Today’s Track: Junior – ‘Long Way Home’

Good Morning to you! This is Jacob Braybrooke, and it’s time to walk in the light of a potential future star for 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! Making music is central to the coming-of-age story of the 24-year-old rapper, songwriter and producer Junior – whose real name is James Watkinson – who grew up recording a bunch of self-produced work while growing up in a summer cabin, being influenced by his surroundings to pen music about his career aspirations. Although he cites one moment where he got up on stage with Pharrell Williams as an adolescent fan as a definitive one in his career, Junior is becoming one of the best new kids on the block within the UK’s independent Hip-Hop and Grime music scenes for himself. He hails from a self-described “sleepy town” in Bedfordshire, located just outside of London, and his key influences include Jay Z, 90’s R&B and the supporting work of SBTV (An organisation based in London who promote emerging artists through their platform). ‘Lone Way Home’ is a fantastic new single by Junior, which was recently played by Tom Ravenscroft during a recent episode of The New Music Fix on BBC Radio 6 Music.

“I look at music as a way to summarize my life, treating every release like a chapter of a book, starting with my first project, ‘Adolescence’ to my most recent, ‘When A Flower Blooms'”, Junior explains about the statement of intent that he intends to fearlessly communicate on the fresh single, explaining, “On a journey to find my own sound and become who I am meant to be, I have had to walk a long way home”, in a press statement. The wonky soundscape of the track is clearly noticeable from the offset, with a Chill Hop-oriented backing beat comprised of fluctuating Synths and a hazy, psychedelic inverted guitar hook that feels playful and, all the while, Junior uses sharp percussion and a gently cinematic range of Hip-Hop instrumentals to ground himself and think carefully about his songwriting for the material. Vocally, his flow is not too unfamiliar to fans of Eminem or Mac Miller, where he matches a smooth and melodic flow to the offbeat tune of the quirky Hip-Hop backdrop. Lyrics like “From a small town/Breaking walls down, you can guarantee I’m a find way” talk about his ambitions to live an adventurous career despite a less than ideal living situation for his desires and wishes. His songwriting manages to feel intimate, while drawing and expansive. The result is a track that feels equally anthemic as it does personal, with his fresh percussion and his confessional style of lyricism standing out in a Hip-Hop world plagued by Meme-targeting commercialism. There’s no auto-tune here in that sense, but there’s simply an inspiring ballad about taking a leap of faith regarding your next big step in your career and, for Junior personally, revealing your ambitions when the Hip-Hop world takes a hold of you. It gets his personality as an open-minded and well-mannered rapper across nicely, while also establishing some relatable themes for his audience that takes influence from the mildly differing styles of Hip-Hop across the spectrum. This is a great showcase for Junior’s abilities to write, produce and record his own music all at once. This could be a star of the future.

That brings me to the bottom of the page for another morning! Thank you for reading all about what I had to say about Junior today, and I will be back tomorrow to go ‘retro’ with a new entry of our weekly ‘Way Back Wednesdays’ feature on the blog. We will be revisiting a classic 80’s Arabic Pop/Dance track by a Cairo-based musician who is largely seen as the godfather of Al Jeel Music throughout Egypt and Libya. In 2011, he condemned the actions of Muammar Gadaffi – his native country’s then-leader, against the Libyan population and issued a plea to the fellow Egyptians to help them.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

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

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

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

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

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

Today’s Track: Bob Vylan – ‘Health Is Wealth’

