl Sweatshirt (feat. Armand Hammer) – ‘Tabula Rasa’

January 31, 2022 — Leave a comment
Pictured: Cover Artwork for ‘SICK’ (LP) (Released on January 14th, 2022) (via Tan Cressida/Warner Records)

Good Morning to you! You’re tuned in to One Track At A Time with your regular writer Jacob Braybrooke, and you are right on time for yet another daily track on the blog, given that it’s always my day-to-day pleasure to write up about a different piece of music every day! We finally move into February shortly, as we complete our various ‘First Month Of The Year’ challenges, but one of the albums that really seemed to strike a chord with critics and audiences alike in January was ‘SICK’, the new 10-track mixtape-style LP offering by Chicago-born and Los Angeles-based Hip Hop artist Earl Sweatshirt, who began his rap career as Sly Tendencies in 2008 and later joined the alternative Hip-Hop collective Odd Futures – led by Tyler, The Creator – to cause a name change in 2009. ‘SICK’ had an enigmatic promotional campaign heading in to release, despite a few singles being unveiled prior to release, and it has garnered an impressive score of 86/100 on Metacritic. Kitty Empire wrote that it was “a musically rich reset” in her four-star review for The Guardian, while a perfect review by Marcus Shorter for Consequence In Sound hails it up with “The rapping is impeccable, and the project doesn’t overstay its welcome” in his rave assessment. Sweatshirt has also recently performed a single taken off the ‘SICK’ LP – ‘2010’ – live on ‘The Tonight Show With Jimmy Fallon’ in the US, and so the appeal of the record isn’t incredibly far outside of the mainstream. One of the singles – ‘Tabula Rasa’ – features the critically acclaimed New York-based duo of Armand Hammer (ELUCID & Billy Woods) who wax poetic lyrics while politely taking their turn above the ethereal Piano melody and some fragmented sampling that create a dense backdrop for their individual truths to lethargically spit over their collective public manifesto. It also comes with a uniquely unpolished music video that finds the three producers make their Lo-Fi magic happen in the recording studio, or – in the case of Woods – grilling some ribs, by the look of it.

“Sick is my humble offering of 10 songs recorded in the wake of the worldwide coronavirus pandemic and its subsequent lockdowns”, Earl Sweatshirt tells the music press, explaining, “Before the virus, I had been working on an album I named after a book I used to read with my mother (‘The People Could Fly’). Once the lockdowns hit, people couldn’t fly anymore. A wise man said art imitates life. People were sick. The People were angry and isolated and restless. I leaned into the chaos ’cause it was apparent that it wasn’t going anywhere. These songs are what happened when I would come up for air”, in his press release for the ‘SICK’ record. In the case of ‘Tabula Rasa’, it is vital to note that this Latin phrase roughly translates to ‘Blank Slate’ in English, and so it is believable that Sweatshirt and his two partners are rapping about how we are all born without any mental knowledge on the ambiguous minimalist rap jam, with the two outfits trading sequences like “This game of telephone massive/I do what I have to with the fragments” that each convey feelings of urgency and calming processes as the rappers reflect on how the dread of the Covid-19 pandemic affected their lyrical musings of truth as the remedy for the problems that arise. Challenging lyrics like “I have to write to find balance” and “I watch re-runs in the dark, fingers and lips glistening” also simplify the matters of mental health issues and how we find our humanity through mundane tasks that we still enjoy doing, like how “I made chicken late night in my boxers/Burning up the kitchen” nearly ends the final verse on a slightly witty note and how the small details of this action convey something more profound about how we treat ourselves to small luxuries when we’re all alone to remind ourselves of how important that we are. While there’s a lot that we could discuss lyrically, the instrumentation is noticeably more restrained and subdued. The sampling is psychedelic and smart, with mere teasers of voice clips and broken-sounding Vinyl cracks that briefly divert the groove away from the scattered, soulful sample of a 70’s Jazz Club performance setting, giving off the effect that we’re listening to a broken record as the audience. The intricate wordplay is the emphasis of the beat, with the three rappers creating some subtle verses with an interchanged dynamic between the three of them where lessons of finding wisdom and ruminating upon remedies with a grit-laced but positively weighty sense of resolution. Overall, while this is a challenging listen, at first, because the structure is created by a few straightforward stream-of-consciousness rap verses instead of a melodic series of hooks, Sweatshirt still manages to pull off a richly rewarding feel with the cerebral style of production because it feels personal and laidback, and he works towards achieving this dense balance of wordsmith lyricism and minimalist instrumentals by leaning into a hypnotic delivery, rather than simply acting as a purveyor of clear tone.