Good Morning to you! This is Jacob Braybrooke, and Grime meets Punk today on One Track At A Time as we begin to digest yet another daily track on the blog into our ear holes, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! ‘Health Is Wealth’ is the new eco-friendly single from East London-based Rap-Punk act Bob Vylan, a duo comprised of Bobby Vylan and his confusingly named partner in crime… Bobbie Vylan. Not to worry, as it seems clearly obvious that these are not their real names, and it is an evident mick take of the legendary Minnesota-born Blues icon Bob Dylan instead. Throughout their life span together, the two Vylan’s have toured with hardcore rapper Nascar Aloe and they are known for their energetic live shows that have reportedly resulted in them being banned from London’s The Crobar venue for their on-stage antics. They have opened for Nova Twins, MC Lars and Bill $aber, and they have collaborated with Tricky for a track from the Massive Attack alumni’s ‘The Test Of Time’ compilation LP. They also recently collaborated with Kid Kapichi for their track ‘New England’ in January, and they have also performed at festivals including Afropunk Festival in 2018. Having supported high profile acts like The Offspring and Biffy Clyro in recent times, Bob Vylan have just unveiled a string of headline solo tour dates set to take place across the UK in May and June, including a gig near me at The Portland Arms in Cambridge in June. They will be releasing a new album – ‘Bob Vylan Presents: The Price Of Life’ – on April 22nd via Ghost Theatre. Check out their latest single ‘Health Is Wealth’ below.

Bobby Vylan directed the companion video for ‘Health Is Wealth’ with assistance in shooting from Leon Wavey, and, commenting on the integral themes of the track, the ethical duo say, “We want to encourage people to eat and live as healthy as they possibly can and remind people that, when living with a government that is poisoning you with the food that is affordable, lack of investment into the mental health sector and is actively killing the planet with their agricultural and environmental practices, eating healthy and looking after yourself both mentally and physically, is an act of revolution”, in a press release. While not entirely representative of Bob Vylan’s discography as a whole because it feels less heavy and more old-school Hip Hop driven, ‘Health Is Wealth’ re-sets the duo’s sound with more of a Jazz influence and a quirky rhythm section led by upbeat Horn samples. Lyrics like “The killing of kids with £2 chicken and chips/Is a tactic of war, Waged on the poor” and “Just like fizzy wreaks havoc on the gums/And my old man said diabetes ain’t fun” discusses the effects of processed meat and the fast food sector with a light personal touch, while lifestyle-oriented refrains like “Plenty lentils and chick pea curry/20 minute meal for a man in a hurry/That’s real fast food that won’t break the bank/With enough nutrients t fill the tank” offer alternatives to the convenience and affordability of unhealthy ready meal foods. Other lyrics feel more politically driven, with sharp hooks like “Earth getting hotter while the sea levels rise/All because you want burger with those fries” and “Cattle farming still killing off the planet/And it tells us everyday that it can’t stand it” look at sustainable meal planning and hearty lifestyle choices from a wider perspective, and imply how the government’s lack of tackling these problems in favour of other sectors contributes to the issues. There’s enough socio-economically charged lyrics in ‘Health Is Wealth’ to fill a regular blog post twice over with analysis, but Bob Vylan add enough Brass samples to give the track a rhythmic flow and the Hip-Hop delivery feels upfront as to complement the diplomatic tone of the vocals nicely. Your mileage may vary a little on ‘Health Is Wealth’ depending if you think it is too preachy or not, but, for me, I enjoyed how it disassembles the flaws of industrialized food and drink business and looks at the way that the government affects society in terms of lifestyle habits as a whole from a DIY perspective. It feels old school in terms of Hip Hop direction while spreading very informed commentary.

That brings us to the end of the day! Thank you for checking out my latest blog post, as your support is always highly appreciated, and I will be back tomorrow for ‘New Album Release Fridays’ as we take an in-depth look at one of the week’s essential new LP releases. This time, we’re spinning a single from the highly-anticipated fifth studio album to come from a Cambridge-born singer-songwriter who strutted her skills to the alternative music community with her lockdown EP ‘How I’m Feeling Now’ that she released in 2020. This household name has also wrote and produced material for a varied list of other acts such as Selena Gomez, Camila Cabello, Icona Pop and more.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

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

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.