Pictured: Earl Sweatshirt in a recent promotional photoshoot for ‘SICK’ (2021) (Photo Credit: Ryosuke Tanzawa)

That’s all that I currently have lined up for you today, and thank you very much for taking the time to look at an interesting piece of new art with me today. I’ll be back tomorrow to bring some music from 2021 back to your attention, and it comes from a London-born singer-songwriter, DJ, radio presenter, model and actress who has run a popular monthly night called ‘Soul Box’ in East London with fashion photographer Dean Chalkley and the British DJ Eddie Piller, who is the founder of Acid Jazz Records.

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Way Back Wednesdays: The Beta Band – ‘Squares’

January 26, 2022 — Leave a comment
Pictured: Steve Mason (Lead Vocals/Rhythm Guitar), Richard Greentree (Bass Guitar/Keyboard), John Maclean (DJ/Samples/Producer) and Robin Jones (Drums/Percussion) (Date n/a) (Photo via NME.com)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to take a break away from the new year of new music releases by revisiting a small sample of the seminal sounds of the past as we go ‘Way Back’ for Wednesday on yet another daily track on the blog, given that it is my day-to-day pleasure to write up about a different piece of music every day! A late-1990’s and early 00’s Alternative Rock group who have been remembered as “The self-destructive pop saboteurs who did it all wrong in all the right ways” by James McMahon, a writer for NME, in 2018 – The Beta Band are the rare case of a band that were, perhaps, a little misunderstood by the contemporary critics of their heyday, and they have only really been seen as highly influential in more modern times. Known for their experimental blend of Folktronica, Trip Hop, Plunderphonics, Psychedelic Rock and Progressive Pop, The Beta Band were praised by Oasis and Radiohead, eventually opening up for their live shows in 2001 and went on to build a healthy cult status with audiences alike. In 2001, in a very strange coincidence, both The Beta Band and Sheffield-based indie pop duo I, Monster decided to add a vocoder and some beats to The Gunter Hallam’s Choir’s ‘Daydream’ to form their own sample-based tracks of ‘Squares’ and ‘Daydream In Blue’, respectively, and the tracks melodies seem similar enough at first glance as to listeners being confused between the two but, upon a further inspection, ‘Squares’ has a more edgy, nightmarish feel in comparison to I, Monster’s more commercially successful adaptation of the 60’s piece. It was taken from The Beta Band’s sophomore album – ‘Hot Shots II’ – which was included in the 2010 edition of the book ‘1001 Albums You Must Hear Before You Die’ and it also reached #13 on the UK Albums Chart and it was co-produced by Colin Emmanuel. Let’s revisit the music video below.