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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

Way Back Wednesdays: Grandmaster Flash & The Furious Five – “The Message”

Good Morning to you! I’m Jacob Braybrooke, and you have got your ears tuned in for yet another daily track on the blog, which suits me because it’s always been my day-to-day pleasure to write up about a different piece of music every day! This is ‘Way Back Wednesdays’ where we revisit the seminal sounds of the past that have been influential for those of the present, and ‘The Message’ – released in 1982 by the New York 5-piece Hip-Hop band Grandmaster Flash & The Furious Five – certainly fits that bill. As noted in the lyrics, ‘The Message’ was initially written as a reaction to the New York City Transit Strike of 1980 as a more broad examination of inner-class poverty and social injustice. Early 80’s Hip-Hop music was typically characterized as being aimless and too Pop-oriented, but the success of ‘The Message’ was paramount for groups like Public Enemy and KRS-One, and it marked the turning point for Rap music to explore serious content and the Conscious Hip-Hop sub-genre would soon be developed in response by more credible Hip-Hop songwriters than those who were there before. ‘The Message’ went straight to the #8 spot on the UK Singles Chart and it reached #2 in New Zealand, as well as reaching #4 on the US Billboard Hot Black Singles Chart. This is easily one of the most recognizable Hip-Hop recordings of the 1980’s, but its popularity extends beyond popular culture as well. For example, it has been featured in some academic texts such as ‘The Norton Anthology Of African American Literature’, published by Henry Louis Gates Jr. in 1996. Give it a spin below.

Released as the third and final single from the album of the same name by Sugar Hill Records in 1982, ‘The Message’ was a launching ramp for the bragging and boasting of the earlier Hip-Hop sounds to gain more of a soul, and its widespread success led to the band getting inducted into the Rock ‘N’ Roll Hall Of Fame in 2007. Also, ‘The Message’ was selected by the Library Of Congress to be added to The National Recording Registry for its preservation in 2002. A driving force behind the social commentary of Hip-Hop’s most significant releases, ‘The Message’ lyrically boasts some unflinching observations of lower working class perils like “It’s like a Jungle sometimes/It makes me wonder how I keep from going under” in the hard-boiled chorus, and my favourite verse contains the sequence of “A child is born with no state of mind, Blind to the ways of mankind/God is smiling on you, but he’s frowning too/Because God only knows what you’ll go through” which has also been named as Q-Tip’s favourite rap verse of all time. That verse really steers the sound away from a braggadocio party anthem style and towards a more philosophical nature instead. The instrumentation takes its cues from the Psych-Funk of George Clinton’s bands like Funkadelic and Parliament. The groovy guitar licks and the staccato Synths changed the content of Hip-Hop music forever, and the backdrop is simply catchy. It really helps to make the track feel more memorable on the whole, and Melle Mel mocks the Hip-Hop culture of old by noting “But then you wind up dropping out of high school” after he lists the likes of pickpockets and smugglers as potential role models. Overall, ‘The Message’ had an undeniable ability in attracting those who would not typically listen to Hip-Hop as a genre and the importance of the songwriting deserves its recognition as a pioneer of Hip-Hop’s development, and the themes are all topped off by the end of the video where police stress towards black people becomes present, as the band get arrested for no discernible reason in a brutal end skit. ‘The Message’ not only made history in terms of it’s content, but it was a genuinely great Hip-Hop track.

That’s all for now! Thank you for checking out my latest throwback post, and I’ll be back tomorrow as we divert our attention from the socially conscious Hip-Hop of the past to the Pub Rock revivalist sounds of the future, coming from a Melbourne 4-piece whose self-titled debut studio LP won “Best Rock Album” at the ARIA Awards of 2019.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

Today’s Track: Nas – “Moments”

Good Morning to you! I’m Jacob Braybrooke, and I’m going to be putting the ‘Hip’ into the ‘Hop’ on this rather cloudy Saturday morning to up its ante with 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! It’s only been under a year since legendary 90’s rapper Nas won the Grammy Award for ‘Best Rap Album’ with 2020’s ‘King’s Disease’. However, that was more of a ‘legacy Grammy’ if you ask me, and I feel that his new direct continuation of that record – ‘King’s Disease II’ – released a handful of short weeks ago, is a bit better and more representative of such an award. Another victory lap for the famous associate publisher of Mass Appeal magazine, and a New York-based musician whose debut album – 1994’s ‘Illmatic’ – has been inducted into the Library Of Congresss National Recording Registry, ‘King’s Disease II’ once again finds the multi platinum-selling entrepreneur bringing the Fontana-born producer Hit Boy on-board with him, and the frequent pair have seemed to become something of a collaboration cheat code in recent years. The new album also features fruitful guest appearances from the likes of Eminem, Ms. Lauryn Hill, Charlie Wilson, EPMD and more. The new record also comes highly recommended from the critics, scoring an excellent 88/100 on review aggregate site Metacritic to indicate “Universal Acclaim” from lots of music publications. Check out the mid-album highlight ‘Moments’ below.