The Beta Band’s music was memorably featured in a scene of the 2000 Romantic Comedy/Drama hybrid movie ‘High Fidelity’ that was based on the Nick Horny-authored novel of the same title. In an iconic clip from the film, a record store owner portrayed by John Cusack states “I will now sell five copies of The Three EP’s by The Beta Band” and he dances around to a full minute or so of ‘Dry The Rain’, a scene that exposed the cult Scottish group to a wide range of new listeners, especially in the US and internationally, and so there’s a fun slice of trivia for you. Back to the task at hand, we start with the immediately familiar lyrics of “I’ve seen the demons, but they didn’t make a sound” and “They tried to reach me, but I lay upon the ground” that get repeated later on, with Steve Mason sounding positively forlorn as he murmurs about seeing darkness trying to control him. You get the sense right away that things are off, with a very glitched Hip-Hop beat meandering and playing with the pitch of the melodies by itself, and a traditional beat only forms barely until the iconic String loop of the sampled track bursts through. The iconic lyrics of “Daydream, I fell asleep beneath the flowers” and “I saw miles and miles of squares, where’s the feeling there?” are met with Faust-like towered Drum backing beats and a neat Kosmiche guitar solo in the final half, forming an ankle-deep Electronica groove that is disorienting textually, almost as if Mason is simply wending through a humid fog but he is neither cynical or clueless. ‘Squares’ by The Beta Band and, also, ‘Daydream In Blue’ by I-Monster have two nearly identical hooks, but while ‘Daydream In Blue’ came and went a little more after it’s initial impact on pop culture, this revision of the sampled track by The Beta Band feels remembered more often, and I think that it has stuck simply because of a better use of sampling. ‘Daydream In Blue’ was memorable for adding a vocoder and a beat-driven style to the track, but that was largely it. However, ‘Squares’ just has more depth to it when you read between the lines. It features the usual hallmarks of The Beta Band in terms of it’s Radiohead-like experimental rock approach, but it also feels more minimalist in it’s light blending of R&B, Hauntology and Hip-Hop elements that are small, but stand out. The darkly psychedelic sounds feel like they’re playing off what you’ve heard before to give it a more nightmarish context that comes with the alienated fear of an awful acid trip. The risk pays off, and we get a half-remembered track that feels strong for this effect.

Pictured: Cover Artwork for ‘Hot Shots II’ (LP) (Released on July 16th, 2001) (via Regal Recordings)

That’s all for today! Thank you for being the companion to my Doctor Who with our throwback post today, and I’ll be back tomorrow with some more music, of the fresh variety, that you’re hopefully going to enjoy. We’re looking at a recent single from the London-born DJ and Writer Chris Menist, who began the project of Awkward Corners when he was living in Islamabad. His releases have since spanned record labels like Boomkat, and early recordings were made with local artists from Thailand & Pakistan.

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

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

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

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

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

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

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

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

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Way Back Wednesdays: Massive Attack – ‘Karmacoma’

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

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

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

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

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

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Today’s Track: Flight Facilities (feat. Channel Tres) – ‘Lights Up’

December 22, 2021 — Leave a comment
Pictured: Hugo Gruzman (DJ/Producer) and James Lyell (DJ/Producer) (2021) (Photo via James Gourley/Getty)

Good Morning to you! I am Jacob Braybrooke, of course, and it’s time for me to help you fill up the funky playlist for the disco at your Office Christmas Party at the end of this working week, since it has always been my day-to-day pleasure to write up about a different piece of music every day! Flight Facilities are the Australian Electronic Dance duo of Hugo Gruzman and James Lyell who were formed in Sydney in 2009 and also perform under the name of Hugo & Jimmy. On previous recordings, they have worked with prominent names in the industry including the ‘Princess of Pop’ Kylie Minogue herself – as well as Bishop Nehru, Reggie Watts, Stee Downes and Owl Eyes. Although the seven year gap has not been a complete drought of material for the die-hard Flight Facilities fans out there – it is still testament to the streaming-dominated state of the modern music industry that their second LP record ‘FOREVER’ – released on November 12th via Future Classic – was their first true album release since 2014. It has reached #6 on the Australian Albums chart and it features another array of guest vocalists including Emma Louise, BRUX, BROODS, Jody Felix, Your Smith and DRAMA. In a statement, the AIR Award-winning duo said, “The best way to describe this album is a combination of where we’ve been, where we are and where we’re going. As true as it was from our first release, the foundations and glue for all our work has consistently been ‘collaboration’. While our musical journey has always been an intentional exploration of multiple genres, our hearts and roots lie on the dance floor. We applied that same explorative ethos to this record, taking a concerted dive delve into the previously untouched niches and era’s of dance. It’s been a long time coming, and only the same time will tell if it was worth the wait “, in a press release. The new album will also be supported by the ‘FOREVER’ tour that will commence in Perth during March 2022. The lead single, ‘Lights Up’, features the high in demand Compton producer and vocalist Channel Tres. Buckle your seat belt up and mount into it below.

With his low-pitched and sensual vocal delivery, Channel Tres has been a lyricist that everybody in the dance industry has been itching to include on their tracks. In the last few years, Tres has worked with a gigantic list of electronic dance producers including Disclosure, SG Lewis, Tokimonsta, Polo & Pan, Emotional Oranges and many more – so he has been everywhere as if he is the Jimmy Carr, Rosie Jones or Rob Beckett of dance music. ‘Lights Up’ features noticeable influences of Future Garage and Detroit Techno – and Flight Facilities note, “We’ve always loved the sound of the early Detroit House scene that crossed over with the Paradise Garage era. Combined with our love for Channel’s voice, it seemed like a perfect fit”, in their press release. ‘Lights Up’ almost sounds like a track that was being recorded whilst at a secluded street party with industry friends in Chicago, with Tres opening the scene with “Y’all should’ve called me to work on the album earlier/We could have been making something great” over a muffled vocal delivery following a lengthy fade-in to the track. The rest of the vocals mix an informal delivery with a quickly paced Spoken Word spin on gentle Hip-Hop, with Tres splurting out lyrics like “Trying to catch a Bass, and I’ll slide on you” and “I’m a MC, BYOB, bring your own bottles” that he recites with the silky and mildly sexual low-pitched croon that we’ve heard him use to similar effect on Disclosure and T’Challa King feature spots before. It definitely feels like his trademark and although it does not feel unexpected, it works smoothly here and plays to familiar strengths as usual. It establishes a tone of confidence for the rest of the track, which jolts along at an uptempo but not overly heightened pace. An influence of Detroit Techno – from the likes of Joe Smooth – drips from every note of Hugo and James’ production, with some velvet-smooth Synths that reassure us that this flight is going to be a smooth and relaxed ride. The personality of the track is charismatic enough, however, and one particular highlight of the track for me is towards the end where Tres repeats the refrain of “Got the whole city going up” while Horns continually whirr in the backbeat, giving off an impression that Horns are lighting things up in the background, as this section gives the Synths some added momentum to increase the aggression of the instrumentation slightly and drive the melodies forwards. Meanwhile, the two-step drum beats and the fluctuating Bass patterns blend together with Tres’ accentuated vocals nicely during the main bulk of the track. Overall, this was a strong effort from all involved that does ‘Dance Music’ in a modern enough way, while also respecting some of the relatively forgotten sub-genres of House and Techno from the past, giving it a retro-futurist feel. The track originally dates back to April so, although it fits more of a summer vibe than a cold December one, remember that it is summer in Australia.

Pictured: Cover Artwork for ‘FOREVER’ (LP) (Released on November 12th, 2021) (via Future Classic)

That’s all for now! Thank you for your smooth sailing with me today, and I’ll be back tomorrow to ‘Light Up’ the eve of Christmas Eve with an affectionate lump of seasonal Silton coming from a Rochford-born Jazz singer and BBC Radio 2 presenter who has famously covered Radiohead’s ‘High and Dry’ to mainstream success in the UK charts.

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

December 17, 2021 — Leave a comment
Pictured: Terry Presume in a recent photoshoot for a Q&A feature with Notion (2021) (Photo by Grant Spainier)

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.