‘King’s Disease II’ was released in early August through Nas’ own label, Mass Appeal Records (of course) and, as well as performing strongly in review sections, this new release marked another commercial milestone for the famous rival of Jay Z, as it went straight to #3 in the US Billboard 200, becoming Nas’ highest charting album in nine years, and its first week sales of 56,000 units outmatched those of its predecessor in his ‘King’s Disease’ string of recent releases last year. An introspective anthem that matches chopped old time Soul samples with a clear, witty backdrop of nostalgic realizations, ‘Moments’ reminds me, in terms of its narrative thread, to recent movies like Disney Pixar’s ‘Soul’ and Amazon Prime’s ‘The Map Of Tiny Perfect Things’, where it feels like a grounded celebration of the little beauties in life, and this really connects with me on a decent personal note because I recently had my sister’s wedding, and that was a ‘Once In A Lifetime’ deal of enjoyment. Lyrics like “We used to all put in and go half on bail money/F**k making it rain now, we makin’ it hail money” harken back to the youthful days and the emerging stages of his career, and reflective sequences like “My whole career I stayed away from features/But I figured its perfect timing to embrace the leaders” are calling cards for the album as Nas speedruns through his personal growth through the decades. The catchy chorus, with quick hooks like “Movin’ in ya first crib or having your first kid/Moments you can’t relive” really hammers the point home with a near equal mixture of accessibility and relatability. I love how these rhymes feel a little clumsy at points, as the straightforward meaning of the track really helps to give them a freestyle flair that charms. Plenty of credit goes to Hit Boy too, who works very hard behind the DJ decks to make everything flow together elegantly. The whimsical mix of laidback Horn sections, the strutting muted drums, the fluttering Glockenspiel melodies and self-satisfied Bass beats feels nicely endearing and complements Nas’ relatively unpolished vocals well to tell the story, and it gives the brief lyrics that may otherwise come across as a bit too slap-dash a well-contained, apt Jazz influence for the backdrop to flourish. He’s perhaps not a brilliant producer on his own, but when he works with Nas, there’s a really coherent chemistry that feels very engaging. It is a bold statement – but this is one of Nas’ best.

As Nas’ quietly declares in the track that we just heard, he is now considered a legacy artist and so he’s no stranger to making appearances on my blog already. Last year, we took a listen to the lead single ‘Ultra Black’ from the first ‘King’s Disease’ record, which you can still read here: https://onetrackatatime.home.blog/2020/10/14/todays-track-nas-feat-hit-boy-ultra-black/. Meanwhile, earlier in the year, we looked back at his culturally significant debut album ‘Illmatic’ with the single ‘It Ain’t Hard To Tell’ for ‘Way Back Wednesdays’ – a moment that you can relive from my site here: https://onetrackatatime.home.blog/2021/04/21/way-back-wednesdays-nas-it-aint-hard-to-tell/

That brings us to the end of the page for today, and thank you very much for being a part of this particular moment with me! It’s ‘Scuzz Sundays’ tomorrow, and so we’ve nearly reached the part of the week where we take things a little less seriously and either head-bang or cringe to some of the Pop-Punk anthems from the teenage time of our lives. My pick for this week comes from a rather successful Kanas City-bred Post-Grunge band who have sold over seven million albums worldwide. Since 2012, the band’s leading man has been hit with accusations of lip syncing during live shows.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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

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.

Connect with One Track At A Time:

Facebookhttps://www.facebook.com/OneTrackAtATime/

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