Pictured: Cover Artwork for ‘What Box?’ (EP) (Released on July 29th, 2021) (via September Recordings)

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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Countdown To Christmas 2021: Beck – ‘The Little Drum Machine Boy’

December 10, 2021 — Leave a comment
Pictured: Beck Hansen in a promotional photoshoot for ‘Mellow Gold’ (1994) (Photo via DGC/Bang Bang)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time to pre-heat the oven and bake some Christmas Cookies as we continue our ‘Countdown To Christmas’ for the year with another daily upload on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! It has been a little while since we heard from Beck Hansen on the blog, but we have explored several snippets of his material on the site before. The 90’s Alternative Pop and Rock music icon has always been known for his exhaustive list of collaborations with fellow pop culture legends like Paul McCartney, Air and The Lonely Island, as well as his obscure and oblique lyricism, along with his wealth of eccentric recordings in the 90’s and 00’s that have found Beck scoring several Grammy Awards wins and a four-time platinum certification for his album sales, with some of his most popular albums being 1996’s ‘Odelay’ and 2002’s ‘Sea Change’, both of which were highly influential and earned spots on Rolling Stone’s list of ‘The 500 Greatest Albums Of All Time’ that was last revised in 2020. Although some of my favourites include 1999’s ‘Midnite Vultures’ and 2019’s ‘Hyperspace’, his rare Christmas track known as ‘The Little Drum Machine Boy’ came immediately off the back of ‘Odelay’ and ‘Mutations’, where Beck was very confident in his ability to pull together his absurdities on top of sly, freeform Hip-Hop beats. The single first appeared on KROQ’s annual Christmas tape in Los Angeles during 1996, before appearing on his label’s charity compilation titled ‘Just Say Noel’, and it can also be found on Kevin & Bean’s ‘Christmas Time In The LBC’ compilation released that same year. Beck recalled in an interview during 2008 that he actually recorded it during the summer time and nowhere near to the holidays in a studio found in Rochester, New York when he finished touring one year and that it was inspired by Outkast and Busta Rhymes’ early records. Even by Beck’s lofty experimental standards, this single is pretty bizzare. Give into the insanity below.

‘The Little Drum Machine Boy’ is a pretty obscure recording when all things have been considered, but two edits of Beck’s kooky festive anthem exist. The example above is the full-length seven minute recording which is drum machine-based, but there is also a three minute radio edit out there without the lengthy ending sequence. The problem is, with the latter version, you’re missing out on a lot of the humor and the twists on the Christmas-themed production formula. Beck was largely known for his quirky sample-based flair and his post-modern Pop Art collages of noise throughout the 90’s, and ‘The Little Drum Machine’ boy recalls this era of his discography with logical sense – building up some meticulous layers of soft-funk, wobbling bass and psychedelic guitar rhythms full of trippy and rhythmically deranged sounds with a wonky structure. It’s hard to even find a place to start with the lyrics, which rarely make any sense of a typically coherent fashion, as you’re likely to expect from the weird and wonderful palette of mid-90’s Beck. Hansen starts off with the words taken from the ancient christmas carol that his track’s title bears a clear resemblance to, before proclaiming to drop some ‘Hanukkah’ science to the mix and adds a robotic vocal to the mixture. The robotic samples act as a through-line for the wacky sonic palette, as he continues to twist and morph the tone of the universally known carol to be about the Jewish holiday of Hannukah and modernizes the melodies with the help of some eccentric synths and the consistent Drum Machine programming. The vocals feel hazy and hallucinogenic, but there’s a rhyme and a reason to a few of the lines sprinkled in here, as Beck’s near-indecipherable robot voice is actually reciting a Jewish blessing and he continues to slur some Jewish prayers throughout the song with his awkward vocals. The crazy concoction of his vocals and instrumentation bend and break the conventional Christmas tropes by transforming the vocals into being an ode to Hanukkah instead of our global end-of-the-year season. It contains some of the most abstract, on-the-nose and topically obscure Christmas lyrics ever to be issued, but Beck achieves his goal of dropping some “robot Hanukkah science” that he clearly states at the intro of the strange single, and so the ensuing collage of quirky music isn’t as hard to make out as it may first appear when you really think about it. The ending is festive and funny, while the playful lyrics throughout are dipping between hooks of different Christmas classics that you would recognize and his affection for the Jewish holiday that he depicts as equivalent. Overall, this is a strange and straight-up abnormal tune that only be 90’s Beck, and only he could only get away with making it work because he manages to make it supple enough to hold together and the unique, individual rhyme schemes of his musical blueprint saved it from diving into the pure novelty status it risks. Bonkers brilliance from the best Beck.

Pictured: Art Collage showing the many faces of Beck over the decades (2018) (Photo Credit: Sarita Schaffer)

Several sporadic entries regarding Beck have been made on the blog before, and so there’s plenty to keep you busy content-wise on this humble site if you’re an avid fan of his output. You can read all about 1999’s ‘Hollywood Freaks’ here: https://onetrackatatime.home.blog/2020/09/02/22nd-birthday-special-edition-beck-hollywood-freaks/. There’s also my thoughts on ‘Uneventful Days’ here: https://onetrackatatime.home.blog/2019/10/29/todays-track-beck-uneventful-days/ and you can see more of ‘Hyperspace’ with my review of ‘See Through’ here: https://onetrackatatime.home.blog/2019/11/28/todays-track-beck-see-through/, and one of my earliest posts was written about ‘Tropicalia’ from ‘Mutations’ here: https://onetrackatatime.home.blog/2019/08/20/todays-track-beck-tropicalia/

Pictured: Cover Artwork for ‘Midnite Vultures’ (LP) (Released on November 23rd, 1999) (via DGC Records/Bang Bang)

It’s time for me to take a deep breath and leave you to enjoy the rest of your day! The festivities will keep going tomorrow, however, with another new installment in our ‘Countdown To Christmas’ for 2021. The next pick is much more recent and it comes from a 25-year-old Tennessae-born indie rock singer songwriter who was a member of the ‘Boygenius’ trio alongside similarly young solo breakouts Phoebe Bridgers and Lucy Dacus. Her latest LP, ‘Little Oblivions’, was released to great reviews in February.

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New Album Release Fridays: Arca (feat. Planningtorock) – ‘Queer’

December 3, 2021 — Leave a comment
Pictured: Cover Artwork for ‘Kick iiii’ (LP) (Released on 3rd December, 2021) (via XL Recordings)

Good Morning to you! You are reading the words of Jacob Braybrooke and, for the final time until 2022 rolls around, it is time for us to take a deep dive into one of this weekend’s biggest new album releases, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! It all comes down to this. As the curtain draws the year of exceptional new music to a close, we are left with a final notable release. Or two. Or three. Or – in the case of Venezeulan experimental pop producer Arca – four. Last summer, she released ‘Kick i’ to an interesting reception and this week, she has completed the ‘Kick’ quintet with the release of ‘Kick ii’, ‘Kick iii’, ‘Kick iiii’ and ‘Kick iiiii’ all on the same day via XL Recordings, boasting a total of 43 tracks of wild Glitch Pop experimentation. I loved her track ‘Time’ on the blog last year, but a follow-up single – ‘Mequetrefe’ – received a more negative reception from me, so it will be interesting to see where ‘Queer’ from ‘Kick iiii’ (featuring the Estonia-based English DJ Planningtorock) lands with me. The critics seem to be liking the ambitious bible of projects, however, with The Guardian writing, “A wild ride to the dark, daring side of Pop” in their four-star write up. The Times added, “Pop that’s a pleasure to be confused by” in their appraisal. I mostly know Arca, also a transgender icon, for her friendship and a few collaborations with the Icelandic role model Bjork. However, Arca has also produced work for Kanye West, Rosalia and FKA Twigs (Who famously used to date Robert Pattinson for quite a while, I believe). ‘Kick iiii’ also features Garbage’s Shirley Manson, Oliver Coates & No Bra. Give ‘Queer’ a whirl below.

Pitching the fourth part of her ‘Kick’ series of augmented records as “an entry in the sensual charge in the cycle; my own faith made into song, a posthuman celestial sparkle, psychosexual pulsewidth modulation, queering the void, abyss alchemically transmuted into a deconstruction of what is beautiful” in her partial LP’s product description, Arca continues to explore the themes of alienation from the inside and a bursting apart of old skin with the glitch-driven lead single from her ‘Kick iiii’ album – ‘Queer’. Built up to be an anthem that is celebrating courage in the face of prejudice and encouraging queer romance in all of its forms, this is a dramatically exploratory single that establishes Arca in the ilk of a ‘true artist’ like Kate Bush or David Bowie where commercial accessibility is primarily not a target and expression with an almost ‘alien’ quality, where traditionally catchy genre traits are simply disregarded in favour of a creative approach. Therefore, I can definitely see why this track may not play ever so well to casual listeners and it, even for me, was a little bit overwhelming to fully grasp on a first listen. It has a vague resemblance to the Eurovision flavour of Pop, however, that gives us somewhere to start with her. Set against the backdrop of a Witch House trap beat that has an air of Latin Hip-Hop about it, calling to my mind names like 100 Gecs and Bad Bunny anyways, Arca and Planningtorock (her actual name is Jam Rostram) exchange a series of Spanish and English lyrics between each other in a trade, with anthemic lyrics like “Tears will shower in my time/Like a queer life/Queer fire” as the Synthpop textures and the science fiction soundtrack feel of the music dives along at a brisk pace that doesn’t ever quite let up entirely. Full of processed vocals and some more interchangeable genre influences that are buried underneath the broad instrumentals, ‘Queer’ finds itself preoccupied with swelling Synth arrangements and rattling percussive arrangements that each function as a mimicry of non-heterosexual forms of love in their diverse nature. The opening of the track is a highlight for me, where a screeching sequence of samples almost act as haunting strings that get the beats off to an unrelented start. Overall, while I can certainly agree that ‘Queer’ is a lot to take in at once and it takes some hard work to get the most out of, I felt rewarded by the emotive soundscape that becomes more vibrant and expansive in scope with my repeated listening. I can also appreciate the thought that goes into the visual aspects of her art too. A tsunami of seismic material.

Pictured: Arca in an official photoshoot to promote the release of “Kick i” (2020) (Photo Credit: Hart Leshkina)

As aforementioned, Arca has gained a little bit of attention from my blog before. If you found ‘Queer’ to be interesting, you can see what I made of ‘Time’ here: https://onetrackatatime.home.blog/2020/05/28/todays-track-arca-time/. You can also gain your own opinion of ‘Mequetrefe’ by visiting my take on it here: https://onetrackatatime.home.blog/2020/06/30/todays-track-arca-mequetrefe/

Pictured: Arca (Alejandra Ghersi) in a shot from the ‘Time’ music video (2020) (Photo Credit: Rolling Stone)

That’s all for now! Thank you for finding out what music that I had to share with you today, and we will be going back to our ‘Countdown To Christmas’ in glorious style tomorrow. Join me then for an in-depth look at a new holiday-themed album release by an American Acapella group from Arlington, Texas who won the third season of NBC’s ‘The Sing-Off’ in 2011 and they have won three Grammy awards following that time. If you are a fan of the three ‘Pitch Perfect’ movies, you may find it Aca-awesome.

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Today’s Track: Porij – ‘Can’t Stop’

November 30, 2021 — Leave a comment
Pictured: Cover Artwork for ‘Baby Face’ (EP) (Released on September 22nd, 2021) (via Oat Gang Records)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for us to shuffle along to the beat of 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! An Art-Rock 4-piece from Manchester, Porij are a comically named act who formed while studying and staying in halls together at the Royal Northern College Of Music in 2016. Since then, they have supported Cory Wong at Manchester’s 02 Ritz and have received positive reviews from publications like Clash, NME and FADER. The likes of Radio X’s John Kennedy, BBC Radio 1’s Huw Stephens and the BBC Radio 6 Music daytime playlist have also given them airplay. During the summer, they impressed us all on the blog with their peaceful protest anthem ‘Nobody Scared’, which was inspired by a documentary about Jack The Ripper that the boys saw on Netflix, and it was their call out to violence against women. If you are a fan of bands like Alt-J and Everything Everything – or even Glass Animals and Django Django – I think you’re going to really like this Experimental Pop project. The boys were at it again with the release of their new ‘Baby Face’ EP in September, which featured some previously released singles and new original tracks. The lead single – ‘Can’t Stop’ – was written by drummer Tom almost two years ago as an attempt to bring focus to his over-active imagination, and it arrived with a music video and a plethora of UK tour dates. Let’s give it a spin below.

Porij said in a statement, “Can’t Stop is a super intense, pretty relentless dance tune, about uncertainty, changing your mind and being completely consumed by your thoughts – but all while having a pretty sick time” when they released the track, which is built upon some House-like qualities with an occasionally manic Garage beat, which is complemented by some intentionally dodgy Synth patches and processed vocals that sometimes drift into an energetic auto-tuned frenzy. The band also say that it matches a quirky UKG drum and bass influence to some neat synthetic Pop elements, and it becomes clear from the infinitely tinkered fusion of late-90’s dance music facets and late-00’s indie rock motifs that the band have created a fun track that is sure to brighten up your day. The lyrics, with rhythmic sections like “I feel out of control, got me thinking/Spent a night on your own got me thinking” and more spoken word-like bridges including “Hold me in, push the time on/In your room, take my eye off” sound conventional for a modern indie dancefloor anthem, but their mode of delivery is playful and off-kilter, and so the vocals capture the overarching theme of questioning your own surroundings and sanity with a decent amount of weight to them. In terms of the instrumentation, Porij become known for looping strange Synth sounds and bulky, hefty basslines pretty early on in the track. They contrast the dance elements with a good mix of neatly woven production and more unpredictable melodies through the keyboard riffs later on. Some Jamiroquai-esque guitar riffs and a small touch of percussion round the equation off, and we are left off with a psychedelic number that treats us to the daring bounds of Porij’s creativity once again. While I would have liked for more of their serious social commentary to come through more clearly, as with ‘Nobody Scared’ that was a nod to the ‘Reclaim The Night’ movement for street safety, I think ‘Can’t Stop’ is a catchy and infectious single that would make me get up and dance in a night club with no difficulty. Generally, I really like how Porij approach each of their singles at a ‘case-by-case’ basis because it makes their discography feel quite fresh and diversified, and I like how the Manchester-based act are comfortable with the fact that different directions require different tools to others. In conclusion, ‘Can’t Stop’ is a crowd pleasing and danceable single that appeals to both indie dancefloor fans and club attendees alike.

Pictured: ‘Eggy’ (Lead Vocals/Keyboard), ‘Tommy’ (Rhythm Guitar/Occasional Backing Vocals), ‘Jammo’ (Bass Guitar/Percussion) and Tom (Drums/Occasional Backing Vocals) (in 2021) (Photo courtesy of PR/DIYMag.com)

If you’re feeling frightened, here’s a reminder that Porij wants ‘Nobody Scared’ with their previous single ‘Nobody Scared’, which has already been covered on the blog: https://onetrackatatime.home.blog/2021/06/15/todays-track-porij-nobody-scared/

Pictured: Cover Artwork for ‘Nobody Scared’ (Single) (Released on April 21st, 2021) (via Oat Gang Records)

That’s your lot for the day! Thank you for continuing to support my content on the blog each day, and I’ll be back tomorrow to resume our ‘Countdown To Christmas’ for the year because it will be December 1st, after all. It still feels a little early for me, and so we will be going for something that’s a little more winter themed in general than specifically festive. However, it comes from one of my favourite pure songwriters in the industry. He fairly recently completed the unique ‘Correspondence’ side project with Tracey Thorn from Everything But The Girl, and had a Swedish #1 album in 2007.

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